Cry Cry Cry (4:00pm)

Lucy Kaplansky, Richard Shindell & Dar Williams

Cry Cry Cry (4:00pm)

Sunday, April 15th

Doors: 3:00 pm / Show: 4:00 pm

$45 ADV / $49 DOOR (plus fees)

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  • We are sold out of advance tickets for this show.  There will be standing-room-only tickets available at the door once the show has started.
  • All tickets are subject to an additional $4 per ticket facility fee.

Cry Cry Cry
Cry Cry Cry
Celebrated singer-songwriters Lucy Kaplansky, Richard Shindell and Dar Williams revive their celebrated folk-pop collaboration, Cry Cry Cry. The band recorded their eponymous debut in 1998 followed by a sold-out nationwide tour. The record was consistently praised by the press: The Washington Post raved, “Cry Cry Cry illustrates the advantages of taking the best works of contemporary folk musicians and fleshing them out with lovely, three-part harmonies” and the New York Times cheered for the trio’s “gorgeous harmonies.”  Entertainment Weekly wrote “Cry Cry Cry’s purity of heart and sound is spirit renewing.” 
Lucy Kaplansky
Lucy Kaplansky
She started out singing in Chicago folk music clubs as a teenager. Then, barely out of high school, Lucy Kaplansky took off for New York City. There she found a fertile community of songwriters and performers—Suzanne Vega, Steve Forbert, The Roches, and others. With a beautiful flair for harmony, Lucy was everyone’s favorite singing partner, but most often she found herself singing as a duo with Shawn Colvin. People envisioned big things for them; in fact, The New York Times said it was “easy to predict stardom for her.” But then Lucy dropped it all.

Convinced that her calling was in another direction, Lucy left the musical fast track to pursue a doctorate in Clinical Psychology. Upon completing her degree, Dr. Kaplansky took a job at a New York hospital working with chronically mentally ill adults, and also started a private practice. Yet she continued to sing. Lucy was often pulled back into the studio by her friends, (who now had contracts with record labels) wanting her to sing on their albums. She harmonized on Colvin’s Grammy-winning "Steady On," and on Nanci Griffith’s "Lone Star State of Mind" and "Little Love Affairs." She also landed soundtrack credits, singing with Suzanne Vega on "Pretty in Pink" and with Griffith on "The Firm," and several commercial credits as well—including “The Heartbeat of America” for Chevrolet.

Then Shawn Colvin—who was itching to produce a record—hooked up with Lucy, her ex-singing partner. They went into the studio, and when Lucy’s solo tapes got into the hands of Bob Feldman, president of Red House Records, he was blown away. Suddenly, Lucy was back in the music business. She signed with Red House Rexords and started playing gigs. Red House released The Tide in 1994 to rave reviews, and within six months Lucy signed with a major booking agency—Fleming Artists—and began touring so much it required leaving her two psychologist positions behind.

Lucy’s second album, Flesh and Bone (1996), emphasized her development as a gifted songsmith. Then Lucy’s success took flight with back-to-back hit albums Ten Year Night (1999) and Every Single Day (2001). Both received the AFIM award (Association For Independent Music) for Best Pop Album of the year. Lucy also contributed her story to a unique book, SOLO: Women Singer- Songwriters in Their Own Words, which includes some of the best known women on the music scene today: Ani DiFranco, Shawn Colvin, Sheryl Crow, Jewel, Sarah McLachlan and others. She was also featured in Lipshtick, a collection of essays by NPR commentator Gwen Macsai, published in the fall of 1999.

In 1998 Lucy teamed with Dar Williams and Richard Shindell to form supergroup Cry Cry Cry, and recorded some of their favorite songs written by other artists. The resulting album, Cry Cry Cry (which The New Yorker dubbed “a collection of lovely harmonizing and pure emotion,” and to which Entertainment Weekly gave an “A” rating), was an astonishing success in stores and on radio. A national tour of sold-out concerts by the trio served to introduce Lucy’s luminous voice to a new audience.

The Red Thread followed the commercial and critical hit Every Single Day, weaving together themes of motherhood, home and the family with stunning production. Lucy’s 2007 release Over the Hills as well as her 2012 release Reunion explored universal themes of love, joy, loss, and dreams for the future, through reflections on family.

In 2009 and 2010 Lucy had two songs commissioned by the international cosmetics company La Prairie to help launch their new fragrance line “Life Threads.” As part of that marketing campaign, Lucy was featured in a music video, as well in as in a variety of marketing appearances and materials, including a feature story in “Women’s Wear Daily.”

In 2010 Lucy joined up with acclaimed singer-songwriters John Gorka and Eliza Gilkyson to record an album as part of new folk super-group Red Horse. Awash in gorgeous harmonies and stripped down production, the album features the singers performing each other’s songs. Red Horse received rave reviews and was the number one album on Folk Radio for several months in 2010. Since the album’s release, the trio were interviewed on NPR’s “Weekend Edition” with Liane Hansen and appeared on NPR’s “Mountain Stage.”

In 2011 Lucy released an EP, Kaplansky sings Kaplansky, featuring songs written by her father, famed University of Chicago mathematician Irving Kaplansky, including live performances of the two of them performing together in California. This is Lucy’s first venture into 1940’s style swing, reminiscent of the work of Kaplansky’s former student Tom Lehrer.

