I have always loved James Taylor's version of "In the Bleak Mid-Winter." The lyrics are from a poem by Christina Rossetti which she wrote while sick with Graves disease. She died before it was published. As my mother noted in an email to me reflecting on this advent song: "we are all waiting for better race relations, waiting for hurting people, waiting for children with cancer...waiting for 'Joy to the World.'" Receiving this beautiful reflection from my mother made me think of mothers and their love for their children. But, also, of the grief of mothers who are separated from their children or whose children are sick, have died, or were murdered. Oh if only we could all be healed by a mother's love. And so I recorded this song in my home on my own piano, and I dedicate it to my mother and my mother-in-law who have supported, encouraged, nurtured and loved me for so many years. Winter pictures for the video were taken by my Dad, Jack Oates (a talented photographer and painter) and by me.
http://youtu.be/d7voq9P1vtQ
There are lots of issues I care about and support, and most (if not all of them) come down to this moral question: do my actions (or that of my community and nation and humankind) lead to abundance for myself and others or to destruction, fear and scarcity? Can we, as humans, learn to live more like trees (every part of a tree's life-span and even death creates more life) or will we commit the ultimate irreversible sin and destroy the very ecosystem that all life depends on?
Five years ago on a Thanksgiving trip across the southeast, I spent hours looking at the changing leaves and the deep blue skies and thinking about how often we sacrifice the things we need for things we want. As I drove, this song, "Saving the Whales" began taking shape in my head. I tried to keep the song light and funny (with a peppy beat), but the message is serious (a poet friend of mine immediately dubbed it "Saving the Humans"). Can we save ourselves?
Si Kahn produced the recording. Si's current project is uniting musicians to sing out about protecting one of the world's last great wild spawning fisheries--the last best source of wild cockeyed salmon: Bristol Bay, Alaska. More info here.
Subscribers to my music email newsletter were treated to a lovely house concert by Craig Carothers. Sign up for my newsletter to receive future invitations!
I recently attended the International Bluegrass Music Association's annual conference: "World of Bluegrass" and picked up my camera more often than I did my guitar--a great week listening to many talented performers. Claire Lynch's performance pulled me off my feet to snap pictures of her enchanting interpretation of "Dear Sister" around midnight in the conference center (watch the youtube link of her performance--she gets a standing ovation in the middle of her set ):
The song (co-written with Louise Branscomb) went on to win "song of the year" at the Bluegrass awards ceremony later in the week.
Also wowed by Melody Walker of Front Country's singing and songwriting--lots of heart and soul along with interesting music, instrumentation and lyric writing.
Way to go ladies! I'm a fan!
Medley of gospel favorites: “There Is a Fountain Filled with Blood,” “Lamb of God” (Twila Paris) and “The Blood Will Never Lose Its Power” (Andraé Crouch). Soloist: Katie Oates. Combined choirs of 1st Baptist Church West and Park Road Baptist Church in Charlotte, NC on Palm Sunday 2007 conducted by Dr. James Abbington.
I had the opportunity to sing this solo (Precious Blood Medley) in a shared Palm Sunday service between 1st Baptist Church West and Park Road Baptist Church in 2006 and 2007. It's a rough recording (you can hear the guy who recorded it singing along at times), and I am singing over a full choir (with no microphone). The acoustics in the church and the high notes at full volume helped. If you listen to the end you'll hear me sing a high C (the note at the very top of my range at the loudest volume I can muster--my entire body rocked back and forth with the effort).
Singing with an African American choir with a very palpable history of generations of blood spilled—murdered—during slavery and in the many years of injustice that followed, made me feel it in my bones. I am chilled by the thought of ancestors of mine who took part in oppression and murder (or stood silently by) and, perhaps, of my own ancestors who suffered and died in oppression. Who wouldn't want to be liberated from that evil?
And so when the elderly black gentleman approached me after the concert, I could see he had something weighty on his mind. He just stood there quietly looking me up and down; my heart sank a little. I thought maybe I had offended him. Why had they let a white woman sing that powerful solo? Finally he smiled and said "Young lady, I believe you've got some soul in you." He couldn't have summed up that moment more perfectly for me. I just beamed back at him and said, "Yes, sir. I believe I do."
