British Vocalist Barb Jungr Covers Dylan, Cohen on New LP

More than a decade since she released a critically hailed collection of Bob Dylan covers, British vocalist Barb Jungr is set to offer six new interpretations of his songs alongside five others composed by Leonard Cohen. Hard Rain: Songs of Bob Dylan & Leonard Cohen is due March 24 on Kristalyn Records. Check out the track listing and the video for Jungr’s version of Cohen’s 1974 classic “Who By Fire?” below.

1. Blowin’ In The Wind  (Bob Dylan)
2. Everybody Knows  (Leonard Cohen and Sharon Robinson)
3. Who By Fire  (Leonard Cohen)
4. Hard Rain  (Bob Dylan)
5. First We Take Manhattan  (Leonard Cohen)
6. Masters Of War  (Bob Dylan)
7. It’s Alright Ma  (Bob Dylan)
8. 1000 Kisses Deep  (Leonard Cohen and Sharon Robinson)
9. Gotta Serve Somebody  (Bob Dylan)
10. Land Of Plenty  (Leonard Cohen and Sharon Robinson)
11. Chimes Of Freedom  (Bob Dylan)

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Singer/Songwriter Sharon Robinson Schedules Rare West Coast Tour

Of late Sharon Robinson has served as an accompanying vocalist for Leonard Cohen on his immensely successful world tour. Beginning in October, she will step onto the concert stage on her own behalf, embarking on her first headlining tour to date with a string of West Coast engagements.

Long distinguished in the music industry as a GRAMMY®-winning songwriter and producer—and this is supplement to nearly three decades of collaborative work with Cohen, their creative partnership peaking with 2001’s masterful Ten New Songs—Robinson established herself as a recording artist in her own right in 2008 with her debut album, Everybody Knows.

Striking an eclectic balance of jazz-inflected soul, eloquent songcraft and Robinson’s suave and sophisticated vocals, the album earned both critical and popular acclaim. It was released in the early phase of what would amount to a nearly-three-year tour with Cohen, however, and thus benefited from only minimal publicity and promotional appearances. Nevertheless, the album ultimately fulfilled the promise of Sharon Robinson's rich, multidimensional talent. “I was looking for a sound that was mine,” she said to this writer of Everybody Knows. “I had to dig deep to find it, but at the same time, it felt very natural. It feels like the kind of music that I like, what I want to put out there.” Now the opportunity is hers to do so in person.

Details on Sharon Robinson’s upcoming West Coast tour is available at the artist’s official website. Dates and locations are as follows:

October 8 // Zoey’s Cafe // Ventura, CA
October 15 // Spaghettini // Seal Beach, CA
October 29 // Hotel Café // Los Angeles, CA
November 3 // Café Du Nord // San Francisco, CA
November 5 // Barkley Theatre // Fallon, NV

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Sharon Robinson's Debut Album Leaves Lasting Impression

Having established herself as a versatile songwriter, vocalist, and producer with a roster of artists—most notably Leonard Cohen, with whom she’s collaborated for three decades and is currently on tour—Sharon Robinson could have just as well maintained a successful music career behind the scenes. Thankfully, she had other ideas.

On her debut album, Everybody Knows, Robinson draws on the eclectic dimensions of her craft as well as on the breadth of her talent, summoning fractions of jazz and soul into a sound that is bound by neither. Through seven originals and three cuts previously co-written with Cohen (including the title track), she is at turns transportive and sensuously prescient, her smoky voice recalling shades of Sade while achieving an aura all her own. 

Amid ethereal soundscapes and muted, electronica-based arrangements, Robinson strikes an ambient tone that is well suited to the contemplative themes she explores. From the empathetic resonance of “Party For The Lonely”—its ironic refrain, “I think we should go,” reverberating in rhythm—to the soulful complexions of “Invisible Tattoo” and “The High Road,” she sings with equal conviction and wisdom. On certain songs, as on “Forever In A Kiss” and “Secondhand,” she creates a contrasted dynamic of live and synthesized instruments—like a piano progression set atop a subtle drum loop—further underscoring the album’s sophisticated allure. 

Lest anyone question whether Robinson is capitalizing on Leonard Cohen’s stature and present renaissance of sorts, consider that her musicality and production skills have informed some of his most celebrated works. And in the realm of lyrics—which she delves into quite deeply here—any semblance to Cohen’s pensive expressions isn’t one of imitation, but rather of a mutual ethic for rendering penetrating, visceral insights. 

Even on the songs co-written with Cohen—particularly “Alexandra Leaving,” on which she affects a more intimate vibe than the original—Robinson steers them into her own style, which in turn inspire altogether separate appreciation. 

