Havana, Illinois left its mark on Edward David Anderson (EDA) and he left his mark on Havana. His new, soon-to-be-released album, Still the River, reflects this relationship built over almost three and a half years. The time includes deeply engaging with West Central Illinois and the Illinois River and his daughter, Ella as her first four birthdays were celebrated there. I listened to the album with my neighbor, musician Kevin Krauss (Big Lagniappe, Regressors) who met EDA through his Brother Jed band back during college days in Central Illinois.
Still the River was recorded at his Havana homestead studio. EDA said he signed off on the mixes for the album the day they left for Wisconsin. Still the River is an “artifact and representation of those three years.”
GW: This album certainly reflects your time in Havana. Was it a personal choice to do most of the playing yourself?
EDA: Yeah, I had always wanted to do a recording where I played everything myself. That was the idea, but once mixing engineer Adam Gardner and I started working on stuff, I couldn't help but enlist him on keys and some bass. His parts really tie the room together.
It’s hard to argue this choice, his playing shows the focus of the Covid quiet years and spending time with a toddler and in his studio. The first cut, "Evening Primrose," is an ode to country life, reminding me of John Prine’s "Spanish Pipedream." The slide guitar and keys dance seamlessly. It celebrates the simple things; a theme EDA often returns to; but each new song creates its own space. EDA employs impressions of light, time, place, and his senses to birth his songs into being. Krauss thought his vocals had a little early Bruce Springsteen vibe on this cut.
This studio version of "Atlanta to Havana" retains the fun of the live versions I have heard over the past few years. Central Illinois audiences really enjoy this song, reflecting the road time required to live there. It captures driving the 136 between the two towns, getting to the sand country of West Central Illinois from Interstate 55. Wave at the sign to Delavan, the hometown of a Central Illinois musician who’s a good buddy of EDA’s. I’m sure you all will know who I mean. In the history of road songs, this lightly traveled road may not amount to much scenery wise, but the song certainly captures the essence of the area. More songs need kazoo joy.
GW: Do all your recordings reflect the time and place you were in when those songs were written?
EDA: For the most part, sometimes I'll write something like Jimmy & Bob & Jack that's completely made up and takes place in the late 60's. So, I guess sometimes it does and sometimes it doesn't? There are no rules.
The tone of the album goes more reflective, examining life and its commitments with the next couple of songs starting with "Let’s Grow Old." I get a kick out of the line, “Man, it made my head a hurt” The song still dances, his music usually does and is easy to dance to.
I was familiar with "200 Days" from EDA’s Live and Solo album released in time for the pandemic, March 13, 2020, an album he feels never got its due.
GW: "200 Days" has a much different vibe compared to the other songs on Still the River. Care to discuss this?
EDA: Yeah, that's from a different chapter. A darker time. A time of grief. I wanted to record that tune for a good while. And it seemed like it was needed on this album to balance things out thematically. Life isn't all sunshine, lollipops & rainbows. And musically it fits right in. But you're right, it's a bit dark, compared to the rest of the words on the record.
"Sky Deep Blue" floats on watching the trees, sky and clouds, looking out the window on their backs in bed. The slide riffs are gentle and one feels the magic of bonding with a child. "Dear Ella" expresses the days spent imagining expectations and promises and the dance of new possibilities. His lyrics and melodies have a way of getting into your head in the best ways.
The title cut, "Still the River," shines and flows with the liquid ease and power of the Illinois River. The easy rhythm pulses along with the ticking of time. Krauss and I heard an homage to John Hartford in the chord structure, appropriate since Hartford piloted a steamboat on the Illinois River. Havana is first and foremost a river town. From prehistoric times to its founding, it is based on the area’s rich natural resources. Havana eventually became a shipping port for corn and soybeans on the barges. EDA approaches the river and town with a new sense of its history and presence compared to his youthful explorations while at Illinois State University. EDA and Kim helped the community embrace the river and its cultural heritage through a concert series in Riverfront Park on the bluff overlooking the Illinois.
GW: What lessons did you learn from your time in Havana musically and personally?
