When JoAnna James begins to sing, you tend to hold your breath. She captures the attention of the crowd as she whispers her voice into motion, and soon she has drawn the room into her craft. Her voice carries you along as she powers into the chorus, and when she hits those notes…those notes, you only then notice that you hadn’t been breathing because you have to gasp.
I first heard JoAnna’s voice at the first Leonard Cohen Tribute at Soulful Space. She sang “Ballad of a Runaway Horse” and “Anthem” with masterful skill. That treat was repeated at the second encore performance at The Lyric on April 28. One of the highlights of the evening, JoAnna’s voice shifted easily from the slow, meditative sound of “Ballad” to the gypsy-like rhythm of “Anthem”, singing Cohen’s famous line, “that’s how the light gets in” with the spellbinding effect that certainly would make the late singer-songwriter proud.
Produced by Anita Courtney and Purple Carrots Productions, the Cohen tributes were both sell out performances that brought together a diverse array of local musicians to offer their personal tributes to the master. On April 28th, the doors of the theater were thrown open to ventilate the heat as JoAnna and the others joined in verses of “Hallelujah” that spilled out into the streets. JoAnna took the lead on the final verse and belted out a righteous final farewell to Leonard, bouncing her powerful voice off the walls of that historic theater with a stunning, goosebump-inducing crescendo.
Joanna James performing with Richard Young (bass) and Anna Hess (violin) at the original Leonard Cohen Tribute concert
JoAnna came into music as a young girl when her grandpa picked up a violin for $100 from a nun in Mankato, Minneosta, near her hometown of St. Paul. The middle of five kids, her siblings refused the instrument and Joanna was given the violin and lessons with a kind teacher she greatly admired.
Joining orchestra in high school, JoAnna happened upon the guitar, songwriters who played the likes of Lilith Fair, and a book of tablature for Nirvana Unplugged. By 14, she was playing a three-hour gig in a Wisconsin bookstore to a full house. From there, her career has taken her across the country several times over and brought her into songwriting collaboration with a variety of musicians and labels.
JoAnna cowrites and collaborates on songs with many, including Josh Grange, pedal steel player for Sheryl Crow, and Jessy Greene, who has toured with Foo Fighters and Pink, all friends from the “small Minnesota music scene.” She first hears the song, she says, and then finds different processes for integrating the lyrics and music. Inspired by “that” teacher, Mr. Hanlin, who taught her “the connection between music and poetry,” JoAnna is highly adaptive, whether meeting strict deadlines for toplining gigs or musing through a stream-of-consciousness for her own original songs.
Motivated by friendship and a sad but necessary goodbye, Anita and JoAnna are pairing up once more for a show featuring JoAnna before she leaves the bluegrass for the mountains of Colorado. Moving to be closer to family, the show on July 27th at First Presbyterian Church Chapel on North Mill will be JoAnna’s big send-off. She will be joined by several stellar local musicians including Anna Hess and Richard Young, who accompanied her at both Cohen tributes, and Lee Carroll on keys. Maggie Lander will join with backup vocals. The show will be a combination of musicians as well as covers and originals, some solo, some with accompaniment.
“For me, to produce a show, it needs to meet 3 criteria,” says Anita Courtney of Purple Carrots Productions: “feature great musicians in an intimate setting that pays the musicians well.JoAnna’s show checks all the boxes. The chapel is beautiful, has great acoustics and seats 100 people. I call JoAnna the ‘goosebump girl’. She gets inside a song, really tries to understand it, feel it and convey that to the listeners.”
Anita is very excited about the combination of musical talent that will be on stage with JoAnna for the show. “Lee Carroll’s stellar piano, Maggie Lander’s beautiful vocals and the professional and soulful string instrumentalists—Anna Hess on violin and Richard Young on bass—and I think we will all be gobsmacked.”
“Gobsmacked” was the compliment Anita received after the Cohen tributes, and she ensures an all-JoAnna James show will be equally effective. The intimate setting of the chapel, JoAnna’s powerfully subtle voice, and a cast of stellar musicians guarantee that she is right. JoAnna feels strongly the power music induces, and she hopes for that exchange on the 27th.
“My biggest hope is what I always hope for with a show…that some sort of cycle of exchange happens, cause that’s what music is, it’s this experience through time, and to share it with these people who are willing to give you their time and attention. I hope that people can walk away with some kind of good feeling and catharsis. That is my hope.”
True affection and passion are too often relegated to the land of the romantic, but it also manifests in simpler ways – if you know where to look.