In fact, inspiring distinctive appreciation is what Sharon Robinson so exceptionally achieves with Everybody Knows, the result of having harnessed her creative energy and sensibilities to yield her own voice.

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London Calling: It's Leonard Cohen

Before Leonard Cohen embarked on his current world tour — which is now winding its way through the United States and Canada — few, if any, could have predicted the septuagenarian would deliver a nearly three-hour, multiple-encore performance for all of his headlining dates. 

That the tour would be so well received proved — if not at first to Cohen, then certainly to his devoted fans — far less surprising.

Recorded on July 17, 2008 at the O2 Arena in the United Kingdom, Live in London (released this week as a 2CD set as well as on DVD) finds Cohen in unassuming command of his audience while paying unselfish deference toward his songs.

In serving the character and enduring distinction of his works — from early ruminations like “Hey, That’s No Way To Say Goodbye” and “Bird On The Wire” to latter-day prophesies like “Democracy” and “The Future” — Cohen enlivens them on the stage, revisiting his acute perceptions of the human psyche and soul.

Considering the dreary complexion that has long beset his canon and reputation, it’s striking (and refreshing) to behold Cohen in such good spirits as he is here, injecting some self-deprecating humor between songs or, better yet, within them. The audience often chokes up in laughter when he sings particular lines, many written decades ago — like “Well my friends are gone and my hair is grey/ I ache in the places where I used to play,” from “Tower of Song” — as if only then had everyone gotten the joke that was originally intended.

All the more remarkable, though, is what hasn’t changed, particularly that the setlists haven’t varied considerably over the extensive arc of this tour; Cohen’s banter between songs hasn’t even deviated all that much either. And yet, for those who’ve taken in a show, even for those who’ve taken in multiple shows — witnessing Leonard Cohen summoning these timeless, treasured songs to fresh life — each concert feels altogether exhilarant and genuine.

For those, including this writer, who have attended a performance during this singular and epic concert tour, Live in London serves as a befitting and thoroughly enjoyable souvenir. For those who haven’t but who appreciate Cohen’s music nonetheless, both the audio and visual presentations make for outstanding live documents.

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An Interview with Sharon Robinson

Eight days from now—on April 1 in Austin, Texas—Leonard Cohen will begin the North American leg of his ongoing world tour, heralding his first run of U.S. dates in over fifteen years. At his side, singing backup as she’s done throughout this itinerary, will be Sharon Robinson.

In fact, she’s been a recurring figure in Cohen’s music for the last three decades, whether serving as a vocalist (on stage and in the studio) or co-writer (as on “Waiting For The Miracle” and “The Letters”). Robinson broadened her creative palette on Cohen’s 2001 album, Ten New Songs, which she produced as well as having co-written, arranged, and sang on each of its tracks.

The sessions for Ten New Songs ultimately served as a template, of sorts, that Robinson later referred to while crafting her debut album, Everybody Knows. “I’ve definitely been very fortunate,” she says, “to be working with Leonard, and to be able to benefit from observing his process and his integrity as a writer.”

On this initial release, Robinson deftly interprets three songs previously co-written with Cohen—“Summertime,” “Alexandra Leaving,” and the title track—having solely composed seven originals that further distinguish her talent.

Before heading back out on the road, Robinson discussed her new album with Donald Gibson, reflecting not only on the music, but also on what insight she gleaned from her mentor as she sought to find a voice to call her own.

Was there a primary impetus—because you’ve had a career for many years—something that inspired you to go out on your own this time?

Making Ten New Songs with Leonard was the main impetus. Because not only did Leonard encourage me to make my own record after we did that one, [but] I kind of had a method established for doing so. At least initially, I embarked on my record in the way that we made Ten New Songs, in terms of the recording and the arrangements.

But also, and probably more importantly, I learned a lot about working with that artist’s voice and being true to a certain voice. Leonard knows himself very well as an artist, as a poet, as a writer; and it’s very informative to watch his process up close like that and to understand how he gets to the stuff that he deems relevant for him as an artist.

Was there tentativeness on your part—as producer, making Ten New Songs—not to infringe on whatever vibe he had going?

Of course, I brought in my aesthetic musically, but as a producer my job was really to facilitate his expression. And I tried to keep my eye on the ball with that all the time… It was not up to me to push any concept of mine on him, but to open things up and offer ideas for him to choose from.

So it wasn’t a Phil Spector rerun.

No! [Laughs]

Leonard is known for spending eons writing his works; for you, is songwriting an effort?

Yes, it often is quite a bit of an effort. You never know, when you write a song, how it’s going to go. Some of them… I’m sure you’ve heard people say, ‘They write themselves.’ Others definitely don’t [Laughs]. And there are songs where, parts of it, you really feel good about and believe in and then other parts you don’t. You may spend years trying to fix a song.