EDA: I was intrigued by the history and topography of Havana and West Central IL in general. So, I learned a lot about it. And living in the bird & butterfly sanctuary certainly helped my cause. It was like its own little ecosystem in and of itself. All of it seeped right into the songs and influenced the music. Probably more than at any other time over my years of writing. And I ran with it. I was excited about becoming a dad and having this piece of land and it shows throughout this recording.
"Tulip Tree" features EDA’s wife, Kim and daughter Ella singing along. It’s deceptively simple and both Krauss and I loved the toy piano solo. The joy within the song moves the listener. Having worked in natural area restoration I love the references to the country experiences, including ticks and chiggers; reality often bites. All daughters should be blessed with so many love songs. I highly recommend this album for road trips with little ones, singing along, and sharing the love within the music together. It even brought tears to Krauss’ eyes!
GW: How old was Ella on her first credited musical performance?
EDA: Well, she and her mother sing a bit on this one, so I guess it's 4 years old. Going on 14. Ha!
Juxtaposed with songs about being in the moment, "Time Marches On" reminds me of other songs in the world acknowledging the accumulation of years and life and the great inevitability. It’s a reminder that memories matter, a balance of Yin and Yang.
"Let it Shine" reflects the EDA musical idea of Black Dirt Revival, the influences of gospel, tent meetings, and Chautauquas. It’s a sound heard and sung by many musicians from the heartland of America; the hallelujah moment when a song lifts and inspires the audience to celebrate. In this case, the tune has more connection to Sunday School songs like This Little Light of Mine. Krauss enjoyed the self-referential mention of a line from a beloved live performance song, "Good to Be," from the aforementioned Live and Solo album. And appropriately it is the last cut of the album, where, by musical tradition, it belongs. I like an album that ends with such grace.
EDA’s years in Havana coincided with two of my grandkids attending Havana High School- Go Ducks! I could see firsthand how the kids and their friends reacted to the musical energy EDA brought to Havana and reflected in this album. The Riverfront Concert Series focused on Illinois talent, EDA, Chicago Farmer, Henhouse Prowlers, as well as out-of-state acts like Still Shine, Aaron Kelly, and others. Suddenly it was okay to wear tie-dye t-shirts, to let your freak flag fly. For teens it meant Havana was happening. For adults, new bands were playing in the bars and people were coming into town to listen. For musicians, the Havana Songwriters Festival was created to hone skills and make connections. EDA, Kim, and their new friends with the local Chamber of Commerce helped build community. I and many others were sad to see him make the move to Viroqua, Wisconsin.
GW: Will you still have involvement in the Central Illinois area?
EDA: I reckon so. Ha! In all seriousness, my wife and I will continue to book DESTIHL Brewery in Normal, IL and I will roll through the region periodically when time permits. So, we'll still be involved in many different ways.
GW: What do you miss the most about Havana besides hanging out with Smitty at the Stag?
EDA: Indeed, I do miss Smitty. And the Stag Tap. I miss that piece of land and the trails. And the studio. And the river. And the good people we met and got to know. It was a fruitful 3 years.
GW: Why the Driftless area of Wisconsin and Viroqua in particular?
EDA: We learned about a school here that takes an approach we want our daughter to experience. When we came to visit, we were blown away by this little town and the community. And it's absolutely beautiful. So, we decided to go for it!
GW: Do you see your family becoming deeply engaged with the community and the area as you did in Havana?
EDA: I'm sure we'll get involved with the community and the school. I will say that much of what we were trying to do in Havana is already happening here. So, our involvement would be a little different from that standpoint.
GW: Are there venues in the Driftless Area you are looking forward to playing?
EDA: For sure. I just got to play Driftless Books & Music last weekend and it was an incredible vibe. Also looking forward to Backyard Tire Fire playing at Driftless Music Festival on 7/13 here in Viroqua. There's a BTF (Backyard Tire Fire) Stoughton Opera House show this fall that I'm super pumped about. That place is gold. Would love to play the Temple Theater in Viroqua at some point. Driftless Music Gardens in Yuba too. That place looks idyllic!
Preorders for both CDs and vinyl are ongoing before the release date of September 20, 2024. Get on this now!
edwarddavidanderson.hearnow.com
http://www.edwarddavidanderson.com
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