Laura Siersema | Laura Siersema Trio Live at 1794 Meetinghouse

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Easy Listening: Adult contemporary Folk: Progressive Folk Moods: Type: Lyrical
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Laura Siersema Trio Live at 1794 Meetinghouse

by Laura Siersema

Progressive art rock with jazzy female vocals: dreamy, visionary, cutting edge.
Genre: Easy Listening: Adult contemporary
Release Date: 

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  Song Share Time Download
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1. Hush Little Baby (Live) [feat. Billy Klock & Wim Auer]
3:01 $0.99
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2. Memorial Day (Mother's Birthday) / Who Needs This Heart [Live] [feat. Billy Klock & Wim Auer]
5:05 $0.99
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3. Eileen (Live) [feat. Billy Klock & Wim Auer]
5:10 $0.99
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4. Every Night When the Sun Goes In (Live) [feat. Billy Klock & Wim Auer]
3:45 $0.99
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5. Along the Fenway (Live) [feat. Billy Klock & Wim Auer]
11:29 $0.99
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6. Who Will Pass This On (Live) [feat. Billy Klock & Wim Auer]
5:43 $0.99
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7. Little Moon (And Drew) [Live] [feat. Billy Klock & Wim Auer]
4:46 $0.99
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8. Stars (Little Bear) [Live] [feat. Billy Klock & Wim Auer]
1:54 $0.99
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9. Go Children Slow (Live) [feat. Billy Klock & Wim Auer]
3:17 $0.99
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10. O Sinner Man (Live) [feat. Wim Auer & Billy Klock]
3:31 $0.99
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11. Prelude (Live) [feat. Billy Klock & Wim Auer]
0:34 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
"Live at 1794 Meetinghouse" is Laura Siersema's 4th independent release. Laura Siersema (keyboard / piano, voice, composer), Billy Klock (drums) and Wim Auer (fretless bass). LYRICS BELOW.

“The major labels are always looking for artists who fit in neat categories, to simplify their marketing efforts. Artists know this, and try to make music that will fit. But some artists are driven to make music that falls between the cracks, that fits no musical genre very well at all. Sometimes, there are traces of various musical genres, but combined in unexpected ways. And sometimes there is no genre that can describe the music fairly. Always, these artists show a fierce originality. Some of the best music I have ever heard also defies categorization. Just as the English language is neither French nor German, but is derived from both, this music is a new language, one that speaks eloquently.” (Oliver di Place blog on Laura’s work)

Influenced by folk, theater, church music, classical and jazz harmonies, Laura's singular modern style continues to evolve. After her first three releases, she turned then to her instrument and began writing solo piano pieces, expanded instrumental sections, as well as reinventing original songs from her earlier albums.


HUSH LITTLE BABY (traditional, arr Siersema)

MEMORIAL DAY (MOTHER'S BIRTHDAY) /
WHO NEEDS THIS HEART

Who needs this heart
who will share in the world upon my shoulders
who needs this heart
it’s wild--

Who sees this heart
in the crumple and changing of September
who sees this heart
and smiles--

Who hears this heart
who hears this heart--
in the storm of a house she once mentioned--

Who holds this heart
in the presence of a darkness she must fathom
who holds this heart
who holds this heart
and is afraid--

First version of "Who Needs This Heart" was recorded on "When I Left Loss" (1999).


EILEEN

She’s not really forward, but her hair’s in a turban on the bus
and she’s gotten so talkative to strangers, it’s unusual–
That’s a cowlick you have she says, as she paints her lips red
beyond the borders of a missing smile–

In the streets of a safe and sunny morning
she sells packages of gauze
and treats the coming storm to company and tea–
nothing’s quite as funny as it used to be
there’s an emptiness she’s found
like she was never home–

She paints treadmills in her garden and she washes out the stones
she’s not certain she’ll get out of here alive, alone–
windows are a portion of what she sees and what she guesses
and out of everything she’s looking for, the sirens and the watches grow–

In the streets of a safe and sunny morning
she sells packages of gauze
and treats the coming storm to company and tea–
nothing’s quite as funny as it used to be
there’s an emptiness she’s found
like she was never home–

"When I Left Loss" (1999)


EVERY NIGHT WHEN THE SUN GOES IN (traditional, arr Siersema)

ALONG THE FENWAY

Noisy boys in their uniforms
pushing through the turnstile
down under Comm Avenue
I saw the future in somebody’s hand
they’re gonna steal a wallet–
what does it matter when you’re in-between
the black sheep and the chosen one?
the choirs all sing for you–
along the Fenway–

Beautiful my fellow, tart queen of the back bay
shaved his head looking for what he lost
there goes the preacher thinks Jesus told him
something I don’t know–
listen the voices crying, saying mass
awaiting my conversion
I’ll cross the sound for you–
along the Fenway–

Grabbed his daughter by the wrist and pulled her up the stairs
spit on the platform, kissed her face
who is the father descending as I pray
to look the other way–
all around the furrowed brows
on the outskirts of this famine
seek an answer
gotta tell all the children too–
along the Fenway–

"Talon of the Blackwater" (2009)


WHO WILL PASS THIS ON

You and I are not unscathed
we seek the bones of our own making
whisper in the smell of autumn
who will pass this on–

We are one
from the beginning
deeper than oceans
wider than sky
trembling like the sun--
you gotta get up--

Blazing in their holy places
listen, the voices warning:

You gotta get up
the world's on fire--
you gotta get up
the world's on fire--

We are one from the beginning
deeper than oceans
wider than sky--

I had always dreamed--

You and I are not unscathed
we seek the bones of our own making
whisper in the smell of autumn
who will pass this on–

First version of "Who Will Pass This On" was recorded on "Talon of the Blackwater" (2009).