Of the songs that you wrote alone on Everybody Knows, did you know at the start of the endeavor that these songs were meant for you to sing?

Some I wrote years ago when I was writing for other people, but most of them I wrote for myself. It took me a little while to find that voice, to figure out what it [was] that I wanted to say. It was difficult, but extremely worthwhile. I feel good enough to have found an identity for myself as an artist.

There’s an ethereal vibe in the music and your vocals even reflect that on some songs as well with slight echo effects and embellishments. Yet the songs are weighed down by an intimate, almost meditative quality. Was that something you wanted to achieve, that contrasted dynamic?

I was looking for a sound that was mine. And I had to dig deep to find it, but at the same time it felt very natural. It feels like the kind of music that I like, what I want to put out there. The ethereal quality that you talk about, it’s just part of the way I find the emotion.

The ways certain things intertwine—how you’ll have a live piano over electronica flourishes—come off really well.

I’ve never been one to be very genre-specific. And that’s one of the things I like about this record is that it just crosses over genres and it’s being noticed by people from a lot of different genres. That’s always been my approach to music. And my enjoyment of music always crosses genres. That’s part of the character of this record. 

As you co-wrote everything on Ten New Songs, why did you choose “Alexandra Leaving,” in particular, over anything else from that album?

I felt that “Alexandra Leaving” fit well with the other songs and that, melodically, it was something I wanted to do in that I could do something different from what’s on Ten New Songs.

Is there a specific or prevailing way that Leonard has inspired you as a songwriter, in the way you approach the craft?

He’s shown me how to write from the point of view of one’s heart and not from the point of view of trying to get a hit record. When I was a staff songwriter in the past, that was more the point of view. Now, it’s changed. As an artist, I’m always reaching for that same kind of integrity.

I imagine that takes a lot of digging.

Yes. And unless you can get yourself into a certain kind of head space, you can’t even begin to do that kind of digging. It’s so worth it [though], because the deeper you can go, the deeper you go into humanity, the more people you’re reaching. We have so much in common, in terms of being here on this earth.

After this tour with Leonard, are you planning any shows of your own?

I am planning to do some shows when the opportunity presents itself… I’m sure I will be doing that before too long.

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Leonard Cohen Takes Manhattan

Conceit or modesty aside, even the most accomplished and prolific songwriters could seldom attest to having created a genuine masterpiece. Leonard Cohen is of the rare few who can, of course, but last Thursday night at the Beacon Theatre it was abundantly clear that he could lay claim to far more than one.

Taking the stage for his first American concert in fifteen years, Cohen received a reverent welcome by the sold-out audience, its applause overlapping the opening bars of “Dance Me To The End of Love.” Dressed to the nines in a dark suit with bolo tie and fedora, the 74-year-old bard cut a distinguished figure, his sophic disposition tempered by a laconic, often self-mocking sense of humor.

What Cohen imparted most, though, was a selfless commitment to his songs. After a mirthful trip through “The Future”—during which he pirouetted as the ominous “white man dancin’”—and having plead his case on “Ain’t No Cure For Love,” he dropped to his knees at the start of “Bird On The Wire,” turning out a truly stunning rendition that soon saw him singing at full stride. Likewise, he enlivened an avalanche of imagery and delicate melodies on “Chelsea Hotel No. 2” and “Hey, That’s No Way To Say Goodbye,” his rich voice at times recalling the lissome timbre of his younger days.

The esteem to which Cohen paid his compositions extended to his superb nine-piece band. Each time a musician soloed—as when guitarist Javier Mas played a gorgeous, flamenco-styled prelude to “Who By Fire?”—or when a background vocalist assumed a leading role, as did long-time collaborator Sharon Robinson on a soulful version of “Boogie Street,” Cohen stood aside in deference, his hat held to his chest, his face betraying an appreciative smile.

The ultimate pleasure and privilege, however, lay in listening to Cohen. With the conviction of one who’d labored more in composing these works than most others could’ve otherwise endured, he stepped into each song—from the understated grandeur of “The Gypsy’s Wife” and “Famous Blue Raincoat” to the synthesized thrust of “First We Take Manhattan”—and rendered each one with rich perception. He recited “A Thousand Kisses Deep” as written in Book of Longing (as opposed to singing the version from Ten New Songs), drawing out evocative lines and phrases in cadenced tones. And at his most transcendent, Cohen surrendered “Suzanne” and “Hallelujah” to those fortunate enough to have attended—to those who knew they’d witnessed something very special. Now, everybody knows.

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