Mary Chapin Carpenter

Red Butte Garden and Wells Fargo Present

Mary Chapin Carpenter

Sarah Jarosz

Thu · July 20, 2017

Doors: 6:30 pm / Show: 7:30 pm

$44.00 - $51.00

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Mary Chapin Carpenter
Mary Chapin Carpenter
For nearly thirty years strong, on many albums like Come On Come On, Stones in the Road, Between Here and Gone, and Ashes and Roses, Mary Chapin Carpenter has earned the trust of her audience through her willingness to look deep into herself and share joys and sorrows, good times and bad. That honesty, that quiet fearlessness, reaches a startling new level on The Things That We Are Made Of. These eleven songs communicate with the plain-spokenness of handwritten, heartfelt letters from a confiding friend; this is art without the artifice. The result is music that is likely to be as powerfully moving as any you have ever heard.

The album is suffused with images of maps and traveling – yearning for stillness when in motion, longing for adventure when in repose. "Do we ever stop dreaming of where we belong?," Carpenter asks in "Map of My Heart." That's just one of many unanswerable questions the album raises. Another song wonders "What Does It Mean To Travel," and offers a meditation on the complex interweaving of distance and desire. Its interrogative tone is one of the album's most alluring qualities, and why it stays with you so long even after just one hearing. Those questions invite listeners into a conversation, and implicate them in the emotions the songs display for us. The consequences of our attempts to engage those feelings linger long after the songs themselves have stopped playing. The songs and their questions are now inside us. We are like Sister Rosetta Tharpe, the great gospel blues pioneer whom Carpenter conjures in "Oh Rosetta" as she walks alone in New York, baffled by the world's refusal of its own redemption. "If the world is offered goodness but doesn't use it,"Carpenter asks, "Oh, Rosetta, what is it for?" That pained question rests on one of the modest certainties that growing older brings, as she sings in "The Middle Ages": "love and kindness are all that matter now."
The first song, "Something Tamed, Something Wild," opens with the image of "a shoebox full of letters bound up neatly with some twine," a suggestion of the elements of reflection and remembrance that are so central to the album. Such letters, no doubt, are very much among "The Things That We Are Made Of," the title song that closes the album. In that aching ballad, Carpenter explores how our lives are comprised of all our experiences – the wonderful and the ravaging, the exalting and the terrifying. We have no choice but to accept the self all those experiences have helped shape and move with hope into the future. "I come on quiet but I'm as fierce as a lion," Carpenter sings in "Hand On My Back," and that strength informs all of the album's unflinching self-examinations.

