Customer Reviews

Live at the Mauch Chunk Opera House

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Not that this review is, in any way, biased you understand, but if the Wailin' Jennys ever come to the UK again, I'd walk barefoot over hot coals to get to see them in concert (I missed out last time); in the meantime, I'll just have to make do with this album.

The music on 'Live' is, essentially, 'uncluttered acoustic' - no electric guitars or keyboards (except accordion), and percussion is played on 4 tracks only. Of the 15 songs, 6 have been released on studio albums; 3 songs are sung a cappella, and of the remaining 12 songs, Jeremy Penner's violin playing features prominently on 10. Other instruments played (less frequently) include banjo, ukulele, mandolin, harmonica, and accordion; most songs have acoustic guitar and acoustic bass as accompaniment. The vocals are first rate and the harmonies are nothing short of stupendous - not only can the Jennys produce tight and faultless harmonies in the studio, but they can 'cut the mustard' live as well!; Heather Masse brings along her sumptuous contralto which fits seamlessly into the Jennys' format. The set is performed in front of an appreciative audience - interrupting only once to applaud Jeremy Penner's violin solo on `Deeper Well'. The sound quality is pretty good, but not up to the exceptionally high standard of the band's last two studio albums - the soundscape can be a little too bright at times.


Some comments about a selection of the songs :

DEEPER WELL (David Olney, Daniel Lanois, Emmylou Harris) - A somewhat more energized rendition than the studio version - driven along by rhythm guitar and bodhran; some freaky, 'out there' sounds from violin and acoustic bass. Nicky (mezzo-soprano) takes the lead vocals.

GLORY BOUND (Ruth Moody) - Ruth (soprano) leads on this gospel flavoured song which, vocally, is quite close to the studio version. The banjo/violin arrangement is a little different, and there is no percussion or tenor horn on the live version. The audience are invited to join in on the chorus, but their participation is barely perceptible.

BRING ME LI'L WATER SILVY (a cappella) (Huddie Ledbetter) - Much slower tempo than the Leadbelly original. Heather, on lead vocals, demonstrates a remarkable vocal range and lends a soulful, sultry edge to the song. Amazing 3-part harmonies - any closer and they'd be welded together. The song has a strong gospel feel to it - quite a different interpretation from the `folksier' studio version.

ONE MORE DOLLAR (Gillian Welch/David Rawlings) - An 'old-timey' folk (country?) number given a slight contemporary sheen. It's just made for the Jennys' gently soaring harmonies and Ruth's sweet soprano. Snare drum gives the song an easy rock-steady beat.

MOTHERLESS CHILD (Trad. arr. The Wailin' Jennys & Jeremy Penner) - More flawless harmonies, and Heather on lead vocals. Sung a cappella at a slow tempo for the first minute or so, then drums and bodhran step up the tempo for the remainder of the song. I found some of Jeremy's loose, almost 'free-form', violin playing briefly disconcerting.

CALLING ALL ANGELS (Jane Siberry) - Gorgeous slow tempo song, sensitively delivered by Nicky on lead vocals and Jeremy's wistful violin playing; beautifully controlled vocal harmonies complete the picture.


There is little I can fault with the vocal performances, and the harmonies are breathtaking. My only real disappointment is the violin playing - not to put too fine a point on it, there's just too much of it, and Jeremy Penner's approach is, at times, rather quirky and undisciplined. Both the Jennys and Jeremy are accomplished multi-instrumentalists, but they have only limited opportunities to demonstrate their versatility - and I think the album's instrumental balance and texture suffer as a consequence. I can't imagine ardent fans being disappointed with this album, but there are a few 'less folksy' sounding songs which may not be to everyone's taste.

Recommended (with a few reservations) for lovers of neo-traditional folk music - however, '40 Days' and/or 'Firecracker' might be better starting points for newcomers to the music of The Wailin' Jennys; also, `Live' (along with all of the band's other albums) is essential listening for vocal harmony junkies.

Gorgeously lush, flawlessly precise harmonies are the hallmark of The Wailin' Jennys. You might think such precision would suffer in a live recording. But in this case, you'd be wrong. That's especially remarkable because "Live at the Mauch Chunk Opera House" was recorded during a single day, rather than being compiled from an entire tour. But maybe that's really not so remarkable: as thousands of concert-goers and millions of Prairie Home Companion radio listeners have discovered, every single Jennys performance is magical. Finally some of that live magic has been captured in a recording.

This is the Jennys' first live album. It's also the first since Heather Masse, the group's third alto, joined founding members soprano Ruth Moody and mezzo Nicky Mehta, and since they added instrumentalist Jeremy Penner as sideman.

Masse contributes a gorgeous, versatile voice with an amazing range. She blends perfectly with the voices of Moody and Mehta, while adding a soulful, jazzy influence to the Jennys' roots, folk, country and Celtic themes. Penner's inventive, dynamic fiddling seems at times distinctly unstructured, in marked contrast to the Jennys' precise harmonies. But the contrast works well, adding an extra dimension to the group's live shows, a little spice with the honey.

