James Taylor: Sunday at Tanglewood
Le petit déjeuner sur l'herbe
By: Charles Giuliano - Aug 31, 2009
All good things come to those who wait. Finally, yesterday there was a glorious late summer afternoon. There were lots of umbrellas on the lawn at Tanglewood, but in contrast to the Friday and Saturday concerts in the five days of the James Taylor festival, they provided shade from the intense sun, and not shelter from the rain.
Conditions could not have been better for the Sunday event that recalled the bucolic mood of Manet's "Le petit déjeuner sur l'herbe" multiplied by the thousands as far as the eye could see. Folks were enjoying their picnic lunches, kicking back and imbibing the sweet sounds of John Williams and the Pops, for the first set, and then backing James Taylor in a series of lush arrangements. For the thousands of fans in the last of three, sold out concerts in the Shed it just doesn't get better.
It also put a smile on the face of BSO executive, Mark Volpe, who attended the Taylor series greeting friends and patrons. The series of five concerts started on Wednesday at Ozawa Hall with a percussion workshop led by band members Luis Conte and Steve Gadd. All of the sold out concerts were a benefit for the Tanglewood Music Center. Taylor donated his $500,000 fee for the series. He and his wife Kim are major donors to the BSO.
While the BSO does not release attendance and financial figures it seems that overall the orchestra held its own during a tough season of a poor economy, a dip in tourism throughout the Berkshires, and really lousy weather. While Tanglewood can fill the Shed for its most popular concerts it is the lawn that makes the difference. Most lawn seats are a last minute walk up decision based on the weather. For the Taylor concerts, however, lawn seats were sold out months ago. Which is why so many toughed it out through stormy nights.
The series was an inspiration on the part of Taylor's wife Caroline/ Kim who joined him on stage along with his four other backup singers. She was an employee of the BSO. They met when Taylor first performed with the orchestra some years ago. Currently she is a Trustee of the BSO. During his set with Williams he publicly thanked the conductor for "Introducing me to Kim."
While Taylor and his band kicked it up and rocked out with Sheryl Crow (and cellist Yo Yo Ma) on Friday and Saturday nights the mood yesterday was mostly mellow yellow. It was a lovely day to lay back and drop a tab of sunshine. As James recalled in the 1960s song "Blossom." Sure the fans swarmed down the aisles and crowded in front of the stage during encores. But nobody really freaked out. It was just good fun with lots of smiles as I plunged into the thick of it. Although the older folks in the front row were miffed that we blocked their view. And told us so. By then, however, the good vibrations were just too titubating to keep still.
Which makes one ask yet again why, if they sell out, and fans flock to Lenox, there are not more rock concerts? Last year there was a tizzy when Wilco tore the roof off the Shed. The blue noses including hard line critics and editorial writers at the Berkshire Eagle, the superannuated keepers of the flame, railed against the outrage. That hallowed ground had been desecrated.
How do you make that argument when 60,000 tickets were sold for the five James Taylor events? Compare that to the empty seats for many of the superb classical concerts. Yes, there is that all important commitment to excellence. But, particularly in these hard times, somebody has to pay for it. A bit more discreet jazz, pop and rock would surely boost the bottom line.
This may well have been the summer for Bob Dylan and Bruce Springsteen. Or that Kind of Blue tribute to Miles Davis that Jeremy Yudkin organized at the Lenox Library. It was packed on a Monday night when Ozawa Hall was vacant. With a little imagination and a couple of guest artists it would easily have sold out on an off night.
During the long season there are way too many nights when the Shed and Ozawa Hall are dormant. While protecting the precious Tanglewood legacy it is time that the BSO bends a bit. It would delight audiences to have more pop concerts. This summer we much enjoyed Diana Krall, Chris Botti, and Tony Bennett in addition to Taylor and Sheryl Crow. The Michael Tilson Thomas evenings of "Thomashevsky" sold out in Ozawa Hall. The program tapped into a niche audience. Over Labor Day weekend the Tanglewood Jazz Festival has become a tradition. For which we are deeply grateful. But some of that programming might easily be introduced during the season.
It has been suggested that there should be jazz brunch and supper concerts in the Hawthorne Tent on weekends before and after the 2:30 pm Shed concerts. With imagination and creativity, like the Taylor series, much more might be done to expand the legacy of Tanglewood. There are many major, non classical American artists who would be honored to perform in Lenox. It would delight audiences and provide a much needed boost to the economy of the Berkshires.
The Taylor series, for example, sold out rooms in hotels and filled restaurants in what is normally a slow last week in August. Tourism grinds to a halt as families prepare to send the kids back to school. But JT changed all that for the hard pressed Berkshire economy.
In essence yesterday's concert was a double header. On his own John Williams and the Pops are always capable of filling the Shed. But add James Taylor and oh my. The program started with Williams conducting his greatest hits. He opened with the March from "Superman" followed by selections from "Harry Potter." Williams then deviated from his own compositions to present the theme from "Cinema Paradiso" by Morricone-Morley with the solo violin of Tamara Smirnova. It is music that he has presented during previous Film Night programs. Of course he closed the set with three blockbusters from "Star Wars." Williams also included an unscheduled tribute to Ted Kennedy.
