Live at the Mauch Chunk Opera House

This disc offers an aural snapshot of the growth of the Winnipeg roots trio just before they went into hibernation at the end of last summer. This disc offers an aural snapshot of the growth of the Winnipeg roots trio just before they went into hibernation at the end of last summer.

Nine of the 14 tracks, recorded in concert in small-town Pennsylvania, have not appeared on either of the Jennys' two previous studio albums. Most notable are the muscular arrangement of the traditional Celtic tune Bold Riley, with Ruth Moody's wistful soprano as the lead vocal, and mezzo Nicky Mehta's haunting interpretation of the Jane Siberry tune Calling All Angels.

New member, Brooklyn-based Heather Masse (who replaced Annabelle Chvostek in 2007), is represented with two self-penned tunes and applies her confident alto to the lead in a couple of others.

The Jennys give their angelic harmonies full flight on covers of Emmylou Harris's Deeper Well, Gillian Welch's One More Dollar, even Gershwin's Summertime and the old spiritual Motherless Child. Former Winnipegger Jeremy Penner's fiddle and mandolin accompaniment adds depth and richness throughout.

If there's a weakness, it's the sense of preciousness and over-calculation the Jennys have always displayed, but this will not bother their devoted fan base. They are expected to be back in the saddle in early 2010, possibly with Mehta's newest production, twin boys, in tow.

4 out of 5 stars

Live at the Mauch Chunk Opera House

Sometimes to define a musical vision it can all come down to a live performance. For Canada's roots/folk trio The Wailin' Jennys, any doubt that they have what it takes to deliver a stunning concert set is forever erased with their third album Live at the Mauch Chunk Opera House, due August 11 via Red House. Sometimes to define a musical vision it can all come down to a live performance. For Canada's roots/folk trio The Wailin' Jennys, any doubt that they have what it takes to deliver a stunning concert set is forever erased with their third album Live at the Mauch Chunk Opera House, due August 11 via Red House. Co-founders, vocalists and multi-instrumentalists Ruth Moody and Nicky Mehta have joined with newcomer Heather Masse for an album of glorious three-part harmonies, virtuoso playing (with fiddler Jeremy Penner) and an impressive collection of 14 songs, eight of which have not appeared on the group's two excellent studio albums. Originally formed in 2003, The Jenny's quickly learned that their sum was greater than the solo parts. "The group sort of just happened to us," says Mehta. "The idea was to present our individual visions in a larger collective, but before we knew it things had taken on a life of their own...What's great is that nothing has been premeditated and we keep being surprised in the most creative, interesting ways." This new live set, recording last year at a favorite Pennsylvania concert hall, confirms that special mix of traditional and modern songwriting. Uncluttered live versions of songs such as "Glory Bound", "One Voice" and "Begin", from their 2006 disc "Firecracker" and 2004's "40 Days", mingle with new tracks and covers, most notably a brilliant reworking of Jane Siberry's modern standard "Calling All Angels." It's not often that something can be described as both "loose" and "tight" simultaneously, but a performance from the amazin' Wailin' Jennys is just that. It's also one of the best things we've heard this year. Highly recommended.

A warm Winnipeg welcome

Last Sunday, after almost a year away from Winnipeg stages, The Wailin' Jennys finally came home - and they brought a new friend with them. The Wailin' Jennys play first hometown show with newest member, Heather Masse (The Wailin' Jennys Oct. 14, Pantages Playhouse Theatre)

Last Sunday, after almost a year away from Winnipeg stages, The Wailin' Jennys finally came home - and they brought a new friend with them.

Presented by the Winnipeg Folk Festival and recorded for CBC Radio, the two-set, two-hour Pantages gig marked the Winnipeg debut of new Jenny Heather Masse, who replaced outgoing Montreal artist Annabelle Chvostek early this year.

Masse may be the perfect catch for the peripatetic band, which is rounded out by Ruth Moody and Nicky Mehta. The statuesque New Yawk singer introduced a song inspired by a drive to meet a boyfriend who was working upstate on an organic farm - sounds like a good fit for a band born in Winnipeg's granola belt.

Of course, there's also her voice: Masse's surprisingly deep vocal sent a ripple of reaction through the audience. It's a throaty voice, fit for sultry jazz (indeed, Masse is jazz-trained), and on Sunday night, it was best showcased on a spooky a cappella rendition of Lead Belly's Bring Me Little Water Silvy.