The Things That We Are Made Of was recorded in Nashville and produced by Dave Cobb, best known most recently for his work with Jason Isbell, Chris Stapleton and Sturgill Simpson. "I was so happy he wanted to work with me," Carpenter says, laughing. "Finding a producer is a little like looking for a date for the prom – will anybody want to take me? But I couldn't have felt more embraced and welcomed." Appropriately, Carpenter's voice and eloquent acoustic guitar are squarely at the center of these songs, with Cobb's electric guitar, Mike Webb's keyboards, Chris Powell's drums and Annie Clements' bass filling out the spare arrangements and providing atmosphere and texture.
Because of the consistency of its themes, the cool
introspection of Carpenter's voice, and the mid-to-
slow tempos, the album unfolds like one long,
mesmerizing song. Within that rich coherence, Cobb
suggested subtle touches that keep every new hearing fresh. "He's very old school in that he likes hooks and choruses," Carpenter says, "so he would indicate a riff or something else and say, 'I'd like to hear that again,' so the record doesn't drag. And the way we sequenced it, we take you on a journey."
The Things That We Are Made Of offers listeners a significant gift – an unguarded look into the beating heart of one of the strongest singer-songwriters of our time. In an intriguing way, Carpenter occasionally sounds as if she stands in the same relationship to the album that we do, that having created it, she is still plumbing it for meaning and for sustenance. "I feel as if I'm still trying to come up with a reliable way of talking about what this album is about," Carpenter says. "I haven't finished thinking about it. It's part of an ongoing conversation that I'm having with myself about my life. But if you're not trying to connect in some way to the world, what else is there? All I can hope for is that people connect to it. That's the most rewarding part of doing this work – believing that you're speaking to what we all feel.
Sarah Jarosz
Sarah Jarosz
"I really like that word," Sarah Jarosz says of the title of Undercurrent, her fourth Sugar Hill album. "If you look up the definition, it's 'an underlying feeling or influence' or 'a flow of water moving below the surface.' To me, that really encompasses the feeling behind this record."
That evocative imagery is appropriate for Undercurrent, whose 11 original songs seem to reveal new lyrical depth and sonic nuance with every listen. A gifted multi-instrumentalist, a singularly expressive vocalist and a songwriter of rare insight, Sarah Jarosz has been described by The New York Times as "one of acoustic music's most promising young talents: a singer-songwriter and mandolin and banjo prodigy with the taste and poise to strike that rare balance of commercial and critical success."
Although it's her fourth album, Undercurrent is a milestone for Jarosz in more ways than one. It's her first release since graduating with honors from the New England Conservatory of Music, and her first since relocating to New York City.
"This is the first record I've made since being out on my own and experiencing a lot of changes, and I think that that's reflected in the songs," Jarosz explains. "It's also the first record I've ever made that feels to me like a complete thought, with a beginning, a middle and an ending. It's also the first time I've made an album that doesn't have any covers on it. I wanted it to feel like the rollercoaster ride that is life, so I put a lot of thought into sequencing the songs. It was important for me to start with light, and then go through darker times, and stubbornness and strength and weakness, and then end up on a hopeful note."
Undercurrent is a sublimely resonant song cycle anchored around a haunting quartet of songs written and performed solo by the artist: "Early Morning Light," "Everything To Hide," "Take Another Turn" and "Jacqueline." The album features several numbers co-written by Jarosz with a variety of collaborators who also contributed to the recordings, including Luke Reynolds ("Green Lights"), Jedd Hughes ("House Of Mercy"), Parker Millsap ("Comin' Undone") and Aoife O'Donovan ("Still Life"). The latter track features O'Donovan, of Crooked Still fame, as well as Nickel Creek co-founder Sara Watkins, Jarosz's bandmates in their extracurricular trio I'm with Her. Undercurrent also includes two songs co-written with the Milk Carton Kids' Joey Ryan, including the nostalgic "Back Of My Mind".
"When I visualize this record, I think of the Central Park reservoir, where I spent a lot of time getting inspiration and thinking about the album," Jarosz notes, adding, "It was the most focused I had ever been, in terms of trying to write every day and having a grander idea of what I really wanted to write, so I was able to enjoy the process of writing more than ever.
And it was a luxury to go to Nashville for two months to work on the record, because in the past I was always running back and forth between school, touring and the studio."
While Undercurrent is a creative landmark for Jarosz, she's been making music for most of her life. Growing up in Wimberley, Texas, she began singing in early childhood. Receiving a mandolin for Christmas when she was nine years old, she worked tirelessly to master the instrument, and learned to play guitar and clawhammer banjo along the way. When she was 11, she performed at her first bluegrass festival; over the next few years, she gained an impressive reputation as a young phenom on the festival circuit, absorbing a world of traditional influences while honing her own highly original songwriting sensibility.
"From an early age, I've had a strong desire to create music," Jarosz states. "I was also fortunate to be surrounded by older, accomplished musicians who were my mentors. From the very beginning, all of my heroes looked out for me and challenged me in the best ways. It was great being raised in music that way. I always felt completely supported, and I think that that attitude affected the way I approach music now."
In the summer of 2007, after performing at Colorado's Telluride Bluegrass Festival, Sarah met Sugar Hill Records A&R rep Gary Paczosa, who was impressed enough to invite her to Nashville to record some of her compositions. The following year, the 16-year-old artist signed with Sugar Hill and began work on her 2009 debut album Song Up In Her Head. Sarah's second album, Follow Me Down, arrived in 2011, and expanded the artist's sound as well as her fan base, while her tireless touring efforts won her new fans from across the musical spectrum.
2013 saw the release of Jarosz's third album, Build Me Up from Bones, which once again featured an expanded sonic and compositional palette. It also won Jarosz some of the most enthusiastic notices of her career, as well as Grammy nominations for Best Folk Album and Best American Roots Song. Jarosz toured to support Build Me Up From Bones for a good part of 2014, criss-crossing the US and making two trips to England, Scotland and Ireland. One of the highlights was her first appearance at the Cambridge Folk Festival.
Jarosz spent much of 2015 touring widely as one-third of I'm With Her, the mini-supergroup she shares with kindred spirits Sara Watkins and Aoife O'Donovan. "After singing my own songs for so many years, it was eye-opening to shift gears and be a part of something different," Jarosz observes. "We've only been a band for a year, but I've learned so much from it already, and I definitely brought some of those lessons to Undercurrent.
"I'm just trying to become more focused and more honest, and trying to be a better listener and observer of the world around me," she asserts. "That's what I tried to do on Undercurrent, and I'm really pleased with how true this record feels to me. In some ways, it feels like my first record, in the sense that it was the first time I could focus all of my energy on it. Everything felt like it was leading to this moment."
Venue Information:
Red Butte Garden Amphitheatre
2280 E. Red Butte Canyon Road
Salt Lake City, UT, 84108