The Green Mill

No matter what city I'm in I always seek out the same kind of place. A dark, run down room with live music. In New York I love to sit in Arthur's Tavern and listen to my friend Stew Cutler play. In Charlotte, you can bet I'll be at the Double Door Inn on a Monday night. Here in Chicago I've found a place that is equally as special - The Green Mill.

The space dates back to 1907. It's known as a spot that Al Capone used to hide out in during the prohibition era. When the police would roll up, he would use the trapdoor behind the bar leading to a network of tunnels to escape. Capone's booth is still there and so is the trapdoor. I imagine The Mill looks pretty close to how it looked back in the day. There are no TVs in the place and the bar is cash only.

What I love most about The Mill is the music. It's a short train ride from my apartment and I can catch great music any night of the week. Some nights there is a full swing band playing Glenn Miller tunes. On Sunday nights Joel Paterson and his organ trio take to the smaller stage and play until the early morning hours. 

When there is a jazz show patrons are expected to be quiet and the management will tell you to shut up or get out if you're loud. It's nice to be in a place where the focus is the music. When the music isn't playing though, it's a great opportunity to get to know strangers. I've met music lovers from all over the world at the Green Mill. When my friends visit me here in Chicago it's always on the list of places to go.

So, next time you find yourself in Chicago let's go hear some jazz. It's an experience that I'm sure you won't forget. Check out the short video below:

Imperfection

In 1976, at the Winterland Ballroom in San Francisco, The Band came together with an auspicious group of their friends to perform their final show. Thankfully Martin Scorsese's cameras were rolling so we can enjoy this glorious musical congress for eternity.  Ok, so you probably get that I'm a fan of The Last Waltz - but that's it's own blog in itself.

At one point in the concert Eric Clapton joins The Band for perhaps the best version of "Further On Up The Road" ever recorded. About a minute into the intro Clapton's guitar strap breaks. Robbie Robertson (also playing guitar) steps in without hesitation and takes over. It's one of my favorite moments in the concert, and for me it's one of the many reasons why that particular version is the best. 

These kind of moments happen to every artist. They happen to Eric Clapton, they happened to Prince, and they happen (probably more often) to me. Earlier on in my journey these moments had the potential to completely derail my performance, but as I've continued to grow I've come to view them as opportunities.  

At a gig in Chicago a few weeks ago, I was playing my acoustic guitar and singing one of my original songs. Behind me I had my electric guitar leaning up against my amp (my first mistake). I'm halfway through the song and I realize that the guitar I have leaning against the amp is slipping and is about to crash to the floor. I also realize the audience is fully aware of what is happening behind me and are watching in fear. Mid song I reach down and lay the guitar flat and jump right back into the song without missing a beat. This even prompted applause from the audience. 

I guess what I'm trying to say is that even an imperfect performance can still be a fantastic one. Sometimes I go for a high note and I don't quite make it - but I keep singing and if possible make it seem intentional. At the very least, having a sense of humor and not taking myself too seriously helps navigate these moments. When Miles Davis would make a mistake he would often repeat that mistake so the audience thought it was an intended part of his improvisation. That in itself is not an easy thing to do as you really have to be thinking on your feet. At the end of the day the show must go on, and how you choose to recover says it all. 

See if can you spot Eric Clapton's guitar strap breaking at around around 00:38.

How I Wrote It: "We Can Run"

The first song of any album is an important one. It's an introduction, and a way to (hopefully) hook your audience and leave them wanting more. A lot of thought went into the song order on my latest record. After much deliberation it was decided that "We Can Run" should start off the album.

"We Can Run" is a song that dates all the way back to 2008. I wrote the majority of the tune at my friend's house in Nashville. It was originally titled "Free." I ended up recording this version of the tune at a studio in Arizona and released it on iTunes several years ago. Some of you may remember this early incarnation. 

When it came time to pick songs for the album I dug out that old recording and let my producer Carey Sims give it a listen. We both felt it had potential that had not been captured in the earlier recording. He prompted me to think about the song with a driving drum beat and a more uptempo feel. We ended up writing a new chorus for the tune and the song was finally complete in it's new form.

It's amazing how something as simple as changing the tempo of a song can create something almost brand new. After having this song in my back pocket for years it finally felt complete as "We Can Run." It was joy to record in the studio with Carey adding those Eagles like harmonies and Jonathan's Tom Petty-esque drumbeat. I had a blast recording the guitar solo on a beautiful Gibson 335 that David had on hand in the studio. 

Some songs are written and done in ten minutes. Some of them like "We Can Run" have to be written, left to marinate for almost a decade, and then revisited to make them complete.  Every tune has it's own journey and this tune was no exception.

"We Can Run"

Hold me now tell me now,
Every secret that you left out
Let me know or let me go far from here

Let me find a piece of mind
Let me see the lights of Vegas
Let me drive far behind the setting sun

[RIFF]

There's a road that I might take
Just another mistake
If it's wrong at least I'll know where I come from

I don't know what's it's like
To leave the ground in flight
But I know if I try I just might

We can run
Far away from here
We'll drive until the morning
Let go of our fears
We can stay
In each other's arms
Find a new tomorrow
With the risin' of the sun
We can run

[RIFF]

It's my life and it's my choice
To drive without headlights on a road
Lit by stars from your sky

And I don't mind, if you drive
As long as we get there
There's no place I'd rather be than with you

CHORUS

 [GUITAR SOLO]

And we'll leave without warning
Drive until morning
Find a little more of our own

Hold me now, tell me now
Every secret that you left out...

CHORUS

Copyright Rolfe Neigenfind 2015

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