Consider, for instance, three men – Eli Uttal-Veroff, Brandon Scott Coleman, and Marlin McKay – standing around a couple of bins of jazz on vinyl in the corner of Wild Fig bookstore in a manner more akin to ten-year-olds poring over a vintage comic book collection. The three marvel over the selection, pulling items willy-nilly and talking in excited tones about the finds. Coleman recites lists of the players and their pedigrees, while McKay can’t believe the number of albums he hasn’t even seen yet.
Here they are, three adults with respectable musical careers of their own, unable to contain their joy at a couple possible new additions to what must be staggering record collections.
l to r: Grundy, McKay, Uttal-Veroff, Coleman
This potent blend of respect and adoration borders on worship, and it’s exactly that mix of enthusiasm and affection for the genre that they now hope to impart to the Lexington community through the Origins Jazz Series, a new, year-round series of jazz concerts in local venues.
“When people say, ‘I don’t like jazz,’ what they’re really saying is, ‘I haven’t heard the right kind of jazz,’” says Uttal-Veroff, providing a sort of unofficial thesis for the series, which aims to provide local access to multiple forms of jazz as it expands.
Uttal-Veroff credits local Lexington community leaders and current co-collaborators Richard Young (CivicLex), Donald Mason (Lyric Theatre), and Shawn Gannon (Soulful Space) for the spark that led to the series. (UnderMain is also a sponsor.) If those names sound familiar, they should – so many moving parts in Lexington revolve around those folks. They have planted the seed, and Uttal-Veroff, along with Co-Organizer Chester Grundy, members Coleman, McKay and others, have taken it and run with it.
Coleman frames the problem simply: “Growing up as a musician in Kentucky, in Pikeville, it was really hard to find jazz.”
Indeed, much of the conversation centers on the irony that there is arguably no more American form of music that exists, yet access to jazz in America seems increasingly limited.
“It’s a truly American art form. It’s several different styles of music that could only intersect here,” says Uttal-Veroff. The discussion then turns to the overwhelming reception each has received when performing out of the country. Coleman notes the royalties he receives from Spotify are strictly from foreign listeners who can’t get enough.
“The irony is that the music is revered and respected worldwide,” says Grundy. “Everywhere except here, you know, the place of its origins.”
The Origins Jazz Series kicks off at Tee Dee’s Blues Club on October 7th at 7:30 p.m. with a performance by Noah Preminger & Brandon Coleman Trio.
Preminger, 30, was the winner of Downbeat Magazine’s critics poll for “Rising Star on Tenor Saxophone,” and has been described as “ecstatic” and “incantory” by the New York Times.
Jazz as an art form is hard to come by locally, the Origins organizers note, especially for younger musicians finding their way in the genre. In America, the music has failed to command the stature it, by rights, should lay claim to, and most jazz performances still take place in bars or clubs where entrance is forbidden to anyone not of legal drinking age. This prevents younger players from seeing the genre come alive before them, and it could stifle the development of jazz in generations coming up.
The Origins Jazz Series solves this problem by creating shows in all-ages venues, accessible to anyone with a love for the music.
“You can’t grow musicality in a vacuum,” says Coleman. “Bringing these national-level artists and letting them see that and having those up close and personal experiences with them is going to be super, super valuable.”
“Part of the excitement and kind of the nobility of doing something like this is connecting Americans with their own cultural traditions,” says Grundy.
The time for such a venture is now, according to all assembled.
“We have the venues, we have the musicians,” says Uttal-Veroff. “Now we need to bring these things together.”
Exposure to national, regional and local artists is not the only impetus for the series. It’s the notion that there’s an element of live performance that can’t be replicated in a recording. It’s not enough just to listen to the albums – the music has to be experienced directly.
“There are so many things that are aesthetically pleasing about going out to see a live performance,” said McKay, who takes a moment to reflect that so much of benefit of live music comes from seeing the musicians live in the moment, as opposed to the canned and overly-perfected nature of recordings. “The beauty comes in the imperfection, and not really kind of adhering to any preconceived notions about what it should be.”
Uttal-Veroff points out that every single performance is a personal experience that is unique that particular audience, something that no one else in the world will get to experience. McKay agrees:
“To see the passion, the intellect, and all the training and everything come to fruition in one moment that everybody can see…it’s kind of like being on the other side of a famous magic trick and seeing how it all gets put together and still being amazed.”
Enthusiasm for the craft is one thing, but where the Origin Jazz Series earns extra credibility points is in both its partnership with the Xavier University Jazz Series and the person of Chester Grundy, who will be co-organizer of the series.
Grundy created and successfully ran the Spotlight Jazz Series at UK for over three decades. It was the longest-running on-campus jazz series on any college campus in the United States. The series brought to Lexington such luminaries as Sarah Vaughan, the Duke Ellington Orchestra, Dizzy Gillespie and more. When Grundy speaks on the “power of the shared cultural experience,” he brings decades of firsthand witness to bear.
