Tracy Grammer Review
Owen Richard Kindig, who moved to Cincinnati from Seattle in the summer of 2011, became a Balladeer, and then had to re-locate to Columbus, Ohio for work, attended the Tracy Grammer concert before he left town (not for good, we hope.)
He posted what I think of as the perfect review of the evening and some video on his blog. Check it out here.
On Friday, November 18, 2011, the Queen City Balladeers presented Tracy Grammer in the first special concert of the season at the Leo Coffeehouse at Mt. Zion United Church in Norwood. Doors open at 6:30; the show starts at 7:30.
Grammer first came to the attention of the music world as part of a duo – Dave Carter and Tracy Grammer. For me – and many others – what they provide is a musical staple. I know I listen to something of theirs just about every week.
Here’s what one well-known performer, Mary Chapin Carpenter, has to say.
“[Dave Carter & Tracy Grammer have] beome a treasured part of my music collection… Flower of Avalon presents more songs by Dave Carter, with Tracy at the helm as artist, interpreter, co-producer and the beating heart at the center of it all. Her pure voice conveys the simple truths of these songs; her gifts as a musician are like that of a painter who is a master of chiaroscuro, offering light and shadow at every turn…. I was honored and humbled by the invitation to sing on this record.”
And this from Joan Baez:: “Tracy Grammer is a brilliant artist and unique individual. Her voice is distinctive, as is her mastery over the instruments she plays.”
Carter tragically died while on tour in 2002. As Mike Thomas of Acoustic Guitar Magazine said:
Out of the ashes of loss comes a soul survivor’s gorgeous and life-affirming statement of purpose. On Tracy Grammer’s first full-length solo release since the untimely 2002 passing of her duo partner, songwriter Dave Carter, she re-emerges with a set of previously unrecorded Carter songs that celebrates the late tunesmith’s broad, cross-genre reach.
The stylistic span runs from mystical mountain folk (“Shadows of Evangeline”) and bouncy bluegrass (“Laughlin Boy”) to quirky, Dixieland-flavored Americana (“Phantom Doll”) and rustic roots-rock (“Gypsy Rose,” “Preston Miller”). Although Grammer’s vaunted instrumental skills are on conspicuous display—her fiddle playing has never sounded more sure-handed and evocative—it’s her supple, subtly expressive voice that carries the day. Co-produced by Grammer with John Jennings, the album features backup vocals on three tracks by Mary Chapin Carpenter. Fans of Alison Krauss and Union Station and Rosanne Cash’s later, contemplative work should feel right at home with this simply arranged, emotionally rich collection.
Tracy Performing “The Mountain”