Now rounding out the instrumentation is Moody's old Scruj MacDuhk cohort, fiddler Jeremy Penner (aka "the boy Jenny"), whose restrained melodies added fullness without being overpowering.

As always, the Jennys' lush ballads were gorgeous, their a cappella trio harmonies mesmerizing, and their covers (like a finely-tuned rendition of Jane Siberry's Calling All Angels) well suited to their strengths. But their sets were weighted by the preponderance of slower tunes in their catalogue; adding a few more playful numbers would add more momentum to a sound that sometimes runs too pretty.

Falling in love with the Wailin' Jennys

Imagine if the crazy scientists from Jurassic Park put Gillian Welch, EmmyLou Harris, and the Dixie Chicks in a blender, and then formed a musical trio from the resulting puddle of DNA. Imagine if the crazy scientists from Jurassic Park put Gillian Welch, EmmyLou Harris, and the Dixie Chicks in a blender, and then formed a musical trio from the resulting puddle of DNA. That’s where we’re going to start talking about the stunning songwriting, sweet harmonies, and sultry sound of Canada’s The Wailin’ Jennys.

The band’s second and most recent effort, Firecracker, was released in 2006 but didn’t make its way into my hands until earlier this year. My first thought was, “what a great band name,” immediately followed upon first listen by just, “what a great record.” This is roots music with an easy-listening appeal. This is harmony so tactile you’ll be quivering in your boots. This is the best CD by a new artist I’ve heard in ages.

There isn’t a bad song on this disc. Standout tracks include the rollicking opening track, “The Devil’s Paintbrush Road,” and the perfect close-the-record-with-the-title-track, “Firecracker.” I’m also partial to track #9, “Long Time Traveler” ǃ

Firecracker - The Wailin' Jennys

The Wailin' Jennys are Canada's latest export to the rest of the music world. The group first performed in a Winnipeg guitar shop in 2002. This year's release of their newest CD, Firecracker, is introducing them to a wider audience south of the 49th parallel. The Wailin' Jennys are Canada's latest export to the rest of the music world. The group first performed in a Winnipeg guitar shop in 2002. This year's release of their newest CD, Firecracker, is introducing them to a wider audience south of the 49th parallel.

The Wailin' Jennys combine traditional bluegrass instruments with contemporary lyrics and memorable three-part harmonies. The result is immensely pleasing. Vocal harmonies are a tradition in country music dating back to the Carter Family. However, I'm convinced that nobody does harmonies like the Wailin' Jennys.

Each of the three women in the band--Annabelle Chvostek, Nicky Mehta and Ruth Moody--take turns writing the songs on this CD. They also take turns singing lead. Every song unveils some new evidence of their harmonic vocal gymnastics. Their sweet vocals are expertly blended with some strong instrumental backing. The result is a hot CD with 13 songs that will make you sit up and pay attention.

The only song they didn't write on Firecracker is an a cappella arrangement of the traditional favorite, "Long Time Traveler." However, I prefer the more contemporary tunes such as "Avila," which plays their harmonies off against a couple electric guitars. "Glory Bound," "Sparrow," and "Prairie Town" are all favorites.

On the CD's title track, they sing, "You can get used to anything." Garrison Keillor has gotten used to having the Wailin' Jennys as guests on his Prairie Home Companion radio show. Maybe you've heard them there. If so, Firecracker is something you can get used to.

Concert review

It's always nice when Winnipeg is included on a band's world tour schedule. But it's even better when the group playing town is one of our own returning home after touring the world. Home's worth Wailin' about for sweet-sounding Jennys

It's always nice when Winnipeg is included on a band's world tour schedule.

But it's even better when the group playing town is one of our own returning home after touring the world.

Last night, The Wailin' Jennys made a triumphant stop in their hometown to hold a CD release party for their sophomore offering, Firecracker, dazzling a crowd of 850 at the Pantages Playhouse Theatre with their unique brand of contemporary folk.

Since the female trio have taken their show on the road -- spreading their sweet sounds from Australia to Europe -- soprano Ruth Moody, mezzo Nicky Mehta, and alto Annabelle Chvostek have become a dangerously precise musical force; the group is best known as a vocal trio, but each member is a master at a variety of instruments, providing every song its own distinct spark.