“I truly believe there are elements of this music…there are things that can be evoked that can contribute to community-building,” said Grundy. “It’s wonderful to think that the music is in good hands.”
Tickets for the series’ inaugural October 7th performance of the Noah Preminger & Brandon Coleman Trio at Tee Dee’s are $15. $2 from every ticket sold will be donated to combat the opioid epidemic.
I was 18 when I bought my first Leonard Cohen tape and slid it into the car stereo of my Dad’s old Buick. Was This What You Wanted? began to play, and the whole world of one naïve Catholic Italian girl from Buffalo changed.
Music has that power, and that whole tape of the album New Skin for the Old Ceremony had a powerful influence on me as an audiophile. Lyrics suddenly became the most important part of a song, and Cohen was certainly one of the great sages of lyrical construction.
On the night of the election when I opened my newsfeed and learned that the great poet had gone to his reward, as my mother says, I felt an immense grief. I had to do something.
My simple Facebook suggestion to put on a show in tribute to Cohen resulted in a rapid response from musicians in town interested in getting involved. Clearly, so many of the local musicians I admire were as brokenhearted as me over the loss of this great, influential artist.
So, I found myself organizing a Leonard Cohen Tribute at The Burl, where my friend Bryan Minks gave us a Monday night to simply have a stage where we could pay tribute to a man to whom we all felt a strong musical connection. We decided to pass the hat for donations, and someone suggested we send anything collected to Standing Rock to help the water protectors in their struggle. The event began to take form.
The 28th of November was a damp and dreary night in Lexington, Kentucky, and the UK Wildcats were playing on tv. I wasn’t sure what to expect for turnout, but the room was already filling at 7:30. I placed candles on the tables as promised, and the first band began setting up. The intent was simply for each singer or group to choose two Cohen songs, perform them in their own way, and we would hopefully move smoothly from one set to the next, working Nolan Dunn too hard as he skillfully modified the soundboard for each different performer.
The Northside Sheiks (photo above) started the night with their signature blues vibe, Willie Eames giving his style to Almost Like the Blues and Slow with Lee Carroll on accordion, Smith Donaldson on Bass, Robert Frahm on guitar and David White on drums. From there, the packed house listened to a steady stream of great Lexington area musicians: Chris Sullivan, Warren Byrom, Brian Combs, Bryan Minks, Keith Rowland, Doc Feldman (with a little bit of help from yours truly), Eric Cummins, Chelsea Nolan, Josh Nolan, Derek Spencer, Ben Aubrey with Trinity Curtsinger, Rob Rawlings and Alex Parkansky. And then came a duet on strings with Elias Gross on viola and vocals and Richard Young on Bass, which grew into a trio that added Anna Hess on violin to back Kevin Holm-Hudson on keys when he led the entire group in Cohen’s Hallelujah to end the evening.
The Northside Sheiks
The Northside Sheiks
Chris Sullivan and Warren Byrom
Chris Sullivan and Warren Byrom
The night proceeded exactly as I had imagined it: candles flickered, people in quiet conversations between sets. When each performer began, the entire room hushed, even with the game on mute back at the bar. With the two songs they had chosen, each artist blended Cohen’s brilliant poetry with their own style and instrument to make it theirs.
“I’m always pleased when somebody sings a song of mine. In fact, I never get over that initial rush of happiness when someone says they are going to sing a song of mine. I always like it,” the late Cohen once noted in an interview on Pacifica Radio. “That song enters the world, and it gets changed, like everything else — that’s OK as long as there are more authentic versions. But a good song, I think, will get changed.”
He knew, of course, that his songs would live on. He even told us so in Tower of Song. Each artist or group of artists paid homage to Cohen that night, as candle flames flickered and the rain spattered against the windows. The Roll n’ Smoke food truck was parked outside, and the tangy aroma of barbecue floated through the Burl blending nicely with the fragrance of candles.
The audience was treated to a wide variety of genres as each artist individualized Cohen’s songs, piecing together the entire crazy quilt of the evening. From the Sheik’s blues interpretation to Bryan Mink’s Tower of Song with that country metal edge he has, to Chelsea Nolan’s booming vocals to Alex Parkansky’s drone metal guitar lifting Cohen’s music to surreal levels. Then the night went to strings, and the room, still nearly full even at 11:30 p.m. on a dark, wet Monday night, melted with the candles as all the singers took the stage once more to back Kevin Holm-Hudson in Hallelujah.
We all sang along, barely able to hold back during the verses as we harmonized into the chorus. I felt like I was in church again, the candle light blurring past the strings in front of us, the keys played perfectly as each of the seven verses guided us along. The crowd joined in too – everyone knows the words to this iconic song – and that room full of gorgeous wood and candles and people who simply love great musical poetry, that room rang with the collection of those voices. No voice was distinguishable from another. And then the last chorus was sung, and Kevin paused for just a moment of silence, and ended the night with those two words that took all our breath away: “Goodnight, Leonard.”