I have had the good fortune to meet renowned folk-singer and activist Si Kahn who just so happens to live in my neighborhood. (Read more about Si here.) Si and I share a passion for social justice and music, and I am grateful for his help in recording my single "Saving the Whales."
Cheryl and I recently recorded the first song I ever wrote ("Saving the Whales") at Old House Studios with Chris Garges recording and Dan Hood playing every instrument you can imagine (guitar, bass, drums, mandolin, electric guitar). We're all very excited with the result and are looking forward to finishing the final mix and recording some more songs! Daniel Coston happened to drop by the studio and take these pictures. Thanks Daniel!
Anthony Abbott (a former professor of mine at Davidson College) and I have collaborated to add music to his most recent poetry collection and narrative titled "The Angel Dialogues." A montage of the July 2014 performance with Marla Brown can be viewed here.
Several months ago I wrote a song about the experience of waking in the middle of the night and being filled with doubt and existential angst (as the poet in Tony's book is bereft of inspiration and filled with doubt). I based the melody on the Westminster Chime--which any insomniac with a grandfather clock knows by heart. As I researched the piece, I discovered that the chimes (with its play between 4ths and 5ths music intervals) also inspired Handel's "I Know My Redeemer Liveth". The juxtaposition of Handel's aria declaring absolute theological certainty and the haunting chime was an intriguing setting for 2am angst--and a perfect musical riff for Tony's poet's crisis of faith.
Two pieces from my CD Going Over Home also fit perfectly: "He Shall Feed His Flock/Come Unto Him"--continuing with the Handel riff--and "Wayfaring Stranger". I'm also excited about premiering one of my favorite original songs that I just finished: "When Dragons Were Real." My friend and co-band mate, Cheryl Hoover, requested that I write about the experience of watching our oldest children say goodbye to childhood and leave home. It took half a year, but I finally finished it just a couple months ago.
You never know where a class, a friend, a song, a poem will lead you.
I've been enjoying supporting causes I believe in lately: two weeks ago played for a benefit for Time Out Youth, next up is supporting Friendship Gardens in their effort to raise money for SNAP benefits, and in a couple of weeks playing for my friend Laura Moore's posthumous book release. Singing from my heart….
A jazzy-bluesy homage to the seductive power of music. Words and Music by Katie Oates. Joined by Mark Larson (keyboard) and Cheryl Hoover (bass).
One of my more "rollicking" songs. Joined here by Mark Larson on keyboard and Cheryl Hoover on bass.
Words and music by Katie Oates. Cheryl Hoover joins me on bass and back-up vocals.
Several friends and co-songwriters performed with me at the Muse on January 15, so I started my set dedicating this song to them and to all the folks who have been supporting us (that would be YOU!). We all get discouraged and wonder if anything we do makes a difference, so remember: the song is in the singing and the reason's in the rhyme, so find your own muse and sing your little song blues.
A wonderful night at the Evening Muse sponsored by the Charlotte Folk Society. Four sets of performers and a packed house. I started my set on the keyboard playing
"Little Song Blues" (click here to listen) which I dedicated to the crowd that came out to support us all. Music photographer Daniel Coston took pictures (full album on my Facebook music page:
Katie Oates Music). Mark Larson took some video which I'll add in later posts on the Listen page and link to the titles of the songs in this post.
Daniel is a writer and photographer who has specialized in photographing musicians. He recently released a book of his photographs of NC musicians that you can order from his website. Daniel photographed my performance at the Evening Muse and did an amazing job of handling the lighting, a crowded room, and still being so inconspicuous that he didn’t distract me or the audience while taking photos. Quite a feat!
On Wednesday, January 15th I will be playing for Charlotte Folk Society’s new venture: "Folk Jubilee" at the Evening Muse: 3227 North Davidson Street from 9:30-10:00pm. I will play 5 original songs at the end of the evening and will be joined by frequent collaborator Cheryl Hoover (bass, vocals), who also plays at Covenant Church (and formerly played with the 'Rents and Crossroads) and multi-instrumentalist Mark Larson on keyboard. Some of the songs I'm playing I've put up on youtube or recorded "Little Song Blues," "Never Enough," and "Laughing Through My Tears," and two songs I haven't recorded yet which are a little more risqué (!) but all in good fun: "Heart for a Ride" and "Play Me." The evening will begin with a song circle at 7:30 pm, then at 8 pm Casey Conerly and DeWitt Crosby (who are in a songwriting group with me) play. The Myers Park High School Bluegrass Band (filled with many talented young folks I have heard perform) plays at 8:30 followed by Mark Larson (who I am also in a songwriting group with) at 9:00pm. Come out and enjoy Charlotte's best listening room for music!