Ambling on stage in his iconic, galvanic manner Taylor sat on a stool, center stage, and opened, unaccompanied, with his signature hit "Sweet Baby James." An audience of thousands erupted with its reference to "Stockbridge." It would be repeated several times recalling his extended stay at the Austen Riggs institution. Periods of deep and dark depression pervade the lyrics of his songs, particularly the early ones. There is a troubled family history which he would touch on. Three of the five Taylor siblings spent their high school years at the renowned McClean Hospital in Belmont, Mass. Their father was Dean of the Medical School of the University of North Carolina. Starting in the 1950s the family summered on Martha's Vineyard.
"It's a rare thing to see the sun shine this summer" he said greeting the vast audience. "It is all because of my friend John Williams. I would like to play a song that is claimed by both the Scottish and Irish. Both cultures claim it and that depends on the audience you play it for. Today the song is Irish." With Williams conducting the Pops he performed "The Water is Wide" with its evocative line that "I can't cross over and neither do I have wings to flyÂ…My love and I."
The song was among those he performed during the Friday and Saturday shed concerts. In this the third of the Taylor concerts we attended there were overlaps. But it was intriguing how songs were differently rendered in mood and tempo. Having these three experiences comprised a kind of seminar on Taylor's music and the range of performances, contexts and interpretations. Had there been other opportunities we surely would have attended.
Each new concert only deepened our respect both for Taylor as an artist but also as a remarkably evolved, gentle and generous human being. Much of that growth, stability and change has resulted from the influence of his marriage to Kim. Often the greatest art is created by individuals who have struggled to overcome adversity. It evokes depth, insight, and life experience.
"I'm proud to be from two places" he said. "I call the Berkshires home and I was born in North Carolina. I was somewhere off the coast of Spain on a small island when I wrote this song. I was missing red clay and friend chicken." This was followed by a lush arrangement for "In My Mind I'm Going to Carolina."
Let us hope that all of the five concerts were taped. There were surely enough superb moments to fill a double CD of "James Taylor Live at Tanglewood." How often does an artist get the chance to perform with John Williams and the Pops?
A group from the Tanglewood Festival Chorus joined Taylor's rhythm section and four backup singers on stage. Kim Taylor also participated. While Williams sat out they performed "My Traveling Star" and the anthem "Shower the People You Love With Love." Again, both songs had been performed on the two previous evenings. But the addition of a chorus took the music to another dimension. There was a chilling call and answer as Arnold McCuller was featured trading lines with Taylor backed by the chorus.
When the chorus exited Taylor again informed the audience that their presence supported Tanglewood. Since many had come just for this occasion he invited them to return next summer. And bring the family. This led to the poignant "It's Enough to Be On Your Way" which was written on the occasion of the death of his older brother Alex. Decades ago I attended a launch party for his solo album. There was also an album by Kate but only Livingston was able to sustain a career as a musician. As far as I know Hugh Taylor did not record.
He stated that when writing the song the name was changed from Alex to Alice. "But I don't think he would mind." The lyrics evoked the vision of the sun rising and setting as it falls on "everything here on earth." There was a shocking reference to his "fucked up family" as well as the touching phrase "so long old friend." The songs of Taylor are richly fulfilling because of an ability to bare his soul and convey such honest passion.
In a personal family mode he followed with a tribute to "My dear wife Caroline whom most of you know as Kim." He performed "Caroline I See You" with the image that the sight makes him "melt like chocolate." He continued by sharing how John Williams introduced them. He discussed a song influenced by her on his last studio album and a "capacity to change things. This is a true story." We were amused by "I Was a Mean Old Man." The song got nicely bluesy with riffs by Larry Goldings on piano.
"My first experience in the Berkshires was during an extended stay at the Riggs Institute in Stockbridge. If anyone is here today from Riggs my advice to you is stay on your meds and things will get better." He performed the magnificent "Fire and Rain" about the suicide of his friend Suzanne. It was written in Stockbridge as was the acid tinged "Blossom" which he also performed.
The set ended with the Carole King/ Gerry Goffin, Drifters hit "Up on the Roof." He exited but returned. John Williams took a bow then departed. After an interlude Taylor brought back his trio and four backup singers as well as Kim.
"I heard that because of the traffic jam a lot of you missed much of the concert" he said. "So we are going to make it up to you by performing a few more (six) songs." A number of fans came down and stood in front of the stage. The audience was on its feet and you could hear the roar all the way back on the lawn.
After all the pressure of five days of performances Taylor seemed to just cut loose. He interacted with the fans up front who showered him with love, tossed up things to autograph, and shouted requests. Someone was very insistent about "Steamroller" which had been a highpoint and jam during prior Shed concerts. He just smiled and said that what he was going to perform was just the opposite of "Steamroller." To demonstrate he stretched out his arms to convey the left and right difference. This led to another Carole King standard and former JT #1 hit "You've Got a Friend."
You could feel the love. It was like Woodstock all over again up front and personal in front of the stage. Even that miffed older woman in the front row got down and funky. She gave up, got up, and grooved.
It was that kind of night. Hey man, JT, y'all come back, yah hear. See you next summer round the Fourth. Later baby. Sure was fun.