We raised a total of $700 for the Sacred Stone Camp at Standing Rock. My friend Psera Newman, Direct Action Trainer for the Lexington Chapter of Greenpeace, took the stage twice and spoke to the audience about her time at Standing Rock, and why she chose Sacred Stone Camp as the appropriate recipient of contributions, describing it as the beating heart of the body that is the Standing Rock resistance.
Folks were unbelievably generous all night long, and the money order to Sacred Stone is en route, along with a letter I wrote to the leader of the camp, Ladonna Brave Bull Allard.
I am so proud of Lexington. I am so proud of all the musicians who took the stage that night, who took the time out of their lives to learn new songs and perform them and support each other simply to do it. For the love of the music. To show respect to someone who devoted their life to creating beauty and art for others to love. And to share the effort in the form of charity, for others who really need some help right now.
Goodnight, Leonard Cohen. Thanks for the beauty, sir.
(Credit: Derek Feldman, all photos and video.)
The Set List:
1. The Northside Sheiks- Almost like the Blues, Slow
2. Chris Sullivan- Famous Blue Raincoat
3. Warren Byrom and Chris Sullivan- Suzanne
4. Brian Combs- The Butcher, Heart with no Companion
5. Bryan Minks- Tower of Song, Is this what you wanted
6. Keith Rowland- The Stranger Song, Bird on the Wire
7. Derek Feldman w/ Cara Blake Coppola- You Want it Darker, There is a War, If It Be Your Will
8. Eric Cummins- Tonight Will Be Fine, Darkness
9. Chelsea Nolan- On the Level, One Of Us Can’t Be Wrong
10. Josh Nolan- Alexandra Leaving, Diamonds in the Mine
11. Derek Spencer- So Long, Marianne, Steer Your Way
12. Ben Aubrey- Dance Me to the End of Love, Here it Is
13. Rob Rawlings- Iodine, Paper Thin Hotel
14. Alex Parkansky- The Future, Waiting for the Miracle
15. Elias Aaron Irving Gross- Chelsea Hotel
16. Kevin Holm-Hudson-the Runaway Horse, Hallelujah
Whether you were born and bred in the Bluegrass or are a transplant, chances are good to great that you know Lexington has a rich artistic heritage. This is especially true with respect to music. Some of the greatest pickers and grinners of all time have come from Fayette County and the areas surrounding it.
Patrick Golden is one such artist.
Lexington-based guitarist Patrick Golden with his collection of Fender Telecasters
Born in Lexington, July 14, 1966, Pat recently celebrated over 40 years in music and has influenced hundreds of students and peers. Known worldwide for his ‘chicken-pickin’ style, Golden is an accomplished guitarist, transcending genre with a style recalling many great players, but most definitely all his own.
Before we chat with Pat and a host of guitar greats who have performed and studied with him, how about a listen? Here’s a clip of Golden promoting Knight Guitars. He is playing a signature Richard Young edition, customized for the Kentucky Headhunters’ rhythm guitarist and vocalist.
The Headhunters still tour a great deal and have had a string of hits over the last 25 years. Headhunters’ lead guitarist Greg Martin has been friends with Golden for some time.
How did you and Pat hook up?
Pat was freelancing with my stepdaughter, Sherri McGee who is in Little Miss Tammy Smith and the Inbreds. That’s how I got to know him. He reached out to me years ago. He’s great about being open to learning new things.
Pat with Doug Phelps and Greg Martin of The Headhunters
What is most striking to you about his playing style and approach to teaching?
Pat’s a very dedicated player, a very patient player, and a great teacher. Stylistically, he has his own take on the Tele “twang” thang for one thing, but there is much more to his playing. He loves Telecaster and he’s really creative with its use.
In this exclusive conversation for UnderMain, Golden talks about his playing, his teaching, and growing up in the Bluegrass.
Why electric guitar?
“It all started acoustic,” he explains. “My step-dad gave me an old Craftsman Acoustic back in 1973. It was the f-hole style guitar and it wasn’t much, but it got me started. I banged around on that old thing for a few years. My mother and grandmother wanted to see if I was serious and would stick with it before they bought me an electric, which is what I really wanted.”
Soon after, Pat got his first electric guitar, an old Sears and Roebuck model.
Was it just getting that electric guitar that set you on your path, or something else?
“My mother took me to an Elvis concert in 1976 in Cincinnati; this was just a year or two before he died, and it changed everything for me. It felt like I was supposed to be there. I could tell you what the weather was like and what we had for lunch. It was the most intense experience of my life up to that point and a day doesn’t go by that I don’t think about it.”
