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In 1969 I drove my mother’s Studebaker to Toronto to see Judy Collins at Massey Hall.
I still consider it one of the best shows I’ve ever seen.
Judy Collins has inspired audiences with sublime vocals, boldly vulnerable personal life triumphs, and a firm commitment to social activism. In the 1960s, she evoked both the idealism and steely determination of a generation united against social and environmental injustices. Five decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 50-album body of work, and heed inspiration from her spiritual discipline to thrive in the music industry for half a century.
The award-winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards and her own poetically poignant original compositions. Her stunning rendition of Joni Mitchell’s “Both Sides Now” from her landmark 1967 album, Wildflowers, has been entered into the Grammy Hall of Fame. Judy’s dreamy and sweetly intimate version of “Send in the Clowns”, a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music, won “Song of the Year” at the 1975 Grammy Awards. She’s garnered several top-ten hits gold- and platinum-selling albums. Recently, contemporary and classic artists such as Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen honored her legacy with the album Born to the Breed: A Tribute to Judy Collins.
Judy began her impressive music career at 13 as a piano prodigy dazzling audiences performing Mozart’s “Concerto for Two Pianos”, but the hardluck tales and rugged sensitivity of folk revival music by artists such as Woody Guthrie and Pete Seeger seduced her away from a life as a concert pianist. Her path pointed to a lifelong love affair with the guitar and pursuit of emotional truth in lyrics. The focus and regimented practice of classical music, however, would be a source of strength to her inner core as she navigated the highs and lows of the music business.
In 1961, she released her masterful debut, A Maid of Constant Sorrow, which featured interpretative works of social poets of the time such as Bob Dylan, Phil Ochs, and Tom Paxton. This began a wonderfully fertile thirty-five year creative relationship with Jac Holzman and Elektra Records. Around this time Judy became a tastemaker within the thriving Greenwich Village folk community, and brought other singer-songwriters to a wider audience, including poet/musician Leonard Cohen â€“ and musicians Joni Mitchell and Randy Newman. Throughout the 60s, 70s, 80s, 90s, and up to the present, she has remained a vital artist, enriching her catalog with critically acclaimed albums while balancing a robust touring schedule.
On September 18, 2015, Judy will release her first studio album in four years, Strangers Again. She invited a cast of icons and young talents to sing with her on this fresh collection, from Willie Nelson, Jackson Browne and Jeff Bridges to Glen Hansard, Ari Hest and Bhi Bhiman. Judy delicately soars over a revitalized “Send In The Clowns” and breathes new life into “Hallelujah.” She puts her indelible touch on songs by Leonard Bernstein, Randy Newman, James Taylor and more.
In 2012 she released the CD/DVD Judy Collins Live At The Metropolitan Museum Of Art which aired on PBS. This special television program was nominated for a New York Emmy and won a Bronze Medal at the 2013 New York Festival International Television & Film Awards. Based on it’s success, in 2014 she filmed another spectacular show in Ireland at Dromoland Castle. Live In Ireland was released in 2014. This program also won a Bronze Medal at the 2014 New York Festival International Television & Film Awards and the program will broadcast on PBS in 2014 and 2015.
Judy has also authored several books, including the powerful and inspiring,Sanity Grace. For her most recent title, the memoir Sweet Judy Blue Eyes: My Life in Music, she reaches deeply inside and, with unflinching candor, recalls her turbulent childhood, extraordinary rise to fame, her romance with Stephen Stills, her epic victories over depression and alcoholism, and her redemption through embracing a healthy and stable lifestyle and finding true love with Louis Nelson, her partner of 30 years. In addition, she remains a social activist, representing UNICEF and numerous other causes. She is the director (along with Jill Godmillow) of an Academy Award-nominated film about Antonia Brico ‐ PORTRAIT OF A WOMAN, the first woman to conduct major symphonies around the world ‐ and Judy’s classical piano teacher when she was young.
Judy Collins, now 76, is as creatively vigorous as ever, writing, touring worldwide, and nurturing fresh talent. She is a modern day Renaissance woman who is also an accomplished filmmaker, record label head, musical mentor, and an in-demand keynote speaker for mental health and suicide prevention. She continues to create music of hope and healing that lights up the world and speaks to the heart.
In a darkened bedroom, lit only by the amber glow from an old floor model radio, two young brothers aged 6 and 12 lay in their beds, listening to the country music broadcasts from the Grand Ol’ Opry, and practiced their harmonies. Two years later, the youngest one was playing the definitive 8-year-old’s version of “Desolation Row” on his ukulele. He soon abandoned that instrument to teach himself the flute, violin and guitar.
Within ten years, and barely out of high school, Garnet Rogers was on the road as a full-time working musician with his older brother Stan. Together they formed what has come to be accepted as one of the most influential acts in North American folk music.
Since then, Garnet Rogers has established himself as ‘One of the major talents of our time”. Hailed by the Boston Globe as a “charismatic performer and singer”, Garnet is a man with a powerful physical presence – close to six and a half feet tall – with a voice to match. With his “smooth, dark baritone” (Washington Post) his incredible range, and thoughtful, dramatic phrasing, Garnet is widely considered by fans and critics alike to be one of the finest singers anywhere. His music, like the man himself, is literate, passionate, highly sensitive, and deeply purposeful. Cinematic in detail, his songs “give expression to the unspoken vocabulary of the heart” (Kitchener Waterloo Record). An optimist at heart, Garnet sings extraordinary songs about people who are not obvious heroes and of the small victories of the everyday. As memorable as his songs, his over-the-top humour and lightning-quick wit moves his audience from tears to laughter and back again.
“Garnet Rogers is capable of awe-inspiring and unpredictable stuff – and that includes more than just music”
Resolutely independent, Garnet Rogers has turned down offers from major labels to do his music his own way.