Mauch Chunk has two originals from each of the three Jennys, including Mehta's "Begin," which features prominently in the soundtrack of the movie "The Cake Eaters." Also included are two long-time Jennys concert staples that they haven't previously recorded: Jane Siberry's "Calling All Angels" and Ella Jenkins' "Racing with the Sun." But the most striking cover may be the live a cappella rendition of Lead Belly's "Bring Me a Li'l Water Silvy," previously recorded by the Jennys' on their 2003 debut self-titled EP. The new version provides a striking illustration of continuity and change during the group's seven-year evolution. While retaining the signature harmony, Masse's reinterpretation turns the straight-ahead folk version sung by founding alto Cara Luft on the 2003 EP into a soulful masterpiece.

It's been a long three-year wait since the Jennys' last album. But good things can be worth waiting for. Listening to Live at the Mauch Chunk is almost as good as being at a Wailin' Jennys concert, and that's very good indeed.

Far and away the outstanding track on this outstanding CD. Much has already been written about the Jennys' peerless harmonies, but "Bold Riley" raises the bar to a new level. Ruth's soaring soprano in the last verse is an absolute gobsmacker.

Rarely do I find a CD where every track is winner - this is one. But I've been a Jennys' devotee since I first heard "The Parting Glass" several years ago, so an impartial review is out of the question.

Now I'm going to listen to "Bold Riley" and fall in love all over again.

The Wailin' Jennys' new album was recorded live in '08 in Philadelphia's famous Mauch Chunk Opera House. The presentation is thoughtful and effective - commencing with two voice-only tunes, the pace gently warms up, incorporating additional harmonies and instruments as the show progresses. This is a fine performance, and the songs are strong. Material is pulled from the Jennys' 3 studio releases. Start with the studio CDs if The Jennys are new to you - The Jennys' 40 Days and Heather Masse's 1st solo album, Bird Song, are outstanding.

GENRES: Contemporary Folk.

BUY IF YOU LIKE: The Dixie Chicks, Shawn Colvin, Indigo Girls.

MUST HEAR TRACKS: "Driving," "Arlington," "One More Dollar," "Begin," "Calling All angels."

Having waited two weeks for my copy of the CD to arrive from the US, I listended to it for the first time last night. I wasn't disappointed. Apart from some amateur videos on YouTube (usually with really poor sound), I hadn't heard the Jennys live before (they don't come to my little corner of the world too often) and I wondered whether they could really reproduce their incredibly tight harmonies live. The answer is that they can! In fact, they are as good live as they are in the studio.

Heather Masse is a great addition to the line-up - such a rich, soulful voice. Her lead vocals on Bring Me a Li'l Water Sylvie are a highlight. There are several songs from the Forty Days and Firecracker albums, including Nicky Mehta's wonderful Begin (I love that song so much) as well as a number of songs I hadn't heard before, the stand out for me being One More Dollar with Ruth Moody on lead vocals. The three a cappella numbers show off the Jennys' trademark harmonies to great effect. The album also features a fourth Jenny, instrumentalist Jeremy Penner. To be honest, I found his violin a little intrusive at times, but in general I think he added something worthwhile.

The sound quality of the album is great, the performances are both technically spot-on and genuinely engaging. All in all, another fabulous album that will delight Jennys fans and no doubt win them a few more. Well worth waiting for.

I recently spent the evening with the Wailin' Jennys at the Neighborhood Theatre in Charlotte, NC. The goosebumps started with the first song and didn't quit until the last note. This CD is the closest thing you will find to being there. It is the first CD to feature two relative newcomers to the group; Heather Massey and Jeremy Penner. Heather sings lower (almost a baritone) and sings with a swing not heard on previous albums. I would have thought it impossible to improve on the close knit harmonies that are a signature of the Wailin' Jennys, but Heather does just that. Jeremy's fiddle improvisations are an astounding compliment to the girls voices, filling in the holes we didn't know were there. These two are a perfect fit with alto Nicky Mehta and soprano Ruth Moody. If you love acoustic music with tight harmony, it doesn't get any better than this. OUTSTANDING!!!

I concur with the very favorable sentiments voiced in the previous reviews. I just want to comment on the exceptional quality of the recording. I've had the great pleasure of hearing the Jennys in person twice, and thoroughly enjoyed both performances. I must say though that I found listening to this album at home to be acoustically superior to the actual live shows I attended. This is marvelously produced live recording.

Yes, indeed, this cd captures the heavenly harmonies of The Wailin Jennys. The songs cited by previous reviewers are definitely the "hits" but all the songs reflect the impeccable harmony and superb musicianship of the trio plus.We've just listened to this tonight and are astounded at how wonderful it is. The fact that it is a live recording of a single concert rather than a compilation has lead my husband and me to the conclusion that we will fly or drive wherever we need to go to hear a concert.One Voice is as good as it gets!

To be brief, if you are in one of those moods where you want to let a piece of music carry you away, sit down, close your eyes and go adrift with this. Absolutely beautiful harmonizing. Anyone who doesn't like this needs to slow down.

There's not much to add to the other reviews. The recording is very good for a live performance. The Wailin' Jennys sing wonderful harmonies. I only live about a 45 minute drive from the Mauch Chunk Opera House in Jim Thorpe and I did not know they were playing there - not sure how I missed it. After hearing the CD I am obsessively watching emails and their web site for future performances in my area.