Back at Wood Festival in May, when I first played with Band of Hope, I met Jackie Oates. She was performing after us, a long time after us, in the evening, with her friend Megan Henwood. Jackie plays the violin and sings, Megan plays guitar and also sings. When they do so together it’s like the wings of birds touching mid-flight, gentle and powerful at the same time. If you think that sounds a bit lah-di-dah, have a listen yourself and tell me I’m wrong.
Quality. That’s why, despite regret being a wasted emotion, I now still deeply regret persuading Jackie Oates, much later on that very same evening, to wear a silver spandex ‘Sleeve of Power’ on the understanding that it had magical powers to improve her playing even more, if such a thing were possible. She obliged, which just goes to show the tolerance and forbearance of which the human spirit is capable when faced with a bit of an irritating, drunken knob.
I have at this stage been playing Pedal Steel Guitar for around six months.
Jackie has heard me play lap steel, but never pedal.
Jackie is an internationally respected and hugely talented recording artist who could hire any musician she wants.
She intends to pay me for my contribution.
Very few adults have a Colin the Caterpillar cake for their birthday.
All of which takes some time to digest. Of course I say yes to her offer, but I make it clear that it’s on the understanding that if Jackie doesn’t like what she hears, she must reject it, and either ask me to do it again or simply abandon it and find someone else. I can’t bear the thought of her putting up with rubbish if it’s not what she wants, just for the sake of protecting my feelings. She agrees to these stipulations and I get in the car, with that feeling you get when something unexpectedly amazing happens. Maybe it’s different for you, but for me, it’s a sensation that my ears are being gently pulled upwards on invisible strings. I can’t explain it.
Jackie sends me over a demo of the track, and my ear-raising delight quickly turns to anxiety and apprehension. It’s beautiful, a cover of The Joy Of Living by Ewan McColl, which she has recorded with her guitarist Jack Rutter. His playing is sublimely delicate and precise, but that’s not what concerns me the most. Tom explains to me that the album is being recorded to mark two crucial events in Jackie’s life, the passing of her father and the birth of her beautiful daughter, Rosie. These events took place in the same week. The track on which I will play is the title track of the album, and its centrepiece. It’s the farewell of McColl to his lover, his family and the mountains he loves, and given what Jackie’s been through, it’s unbearably poignant.
I start to think that Jackie has made a terrible mistake, but there is no turning back and I’ve made a promise. I practise like crazy, hoping that she will stick to her side of the bargain by being honest, and even if I don’t make the cut, I’ll get valuable experience by recording with someone of her experience and talent.
The recording takes place a few weeks later, in her kitchen. Part of the idea of the album is that it’s clear that it has been recorded there, with the sounds of the home, Rosie’s toddling, ticking clocks, buzzing fridges, the road outside, forming part of the atmosphere. It tells the story of a musician in the middle of her life, not in the sterile studio environment which protects her from it. From my selfish point of view, as a way to lower yourself in gently, it’s comfily great. Producer Simon sits in front of me, his desk and laptop perched on the kitchen table. He is kind but firm and no-nonsense. Perfect.
We sit and talk about her tumultuous days back in January 2016, losing her Dad on the very day she brought her daughter home and how one way of dealing with that was to create this piece of work. She talks openly and emotionally and I realise how hard it’s been. Without it ever being meant to work this way, when I sit down again to play, the connection between the performance and Jackie’s experience is what’s at the front of my thoughts. The focus is completely different now; it’s more about my reaction to what she’s told me and less about mechanics of what I’ve learnt and the practice I’ve been putting in. The result is simpler and better for being less conscious and less in the room. It’s not so much about me any more. I’m not fooling myself; it’s not a complete performance by any means, but I know from his reaction that Simon will be able to use big bits of it, and that it’s the best we’ve got so far. We stick down another 5 or six takes and then call it a day, as Jackie’s ability to amuse 20-month old Rosie while simultaneously making beautiful music reaches a natural conclusion.
The Joy Of Living will be out in April.
February 24, 2019 at 12:10 am
Matt, if you are interested try this link for Jin Bob Garrett, he’s pretty good
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