Her brand new album, "Everyday Street," which will be released in September, is a dramatic departure for Lucy: it's stripped down, just Lucy on guitar, mandolin and piano along with long-time accompanist and multi-instrumentalist Duke Levine, recorded live in a Boston studio over four days. The result is a stunning, intimate performance, reminiscent of Lucy's powerful live shows. The new songs, written with Richard Litvin, are gorgeous, evocative and powerful. There are also three stunning covers that Lucy has been performing live, along with a re-imagined version of the title song from her first album "The Tide."

Lucy has appeared on the CBS Morning Show, NPR’s Weekend and Morning Editions and All Things Considered, Mountain Stage, and West Coast Live. Her voice has remained in high demand by her peers. Her song “Guilty as Sin” was featured in the NBC television show Ed. In addition, she can be heard on releases by Bryan Ferry and Nanci Griffith, and on the Greg Brown tribute album Going Driftless (also featuring Ani Difranco, Iris Dement, Mary Chapin Carpenter, Gillian Welch, Lucinda Williams and others).

Lucy continues to tour and receive airplay both nationally and internationally. Her CD Ten Year Night is the #1 selling album of all time at Red House Records.
Richard Shindell
Richard Shindell
Of course we can't all agree on who the best songwriter is, but no one would dispute that Richard Shindell is in the running.

Shindell, a New York expat now living in Buenos Aires, has a habit of putting himself inside of different characters. In one song, a Confederate drummer-boy; In another, a Power Broker. Today, an INS officer; tomorrow Mary Magdelene. For Shindell there is nothing too sacred and nothing too profane. The ability to make any character relatable is one of the hallmarks of his songwriting, and speaks well of its mastery.

Shindell rose to prominance in 1997 after three of his songs (Fishing, Reunion Hill, and Money For Floods) were recorded by Joan Baez. He was subsequently asked to tour with her. In 1998, Richard briefly collaborated with Lucy Kaplansky and Dar Williams to form Cry Cry Cry, earning his place in the forefront of American songwriting.
Dar Williams
Dar Williams
When The Honesty Room came out in 1994, I left my three part time jobs for one touring life, writing songs on notepads and napkins as I went. I have clear memories of places where I wrote lyrics. My housemate Sarah Davis had said, "I think you should look at this story about an ice storm in Philadelphia. The whole city basically shut down, voluntarily, to help the hospitals keep running."

So I wrote half of the song, Mortal City, in Lisa Wittner's bathtub in Boulder.

I wrote a verse of As Cool As I Am looking out my friend Jay's window in San Francisco. And then I tried it out on a group of cool woman at the Kumbwa Cafe in Santa Cruz.

I started The Ocean in an undisclosed Washington city, surrounded by aspiring heroin addicts, while February began on the drive home from a friendly coffeehouse in eastern Massachusetts.

I wrote Iowa...well, it's pretty obvious where I wrote that.

Steve Miller, who had done such beautiful work at Wyndham Hill, produced the album. He had this crazy new thing called digital recording that you could do anywhere, and since I lived with one of my managers, Charlie Hunter, we tacked up blankets on the walls and turned a whole room into the sound booth.


The Nields sisters went in and harmonized with their sister shorthand:
"That's too--"
"Yeah."
"Maybe I'll try--"
"Yes. And I'll--"
"Totally."

Gideon Freudmann wandered into the blanket room and played the now familiar part in February as well as the trippy solo (as only Gideon could do), on the song about college potheads.

Steve brought players into New York City who were as generous of spirit as they were wildly talented. He introduced me to Steve Gaboury, Larry Campbell, Zev Katz, Billy Ward, Marc Schulman and his good friend, the late, great Jeff Golub. He also fired me on back-up vocals on The Christians and Pagans and asked Lucy Kaplansky to sing them instead!

He got Eileen Ivers to play the tempestuous part at the end of The Ocean and helped me invite John Prine to sing on it. I remember the first time I was on Mountain Stage in West Virginia, John poked his head into my dressing room and said, "I'll sing on your song."

And then, when we released the album in 1996, Joan Baez let me come with her throughout the United States. I loved every minute of touring with Joan. She did everything she could to teach me the ropes while always noting how far I'd already come. One night she had the band in her room after a show and the next morning I found my boots outside my room with the note, "You need new shoes. Other than that, you're perfect. -Joan"

A second album can be a daunting experience, but thanks to my managers Charlie and Carole, Razor and Tie, Steve Miller and Joan, it all felt like a magic carpet ride, and I can't thank everyone enough (I might have been too tired to thank them at the time).

And, given the title of the record, I also want to mention what I've seen since I released Mortal City. In the nineties, most towns and cities were still reeling from the decline of manufacturing and the rise of shopping malls. I was working with coffeehouse volunteers, local radio stations, and promoters who were trying very hard, with limited resources, to bring music, poetry and life back into their downtowns. Thanks to people like them, not only have many places reclaimed their former glory, they've improved on their histories, embracing their brick-walled, tree-lined Main Streets as they've welcomed more worldliness and diversity in the present. In 1996 I said, "We are not lost in the mortal city" as a statement of faith, and now, twenty years later, I say it as a statement of fact.

Thank you for opening up your towns and cities to me over the last twenty years. We're very excited to be presenting the full album on tour this fall.

Always,
Dar Williams