It wasn’t just the King’s charisma that captured Golden, however.
“It was James Burton. James Burton was and is my biggest influence. I saw him originally playing with Elvis and I became absorbed by his style and professional manner. He could cross into any genre and he has many times, playing with Merle Haggard, with Elvis Costello, John Denver, Johnny Cash, the list goes on and on.”
Golden with James Burton
It was also Burton’s influence that led Golden to play a particular type of electric guitar: the Fender Telecaster, or “Tele” for short.
What is it about the Telecaster that made sense to you?
“My first good quality electric was a Gibson Les Paul. I just found playing very limiting for what I was trying to do. The Tele offers me a much wider range of options. I can do more of the things I really want to do with a Tele. Stratocasters, Les Paul, they’re all great, but the Tele is right for me.”
What happened after the Burton experience?
“I started to absorb everything I could to be versatile like Burton: Django Reinhardt, Johnny Cash, Jerry Lee Lewis. I’d watch all the great acts on Burt Sugarman’s Midnight Express in the 70s; Hee Haw, which, of course, had Roy Clark, Buck Owens, and Don Rich. Right after watching something that was Country, Rock, or Blues, I’d switch over and take in Lawrence Welk. All of these things and more were influences. In those days there were just three channels and no internet, so you watched what came on, and I watched intently, with the idea of applying it to playing.”
Pat with Waylon Jennings
You’ve taught Blues, Funk, Rock, Country, Jazz and many other genres, but you seem to have a lot of Country influence. How did that come about?
“Well, in the 70s in Lexington, you would have bands playing in local bars 6-7 nights a week. Most of the stuff being played was Country. I was a teen and wanted to play, so that’s where I landed, but I’ve always been interested in and played everything.”
When did your playing first get some real notice?
“Many years ago WKQQ had a contest for the best young rock guitarist and I submitted a demo, which, of course, at that time was on a cassette tape. There were a lot of people entering. Ben Lacy was in the mix, and a lot of other amazing guitarists. Neither of us won, but it did give me more exposure.”
Ben Lacy’s been on the Lexington music scene as a highly refined guitarist for many years. Lacy said the following recently of Pat’s playing:
“He is the purest of tele pickers, able to capture the essence and truly honor the personality of the Tele from classic country sounds and the blues. You can hear all that glorious pedigree of such greats as Danny Gatton and Scotty Anderson but still you can hear Pat’s own voice on the instrument. I’m proud to know Pat and admire his ability to not only perpetuate the rich tradition of the telecaster but also to forge his own path.”
Pat with Phil and Don Everly
But was this what got Pat to Nashville and becoming a sought-after sessions player?
“It helped, but late in the 80s I met Bobby Anderson, who was then a writer for Hee Haw. Bobby was from Somerset and we went down to Nashville together, and he connected me to the staff at The Grand Ol’ Opry; Jim Ed Brown, who had a show for many years and many well-known artists. Most of them would hang out at the Nashville Palace. If you’re a sessions-player, singer, songwriter, or anything else musical in Nashville, the Palace is the place to be.”
What happened when you got deeper into the Nashville scene?
“The same thing that happens to all players who go there: a reality check. I thought I was a great player, but I didn’t know what that was until I got to Nashville, and there’s one on every corner. I remember going to a show and being sick in the parking lot after, realizing what I was up against.”
Pat with sought-after Nashville sessions player, Reggie Young
Where did you go from there?
“Well, I had a decision to make. Either tuck my tail and go home, which is what happens to so many players, or buckle down and get focused.”
You chose the latter, but how exactly did it manifest?
“I went looking for the best people I could find to study with and learn. The first teacher I sought out was Ray Flacke. He was known at the time as being one of the best country pickers and had recorded with everybody.”
Some of those artists include Ricky Scaggs, Travis Tritt, Marty Stuart, Kathy Mattea, and Emmylou Harris. The English-born Flacke has been known for four decades as one of the greatest country Tele-pickers in the industry. He is also well-known as an instructor and sessions player.
Pat with Garth Brooks
“Someone who continues to influence me greatly is Scotty Anderson. I still drive up to Ohio and study with Scotty; he’s in the top .01 percent of players in the world, but he’s kept a low-profile for many years. Any serious player knows about Scotty, though; he’s in a realm all his own. I’ve been with him over twenty years now and I’m still working on that first lesson.”
Here’s what Anderson has to say about his long-time student and friend, Pat Golden:
“Throughout the years I’ve seen Patrick turn into a fantastic player. He was always a really good player, but now he’s reached the level of commercial music greatness really, really unique in his own style. Maybe I was able to help him a little bit; I definitely could tell his playing in a room full of players. He always plays the right notes at the right time and he’s a hell of a nice guy.”