Here's a free song for sharing or downloading. I arranged this old advent hymn for guitar using all minor chords to keep that haunting sound throughout and changing some phrasing so the wording isn't so awkward. This live recording is from last week's service at Park Road Baptist Church. Much of my singing career has been in churches, so I rarely have a recording of it (for obvious reasons…what??it's not all about me??!!), so thank you Bruce Holliday for the recording and picture.
I arranged this hymn for guitar and played and sang it in this live recording along with Rich Dower on guitar.
Lou is my niece who studied photography at UNC-Asheville and is now a budding professional photographer. She spent an afternoon at my house taking pictures of me playing or talking to her--trying to get me to relax so I wouldn't close my eyes when she snapped the shutter! Her photo is the one I used for the pictures on my first cd. Somehow it seemed fitting that this darling girl who I'd once held in my arms as an infant would be the one to help me launch my first cd project. She is a deep soul who particularly enjoys photographing people in rural settings. I am honored to have been among her first clients. Her photos are the heading photos for my "Schedule," "Listen," and "Contact," pages. See her website at loumurreyphotopgraphy.com.
"What is it about old friends?" I have written a fairly unsentimental answer to this question.
Sometimes it's hard to stay connected to friends or family who are so different from who we are today, so I acknowledge that difference (and the arrogance of either friend in thinking the fault lies with the other) in the first verse. And in the second verse I also completely dismiss the idea that old friends are special because of some inherent specialness about either person; my husband hates that line…:-). In the end I argue that old friends are special because we orient each other to our past, present and future. I use the metaphor of an old friend being like the prime meridian (historically the "brass line" at O degrees longitude at the Royal Observatory in Greenwich England). I had an opportunity to visit the observatory several years ago. While I'd known the observatory had once kept track of time by the sun (and that that standard was used to calculate time for the world), I hadn't known about how important the discovery of how to calculate longitude was to travel (particularly by ship). Ships can navigate somewhat by distance travelled (longitude) and orient by the stars and the sun, but that's not always accurate or reliable (cloudy day or night). The only way to truly know where you are is to know how to measure longitude (distance on the North/South axis) and latitude (distance on an East/West axis). Likewise, friends may travel in different directions (or an old friend may stay in one place while you move to many places), but the divergence actually can help us reorient. Old friends truly are "gold"--to be treasured. For any music theory buffs: I wrote the song in the key of C--kind of like home base for the piano and music theory. Yeah, I know, pretty nerdy….
Provided to YouTube by CDBaby Never Enough · Katie Oates Play Me ℗ 2017 Katherine Oates Released on: 2017-10-27 Auto-generated by YouTube.
They say try and try again. That's the motto I keep in my mind when writing songs. I might not have ever finished this song (Never Enough) if not for encouragement from Nashville singer/songwriter Sally Barris.
I met Sally in 2011 at a guitar and songwriting camp (“Swanannoa” held annually at Warren Wilson College). My guitar teacher, John Tosco, had recommended the camp as well as Sally as a teacher. At the time I was brand new to guitar playing and songwriting, so I was a bit of a mess when I tried to play my song for the class. But Sally was gently supportive and encouraging. She has a way of hearing what a song wants to be despite the flaws of songwriters and performers, and after class she sat down with me and helped me work on my song. (It took me many more months and more than a few nudges from Sally but my song “Never Enough” which I eventually recorded on 2 cds came out of that effort.)
I've been intrigued by how people interpret the song differently; some people feel the frustration of constantly striving but never getting "there," others feel time slipping through their fingers and want to hold on, still others feel that existential emptiness of wanting more from life. All of those interpretations are part of that emotion I wanted to capture.
