Small
Crowd Treated to Folk by Paul, Werner
by Douglass Dowty
A
very small congregation of Obie folkies and townspeople
were the only ones to witness national folk heroes Ellis Paul and
Susan Werner perform in tandem this past Wednesday evening. The
concert, sponsored by the Oberlin Assemblies Committee, hoped to
draw 500. But the unwavering Yeoman academic drive prevailed and
only a precious handful put aside their weeknight studies to attend.
Thunderous applause and piercing screams of support filled Finney
Chapel, however, as those who just dropped by and veteran
supporters alike warmed to the rich voices of the artists and the
powerful guitar and piano accompaniment behind them.
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Fill
em Up: Ellis Paul rocked a Finney full of
loyal fans of folk. (photo by Chana Joffe-Walt)
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Of
those who came, many were enthusiastic supporters of either Paul
or Werner. Others were unknowing, yet curious. Some were just in
search of a nights activity.
Ive never heard of either one of these people,
first-year Curtis Asplund said. But they are singer/songwriters.
I expect sweetness. (To quote Paul Simon), They are poets
in a one-man band.
I love Ellis Paul, Oberlin resident Andrea Cumbo said.
She said that she had heard of Susan Werner, too, but had heard
neither of them in person.
Boston native Paul started the concert, which was surprising because,
though Susan Werner seemed to have a bigger Oberlin fan base, Paul
is unarguably the more well-known. His achievements have included
a concert on the stage of Carnegie Hall, participation in national
events like the Newport Folk Festival in Rhode Island, and numerous
Hollywood contracts most famously, the use of his The
World Aint Slowin Down as the theme song for the
film Me, Myself, and Irene staring Jim Carrey.
Pauls
resounding voice was awesome, and it was obvious that his voice
could have easily filled a hall twice the size of Finney. Even with
such a small crowd, though, he used it to his advantage and drew
people into the music in a way that few are able. To the large percentage
that got seats in the first five to ten rows, his emotionally-contorted
face and stiff, yet intense posture and dramatic movement could
not be ignored or easily forgotten. Though he lacked the youthful
charisma of the younger Susan Werner, his act was polished, friendly,
and infused with stories in the folk music tradition, often giving
background for the upcoming music. His humor, also an important
folk music element, was omnipresent and universal. He made much
good-natured reference to the joy of playing for a room full
of musicians, which he said made him paranoid about
his [guitar] tuning. His selections included old favorites
like The World Aint Slowin Me Down and 3,000
Miles, while also incorporating newer works such as The
Speed of Trees and Words.
Susan Werner was already a two-time Oberlin veteran by last weeks
concert. She performed last at the Cat in the Cream in 97.
It seemed that many in the audience came specifically to hear her,
including some who waited until her turn the second act
to enter the hall. Werner is a self-trained guitarist and pianist,
and, according to her biography, began performing at age five,
strumming on a guitar and singing at a church in her native Iowa.
She has released four albums, combining folk, jazz and other styles
influenced by the likes of Nancy Griffith, Joni Mitchell, and Theolonious
Monk.
With her youthful enthusiasm, musical drive and witty persona, she
seemed a perfect fit for the college folkies that were present at
the event. While her actions were actually less dramatic than those
of Paul, they were aptly suited for a young, energetic audience.
Her subtle facial expressions and informal jokes, which came spontaneously
along with the pitter-patter of rain on the roof or abstract noises
from outside, hinted back at the coffeehouse tradition from which
she started her career.
Her
voice was strong and smooth, her folk/jazz guitar featured strumming
as well as some impressive picking. When she did the second half
of her set from the piano, her style turned even more to the jazz
tradition, as she did an abbreviated song cycle of love.
As an example of her wit, this song cycle went straight from the
first sign of romance directly to the aftermath of breaking up.
Even the most serious subjects were jazzed in her cheerful style,
making the audience laugh at every turn.
For
those who wanted an introduction to modern folk, it was an ideal
night. Like reading the great masters of modern poetry or fiction,
it gave the audience a general feel that their money was spent for
some of the best folk product available. Individual encores followed
both artists and a joint encore was even performed an improvised
rendition of Bob Dylans Knocking On Heavens Door.
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