These sentiments about Golden echo throughout the industry, not just with his instructor of many years.
Cartersville, Kentucky singer/songwriter, Josh Logan, has been friends with Golden since the 80s. Logan recorded four albums for the world-renowned Curb Records, starting in 1988. Somebody Paints the Wallincluded three chart singles which have been covered by artists like Tracy Lawrence and Aaron Tippin.
You and Golden go back a long way?
“Oh, yes. My friend Pat: I can’t say enough good things about him. He’s one of finest real country guitar pickers that I have ever met, his style is the real deal, not computer automated!”
On your tours, did you ever use Pat?”
“The sad part of my story is that I never had him as my lead guitar picker. The timing was always wrong for him to join my band, when I was on the road heavy in the 80s and 90s and early 2000. However, he’s a real country guitar picker, and with his ability to play just about anything that you need on a guitar, I’m sure he could just about fit any style that you need.
Golden’s influence crosses genres and spills out of the Country music scene as well. Blair Carmen, who tours with his band, Blair Carmen and The Belleview Boys, hails from Cincinnati, Ohio. The band stays with a lot of Jerry Lee Lewis and Big Band-style songs. Carmen commented on Pat’s playing and professionalism.
“In 2010, I contacted Patrick about an audition to see about him filling in on some road dates with my band. Since we were doing a mix of retro Honky Tonk Rockabilly Piano Pumpin’ Rock & Roll type stuff, I needed someone who was pretty versatile, yet still hardcore at the old country and rock & roll styles. First chance I had, we went down and met him at his home for an audition, which ended up only lasting five minutes. He introduced himself as a no-nonsense, hardcore honky Tonkin’ chicken pickin’ Telecaster picker…and that he was! I looked around, saw many of his different telecasters and vintage Fender amps and knew I was in the right place. He strapped on his 50s Tele and fired into Merle Haggard’s The Bottle Let Me Down and I said ‘Whoa now, we don’t even do that song, but maybe we will now!’ Then he played a little of Workin’ Man Bluesand a bit of a rock & roll tune called Big Hunk a Loveand I said ‘When can ya start ?’ He asked, ‘When do ya need me?’ And I said: ‘tomorrow.’ It’s been a blast ever since.”
So how did the rehearsals play out?
“Patrick joined us on the road immediately with no practice, no rehearsal, no set list, and no keys to any song and he hung right in and honky tonk’d and rock’d & roll’d like we’d been playing together for years. We played throughout Indiana, Kentucky, Ohio and Washington, DC, at a huge swing dance in the Spanish Ballroom at Glen Echo Park, and outside Atlanta, Georgia, where special guests, J.W. Brown, Rusty Brown, and Jerry Lee Lewis’ ex wife/2nd cousin (13 year old child bride) Myra Gale joined us. J.W. Brown was Jerry Lee Lewis’ original bass player in the 50s and 60s and played on all of his hit records. J.W. Brown got up and played a few songs with us. He was really impressed with Patrick’s playing and even told me after the show, ‘Now that there’s a guitar picker!’ That’s what we musicians love to hear!”
So, are you still get together?
“Oh, yeah. Patrick still fills in often with us and is always very professional. He’s always early and on time. He’s also very picky about and always has great tone! Very reliable and great personality, too. That means a lot when you have to work and travel with someone.
“I met Pat many years ago when I was working at the Nashville Palace, and he came in with Bobby Anderson, who worked on the Hee Haw staff. We started talking about Telecasters and realized we both had a passion for them. He’s a wonderful player. He’s always learning something and showing me something. He comes and plays with me all the time. He’s a wonderful friend.”
Wayne’s is a Cinderella story, heading to Nashville from Columbus, GA when he was 18 with his guitar strapped to his back. He immediately got a job with Tom T. Hall, then with Johnny Rodriguez. After being at the Nashville Palace for about three years, he met Randy Ray, who became Randy Travis. Randy became a star and Wayne started toured and recorded with him until 2013, when Travis had a stroke and had to slow down.
What is it that makes Pat’s playing so special?
“Pat has mastered the Telecaster. He knows what pickup to use in the front, back, and middle positions. He’s learned how to play between these for particular songs. He is one of the most efficient players I have ever seen. I deeply respect him personally. No one’s better than Patrick at getting the most out of a Tele. He puts a lot of heart and soul in it and I respect his playing immensely. He’s a great player and teacher.”
Wayne says he and Golden have spent many hours learning from each other.