LITTLE MOON (AND DREW) / STARS (LITTLE BEAR) (instrumental suite)

GO CHILDREN SLOW

Go children slow
walk on the water what you become
those suits and guns they bring the massacre
down the tracks you ride
raising your hopes
under the gathering tree
under the gathering tree–

All the wooden horses, all that’s sleeping in the yard
listen, can you hear me?
there’s gonna be a big trial, gonna saw the people up singing,
all your questions
like heads are gonna fall–you’re swimming now
as you lie awake at night
lie awake at night–

Fix upon the bell you took,
instrument you wore–

Go children slow
walk on the water what you become
those suits and guns they bring the massacre
down the tracks you ride
raising your hopes
under the gathering tree
under the gathering tree–

First version was recorded on "Love Flows Like the Blood of a River" (2003). Extended version was recorded on "Talon of the Blackwater" (2009).


O SINNER MAN (traditional, arr Siersema)

First version was recorded as "If My Church Be Bone/O Sinner Man" on "Love Flows Like the Blood of a River" (2003).


PRELUDE (instrumental)


Laura Siersema Trio Live recorded and mixed July 8, 2012, New Salem, MA, by Grammy winning engineer Norman Blain. Mastered by Aaryn Blain.
c 2012 Laura Siersema


WHAT THE CRITICS ARE SAYING:

“While the voice gives "Talon of the Blackwater" its beauty, her writing is what gives it depth.” Donnie Moorhouse, The Republican

“Dreamy, visionary, cutting edge.” Holly Hopple, Herndon Festival

“Inspired by greats like guitarist Pat Metheny, Siersema brings the power of her crystalline voice and compositional skills to bear on her third release…understated accompaniments are at times brilliant…Siersema takes the traditional spiritual ‘Wade in the Water’ and makes it her own with a ghostly arrangement reminiscent of Daniel Lanois’s work…the excellent 14-minute ‘Along the Fenway’ features cellist Eugene Friesen and is strikingly beautiful.” Progression, The Quarterly Journal of Progressive Music

"Her poems lend a riveting, personal touch to the record, and at times cut so deep the hair on the listener’s skin goes on end.” Josh Shear, Reminder Publications

“Enthralling and complex music with world-class musicians.” Sheryl Hunter, Greenfield Recorder

“Her voice beckons mercilessly to the physical world like the bodiless spirit that haunts the mansion on a faraway hill. Wanderers beware…” Independent Songwriter Magazine Pick of the Month

“Experimental, serene and surreal…” Sarah Craig, Caffe Lena

“Siersema has power in her words…Some of the songs begin with her reading poetry, and let me tell you, I could sit enraptured listening to a full album of her simply doing this…it sets up the tunes in a fashion that I’ve never quite experienced before. ” Mish Mash Indie Music Reviews

“We LOVE your music.” Kelley & Cyrus, Yurt Radio, Hampshire College

“Folk fans should take note, as well as those that like classical music, and Tori Amos.” Suzie Siegel, Tampa Tribune

“She sings like an angel.” Gary Lee, Mt. Wachusett Folk Cafe

“A touch Celtic, a touch New Age, she is uncategorizable, a passion rare in folk music today.” John Henry, WCUW, Worcester

“Laura is an acoustic craftsman, a wordsmith…with the soul and lyrics of a true poet…” Indie-Music Reviews

“STUNNING!!!” David Weide, KUNV, Las Vegas

“…they should make movies out of music like this.” Holbrook, Jamaica Plain Arts News

“There are a few who can carry us beyond….by indenting our souls–by effecting change in the soul whereby the mood is retained and perhaps never to be lost…your music has the power to do just this! You have given a sort of ‘storehouse’ for our spirit’s garden. The places that are in greatest need of nourishment are thereby fulfilled.”
in a letter from Vincent Tripi, haiku poet

“I believe that virtually everything that is within a person is revealed in both their speaking or singing voice and their music. And your music is very paradoxical, as I experience it both intuitively and analytically. It’s very simple, really almost so simple that I could believe that you had never taken lessons and yet there’s an intelligence about it that’s informed from an interior place which creates true originality and I’m using that word in its true meaning, “emerging from the origin, the source” as opposed to merely being novel or different. This duality of a simplicity and a uniqueness is very refreshing.” Joseph Marcello, The Recorder, speaking in an interview with Laura about her work

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