ImageWhat all songs have in common, though, are gorgeous three-part harmonies. Moody, Mehta and Chvostek were each given a chance to show off her dynamic voice during solo spots, but when they sang in unison they had the ability to send shivers up your spine.

They started things with Firecracker's opening track, Devil's Paintbrush Road, a poppy number with Moody on the bodhran (an Irish frame drum), Mehta on harmonica and Chvostek plucking a violin. Local journeyman Gilles Fournier was along for the ride, handling double bass.

They did their first of many instrumental changes (Moody on accordion and Mehta and Chvostek on acoustic guitars) for Avila, a melancholy tale about the dream of peace.

Their showed off their incredible vocal prowess during an a cappella version of Bring Me a Little Water Silvy before shifting back into up-tempo territory with Beautiful Dawn off their debut album 40 Days.

"This is a song about being in the moment and trusting that's where you need to be," Mehta said before the haunting ballad Begin, featuring Moody's ex-Scruj MacDuhk bandmate Jeremy Penner on violin.

Firecracker tracks Starlight, a mid-tempo shuffle written about Saskatoon police officers leaving aboriginal men outside of town to walk home in the winter, and Long Time Traveller followed before press time came during the uplifting gospel number Glory Bound.

4 out of 5

Concert review

Everyone knows Winnipeg has an embarrassment of riches, at least where homemade folk and roots music is concerned. But leave it to the ladies to raise the bar even higher. Everyone knows Winnipeg has an embarrassment of riches, at least where homemade folk and roots music is concerned.

But leave it to the ladies to raise the bar even higher.

Winnipeg’s Wailin’ Jennys ǃ

Lighting the Fuse

Have just found Canada’s female answer to Crosby, Stills and Nash. Would love to go into more detail, but that would prevent me from listening to them. Dear Wears The Trousers Reader,

Have just found Canada’s female answer to Crosby, Stills and Nash. Would love to go into more detail, but that would prevent me from listening to them.

TTFN,
Your critic.

P.S. Did I mention they were wonderful?

P.P.S. It seems they started out working in a guitar shop in Winnipeg. Their previous album, 40 Days was a Juno award winner, after which they lost founder member Cara Luft to a solo career. Remaining members Nicky Mehta (mezzo) and Ruth Moody (soprano) met Annabelle Chvostek (alto); the result is Firecracker.

P.P.P.S. You want more? Alriiight. Firecracker was produced by David Travers-Smith (Jane Siberry) and is a quantum leap from 40 Days, which, though equally lovely, was a little too twee in places. Firecracker is aptly named; each song literally fizzes with moments that raise the hairs on your arms, whether it’s Nicky’s beautiful solo on the lament Begin (“when are you going to learn things sometimes turn instead of turn out”), the rolling country-folk melody of Things That You Know or Annabelle’s haunting rising octave changes on Apocalypse Lullaby when she sings “earthquakes break the walls / oceans rise, empires fall”. You may have noticed that I’ve been able to pick out songs written by all three; each member contributes four songs, lending additional weight to the diversity and talent on offer. The only traditional arrangement is the stunning a cappella Long Time Traveller.

The icing on this particularly tasty cake is the way their voices blend together. On Swallow they are so much a bird on the wing you can practically feel the rushing wind through their feathers, while Starlight finds them “shatt- ered under midnight” and it’s almost unbearably sad. Then there’s the finale, Prairie Town, as perfect an evocation of longing to lose your origins as you’re every likely to hear and one of the best songs I’ve heard inǃ_ well, ever really: “when it rains it snows in this prairie town / and we just watch it fall to the ground / and wait for love to come around”. Ah, me, that was it, I was undone.

Recent live shows in the UK and throughout the US appear to have had the same effect on the crowds as Firecracker has had on me. It’s genuinely difficult to be critical of anything here, it’s simply magnificent. If there’s any justice, Nicky, Ruth and Annabelle’s acoustic assault on the plastic people will conquer; in reality, we may have to settle for the best-kept secret north of the Great Lakes. I deny anyone not to drown in this achingly beautiful record; it’s what your CD player was invented for. Now, please, leave me alone, I need to hit repeat.

4.5 stars