“I’ll say ‘what did you do there, show me that!’ I’ve learned a lot from him. He’s showed me stuff he’s learned from others like Clint Strong; he just has so much skill and a lot of soul. I’ll usually send potential students his way, if they’re up near Kentucky. The thing about Pat, he’s very humble and doesn’t talk himself up a lot the way a lot of people do in this industry. You can’t help but respect his playing, but his humbleness makes me respect him as a person.”
It was in the mid-90s when many years of playing and teaching paid off for Golden. He got the call to tour with Jerry Lee Lewis and play alongside Lewis’ longtime guitarist, Kenny Lovelace.
Pat, Kenny Lovelace (Jerry Lee Lewis’ longtime guitarist), and James Burton (Elvis’ guitarist)
Touring with Lewis taught him a lot and when Golden returned to Kentucky, he focused on teaching and running to sessions in Nashville, Austin, and a handful of other music meccas in America. Many of his lessons are taught through Skype these days as well as his home, with students from all over the world.
What do you like about teaching, Pat?
“It’s so important as a teacher to be able to transcend genre, relate to the student, and ultimately give students what they come to you to learn. I usually just ask students where they want to go with their playing and take them on that journey. Doing it this way, you’re always giving the student what they want, which keeps them interested and makes the process fun.”
NOTE: Pat Golden can be reached at (859)221-4633 or (859)271-8812. His email address is firstname.lastname@example.org. Pat is also on Facebook and can be messaged there as well.
Richard Young was in the thick of it, hunched over a cellphone at the bar in Natasha’s. The news was challenging.
With only three weeks until “showtime,” the director of the Chamber Music Festival of Lexington had suddenly found himself not only in search of an essential Steinway Concert Grand piano, but after getting word of complications with the original plan, also attempting to find accommodations for the festival’s five-member Ensemble-in-Residence
As it turns out, each dilemma has been resolved. More on that a bit further down the page.
But these crises did serve to remind that the business of organizing and overseeing a ten-day music festival not of the rock, folk or country variety, but instead focused on chamber music in 2014 is not for the faint at heart and certainly requires a tolerance for change.
“This is about something that is quite old,” Young observed. “I mean – it’s about chamber music. While it can be and often is a very progressive art form, most people know it as Mozart, Haydn or Beethoven quartets, that sort of thing.”
Now in its eighth year, Young’s fourth as director, the festival gets underway on the evening of Thursday, August 14 with a free public concert by WindSync – the aforementioned Ensemble-in-Residence – with beer and barbecue on the lawn of Loudon House, home of the Lexington Art League.
And you can read plenty into the selection of this particular group and that particular opening night format. The message? You don’t necessarily have to be a classical music aficionado to find something interesting, perhaps amazing in the performances slated for locations in and around Lexington between the 14th and 24th of August.
While the young, energetic Houston-based ensemble will offer its own performances in various more casual settings around town, the group also will integrate with the festival’s traditional concerts in the formal setting of the Fasig-Tipton Pavilion.
“After we brought Richard Young aboard as festival director, we had numerous board discussions about bringing our product—chamber music—to the community in a casual manner. And we did so with the enthusiastic endorsement of our board,” said Charles Stone, founding chairman of the festival board. “What sets our festival apart in our mind is our cutting edge presentation and programming. And what we look to do soon after we finish one year’s series is imagine how we can make it newer, bolder the next time,” Stone continued, describing a governing body willing to take risks by supporting new approaches to presenting chamber music to a Lexington audience “We are comfortable to embrace a room full of new ideas.”
Under the direction of Young, a 2011 graduate of the Cincinnati College Conservatory of Music (Double bass), programming has steadily progressed and expanded.
In 2012, two years into his tenure as director, he experimented with staging surprise chamber music performances around the city several weeks prior to the opening of the festival.
These “pop-up” performances are now a staple. And there is method in this madness.
“Chamber music is such a niche thing. You like it, you hate it, or you don’t know about it. I think one of the main reasons it doesn’t have a broad audience is its exposure,” Young said. “You say ‘classical music’ and people think of either opera or symphonies. I don’t think a lot of people think of chamber music because it just doesn’t have a lot of exposure. It’s very hard to passively gain a new audience. The pop-ups are very intentional, targeted, focused. We see pop-ups as our way to do that.”
The street-performances have given the festival something of a gritty edge. Young recalled one pop-up concert in 2013 at the corner of North Limestone and Loudon. “People brought out old couches; everyone just sitting out on the street corner listening to chamber music and drinking beer in the middle of the afternoon. Cars going by, people walking up asking ‘what’re you doing?’ Experiments like that have left us with this Yin and Yang – weird, pop-up, gritty non-traditional things and then very formal, super high quality innovative programmed concerts in a hall that is perfect for chamber music.”
