Ann Reed in Concert at First Universalist Church

Singer-songwriter Ann Reed packed a full house into the First Universalist Church in Minneapolis Friday October 15th for her exclusive fall concert recorded live, two hours replete with 24 songs and her trademark witty banter. Reed kicked off the church's 2nd annual concert series “Five at 1st” that also includes the Summit Hill Brass Quintet, the Dolce Wind Quintet and songbird Claudia Russell.

First Universalist associate minister Kate Tucker described Reed's charismatic talent by citing Ralph Waldo Emerson's quotation "Always remember beauty breaks in everywhere." Tucker concluded, "Beauty will be breaking tonight." Describing the Universalist Church, Tucker responded," We are a community of spirit with an open heart and open hand."

from 2005 SJA Concert

Reed entered the stage with her 12 string guitar along with her long time bass player Joan Griffith and harmonious backup singers Traci Tracy and Mary Bussman. Lending a folky mountain style vocal she opened with a cover of Peter, Paul and Mary's tune "Carry It On." The church’s Music Director John Jensen accompanied on piano (somewhat under miked), for Reed's "Life Gets Real." Carefully tuning her guitar, Reed cracked, "Let's be sure we have this on the recording." She followed with her frequently performed songs "Every Long Journey," "Road of the Heart" and "Roll On By."

A cheeky raconteur in her own right, Reed alluded to the travails of flying recently to Orlando. "You know once upon a time traveling on an airplane was fun but now it's going Greyhound." People don't get fed on a plane anymore because the flight attendants don't get fed, she offered. "We flew on Delta which stands for Doesn't Ever Leave The Airport." This nationally known folk singer was invited to sing at the Girl Scouts National Convention by the Washington Monument with 75,000 Girl Scouts in attendance. Thinking she would do "Blowin' In the Wind," she instead was asked to sing two songs from a sing along Campfire songbook: "Chocolate Chip Cookies" and "Auntie Monica," the latter involving hand gestures by the 75,000 member audience. Back to our concert, cookies would come at a reception later. Reed joyously worked the audience to sing along while she performed The Beatles' "You've Got To Hide Your Love Away."

Reed touched hearts with the Scottish Folk tune "Loch Lomond" and then grumbled a tad about the lack of light in Minnesota's fall and winter weather. Darkness upon awakening and darkness when you get off from work, she observed. Her friend, Carolyn, once remedied the situation by throwing a light or solstice party. Two people actually showed up dressed as floor lamps. Reed, sans piano, performed her hauntingly poetic "Carolyn's Party" which asks for light when days are as black as a river.

Reed candidly remarked that her father had passed away six years ago from a heart attack. Her 17 year old black cat Zephyr also died at the time. "If only Zephyr would show up just for a minute, I would feel so much better," she recalled, only to have a stranded black cat, completely out stretched, pawing at her screen door. "Now I hope my Dad doesn't show up," she wondered of the freaky coincidence. She paid tribute to her departed Papa with her song "Holiday Lake." A nice thumping bass line and a catchy melody worked wonders on her composition "Walk With You." Reed and Griffith played terrifically together as they closed the first act with "I'll Keep My Hat," an ode to the troubles of scoring a record deal when the packaging (cute dress and dyed blond hair) impress the boss more than the song writing.

Singing a capella, Reed arrived back on stage for the second half of the evening with "Wild Mountain Tyme," the classic Shaker Song. Retrieving her guitar and Griffith returning on bass, they picked up the pace like a jaunty two step with the lively country-tinged folk melody of "Stay That Way," an audience favorite about standing up for your convictions. "Tired Old World" and "My Grateful Heart" proceeded with thoughtful sentiments.

The musical lineup shook up a little with Harry Pontif taking over on bass while Griffith switched to 12 string guitar and Jensen returned on piano. Free of her guitar, Reed sang a smoldering cover of "Willow Weep For Me," coloring her voice with a bluesy nuance. Griffith accompanied beautifully releasing some jazzy riffs and a slick solo while the old standard "So Glad" fit Reed's deep alto voice like a glove. Returning to the band's old lineup with Reed on guitar, Griffith on bass and Jensen on piano, Reed didn't vocally do much with her next number "Cruella DeVil," but the song's inherent camp appeal provided plenty of chuckles. "Folk songs are a way to heal," announced Reed, "but this is not a nice song and that's why we're gonna do it." Here, Reed referred to "(Oh my darlin') Clementine." You can bet the audience heartily sang right along.

Reed's inspiration for now singing her popular tune "Leap of Faith," came from her 87 year old mother who survived cancer. Aghast that her mom was stopped by a cop for speeding, she had hoped a lesson was learned, but Mom brushed it off commenting "Oh, I don't go that way anymore, they got it [speed] trapped."

Michael Reinbold, a continuing web reporter, freelances as a writer and banquet caterer. A passionate believer in SJA's mission of social justice and collaborative ministry, Michael is an SJA Choir member, mass reader, Team Oz AIDS rider and Grace House volunteer cook. With an extensive background in theater, photography and fundraising, he relishes all aspects of the arts, staying fit and inspiring and working with people.

First Universalist Church Parish Minister Frank Rivas quoted in their October 1-15 bulletin a perspective written by Wendell Barry:

"Anybody half awake these days will be aware that there are many Christians who are exceedingly confident in their understanding of the Gospels, and who are exceedingly self-confident in their understanding of themselves in their faith. They appear to know precisely the purposes of God, and they appear to be perfectly assured that they are now doing, and in every circumstance will continue to do, precisely God's will as it applies specifically to themselves .They are confident, moreover, that God hates people whose faith differs from their own, and they are happy to concur in that hatred."

Reed's lyrics on "God Is Sleeping," her next tune, tellingly speak Barry's sentiments: "You have got to be taught to hate their lives because their not your own." She keenly dovetails this song about hate with her poignant composition "Heroes," about female determination in the face of adversity. "Heroes" concludes by recounting in couplets a litany of heroic women who have made a difference in history by their inspiration and compassion. Reed kept the audience heartily singing along to the chorus of "Goodnight Irene," a favorite old 1934 Huddie Ledbetter chestnut that has become a signature closer for her. Then for an encore, she bid good night with a stirring a cappela vocal of "Even In Reunion."

Ann Reed wryly looks at life's absurdities, poking fun a bit, shedding light often, and through her music reminds us that we have to be part of the change. "Live at the First: Experience Ann Reed" is my suggestion for the potential CD title of her remarkable performance.