Innovation has been a consistent thread since the festival’s founding in 2007 by Stone and Lexington native Nathan Cole, now first associate concertmaster with the Los Angeles Philharmonic and artistic director of the Lexington festival. For example, Lexington’s is the only chamber music festival that commissions a new piece of music every year, according to Young.
“This year’s programming is more new music than old music,” Young said. “It’s very progressive.” In addition to a menu of compositions by lesser-known artists, “We’re playing a piece by Jeff Beal, composer of the themes of the Netflix series House of Cards and HBO’s Carnivale and Rome.”
Plans call for the more casual events to include the free WindSync concert at Loudon House, a limited-seating brunch at Greentree Tearoom featuring WindSync, and a “laid back” concert by various festival artists at Natasha’s Bar & Bistro.
You can see evidence of this merger of traditional and progressive in a revised festival schedule. “Instead of this being just Friday, Saturday and Sunday concerts out at Fasig-Tipton, we’re doing Wednesday, Friday, Sunday – really pulling it apart so if you come to Lexington to come to the festival, no matter when you come there is something going on,” Young said. “We’ll have a public event every day.”
A first this year will be a lunchtime coffeehouse conversation at Common Grounds on High Street in downtown Lexington featuring composer-in-residence Schoenberg as well as other festival artists.
And there is a place for visual art in the scope of the event’s offerings. The “automata” sculpture of Lexington artist Steve Armstrong was commissioned to be auctioned in support of the festival’s future.
“That the board is so bought-in to trying new things, whether it be commissioning new music every year, commissioning a piece of visual art every year, to doing these very odd programming decisions like playing on the corner of Lime and Loudon, a spot that most people would not associate with chamber music, is incredibly helpful,” Young said. “They have been very open to letting artistic director Nathan Cole, board president Charlie Stone and me try and do something really new and exciting. If something goes wrong, it’s not going to destroy the organization. We just won’t do that next year.”
There have been a few clunkers. Master classes were not well-attended. Open rehearsals were tried. But while perhaps interesting in concept, in practice it just didn’t work. “They’re trying to rehearse, and you can’t hear them talking, so it was sort of awkward,” Young observed.
The open rehearsals have evolved into the Cabaret Concert scheduled for August 21 at Natasha’s. “It’s not as formal. You can sit and have drinks, eat and listen to some amazing music. If I were going to pick my ideal setting for listening to chamber music,” Young said, “that would be it.”
Shaping programming – extending it beyond the formal and inherently rigid confines of the concert hall – to a younger, more casual audience in more accessible, less costly venues is, in Young’s view, essential to the survival of a genre that he believes is afflicted by “self-image crises.”
“I mean, the Philadelphia Orchestra went bankrupt. The Philadelphia Orchestra went bankrupt,” he repeated for emphasis. “That should be a wake up call to anyone that you need to think about what you’re doing.”
In arguing that interest in classical music is, in fact, not in decline where new things are tried, Young cited steady annual growth in audiences turning out for Lexington Philharmonic concerts and the Chamber Music Festival. “I think quite the opposite. I think it’s growing. More people are getting interested. Cincinnati Symphony, for example, does this great show, Lumenosity in the middle of the park right in front of Music Hall and if you saw a picture of it you would be flabbergasted. It’s a sea of probably 5,000 people. I think audiences diminish only if you become complacent.”
I asked Richard Young to talk to me about the music itself, in the context of the unstable, troubled world in which we live today. An opportunity to escape for a little while? Or to better connect with reality?
“Chamber music has a very strong ability to allow you to escape, but also to focus on some of these things that are happening. There is a great piece, Quartet for the End of Time (Oliver Messiaen, 1941) that we played two years ago that was written in a WW II prisoner of war camp. It doesn’t get more powerful than that. There is another, On the Transmigration of Souls (John Adams 2002) composed in tribute to those who died in the 9/11 terrorist attacks. So yes, it has the power to distract, but I think it also has the power to take those issues, embrace them, look at them and give people a new way to experience and to think about them.”
Chamber music pokes at the emotions, Young said. “If you dig down and listen to it, it ranges all the way from really, really funny to really, really depressing. I think you can experience chamber music on multiple levels.”
Watching music performed on a more intimate scale can be as entertaining as listening, he noted. “If you have a great chamber music group, just watching them interacting with each other is something you’re less likely to get in the symphony hall.”
Ensemble-in-Residence WindSync, he noted, plays completely without music. “It’s engaging to watch a two-hour program played from memory by people who have played it a thousand times and know what to expect from each other and when to interact. And when you watch them communicate with each other without talking you can really see the power of chamber music.”
Oh, and as promised: Transylvania University stepped forward to provide accommodations for the five members of WindSync. And a 9-foot Steinway Concert Grand was secured from a generous Cincinnatian.