Description
The Charity of Night is the nineteenth studio album by the Canadian singer, songwriter, and guitarist Bruce Cockburn, released on True North Records in February 1997. As well manufactured and marketed in the US by Rykodisc. The album was recorded by John Whynot at Reaction Studios in Toronto, Canada; with Bruce Cockburn and Colin Linden producing. Additional recording at Electro Magnetic Sound in Toronto, Canada; at The Plant Studios in Sausalito, California; and at Bob Weir’s home studio north of San Francisco, California (Weir was a founding member of the Grateful Dead). Mixed by Whynot at Daniel Lanois’ Kingsway Studios in New Orleans, Louisiana. All songs written by Bruce Cockburn. Featuring jacket illustrations and album design by William Sienkiewicz.
Musically the sound is very organic, with a jazz texture and there’s a film noir quality to the album. A couple of the songs is as well covered on The Charity of Night Tour EP entitled You Pay Your Money and You Take Your Chance.
At once a departure and a return, The Charity of Night represents a change from the folk rock stylings of his previous two albums, having more in common with earlier jazz-inflected works such as Night Vision. Shades of light and shadow play through the album’s theme of reflection and memory: Cockburn recalls many events of his past, taking stock and coming to grips with them. It’s a very cohesive album in subject, with only the anti-land mine «Mines of Mozambique» seeming out of place (though it’s a worthwhile song on its own). The centerpiece of the album is the title song, a realization that facing the past can be more difficult when memories are exposed in the cold hard light of day, but the refuge and peace darkness can provide is “the charity of night.” In fact, most of the album’s events happen at night and this theme is echoed in the haunting booklet artwork by Bill Sienkiewicz, graphic novel illustrator for comics such as The Sandman. Musically the sound is very organic, with solid bass and drums provided by Rob Wasserman and Gary Craig. Guest Gary Burton provides shimmering vibraphone on three of the cuts, adding to the jazz texture. Other guests include Bonnie Raitt, Ani DiFranco, Jonatha Brooke, and Patty Larkin. The album culminates with «Strange Waters», a summation of Cockburn’s life-long spiritual search, where he asks the question “if I loose my grip, will I take flight?” Acclaimed by fans and critics alike, this album is an essential part of the Cockburn catalog. [Rob Caldwell, AMG]
Bruce Cockburn’s gift to all music fans is that his music deals with life and faith together. The Canadian artist writes guitar-driven songs about the wholeness of life – its joys and difficulties, its simple beauties and complex relationships. He seeks to make sense of the world, and thus to find God’s action in and around him. His songs break all the rules for light, civil, public conversation. He speaks of his religion and politics and tells idiosyncratic personal stories. He chronicles his inner-most doubts and fears, offering hope in bold images and graphic metaphors. In short, Cockburn’s music does not fit religious expectations, per se.
At the end of The Charity of the Night, his 23rd project in 27 years of recording, Cockburn looks at his life and the world and questions God in the style of Moses and Jacob, but reflects the writer of Psalm 23: “Oh, you been leading me beside strange waters/ Streams of beautiful lights in the night/ But where is my pastureland in these dark valleys?” In other words, Bruce Cockburn continues on Charity to do what he’s always done: write smart, thoughtful music that speaks to the human condition in all its complicated glory and confused wonder.
Cockburn returns to the largely acoustic folk/pop sound of early recordings, and guest vibe player Gary Burton and bassist Rob Wasserman allow a certain jazzy subtext to seep through. Brooding, wordy and reflective, there are echoes of Further Adventures Of (1978), Humans (1980), and World of Wonders (1986) in Charity – which means, to these ears, the project ranks among Cockburn’s best.
Dark and filled with images of night and shadow, Cockburn exudes a sense of intensity, longing and anxiety throughout. «Wake Up Jonah» uses apocalyptic imagery, while «Pacing the Cage» challenges the capitalist definition of personal value and meaning (“I have credit cards, therefore I am”), and seeks escape beyond the mortal coil. In «The Whole Night Sky» Cockburn intones: “Derailed and desperate/ How did I get here?/ Hanging from this high wire/ By the tatters of my faith/…See my tears/ They feel the whole white sky.” Meanwhile, in «Birmingham Shadows» he suggests: “I wear my shadows where they’re harder to see/ But they follow me everywhere/ I guess that should tell me that I’m traveling toward light.”
That is where fans connect most directly to Cockburn’s music. Many people of faith are willing to dig deeper, willing to let the realities of their (at times) troubled and disorienting lives interact with their faith.
The artist’s left-leaning politics, occasional use of vulgarisms, and a liberal lifestyle (read: he smokes and drinks, and allows references to cigarettes and alcoholic beverages in his lyrics) has been a source of offense to some Christians.
Still, for others, The Charity of Night again meets listeners where they are in faith and life. It is a mature, sophisticated listen for those who believe one must admit there is darkness to get to the light on the other side. It’s the path that leads one’s life through dark valleys and the faith that keeps one hanging on. [Brian Q. Newcomb, CCM, June 1997]
A return to the classic years: the jazz/blues/folk fusion of the ’70s’ albums ‘Night Vision‘ through to ‘Circles In The Stream‘, tinged with the new country feel of ‘Burning Light‘ and ‘Dart To The Heart‘, and Bruce’s first album in over two and a half years. The hallmarks of this album are the smooth and mellow sound of acoustic double bass, vibes, acoustic guitar and Bruce’s trademark voice: world weary yet full of a child’s wonder, seeing poetry at every street corner, a man constantly fascinated by the rich tapestry of life which goes by unnoticed to all but the most astute or gifted observer. While the range of performance styles on this album might suggest a retrospective approach, this is retro rather than parody, a synthesis of 30 years of expertise. This is an older and wiser Bruce perhaps, a Bruce still giving us his very best. Still waiting for a miracle, still hearing “Rumours Of Glory“. If nothing else, this album shows that Bruce is no has-been. He doesn’t need gimmicks, smart production techniques or clever marketing to seduce the ears of listeners too young to remember his classic years. This album stands on its own merits, not on Bruce’s past works. An album of future glories rather than past triumphs. As the sleeve blurb says: “If you were ever a Bruce Cockburn fan, this album will enchant you. If you aren’t yet a fan, this album will convince you.” [John Irvine, Cross Rhythms, April 1997]
> Apple Music (https://music.apple.com/us/album/the-charity-of-night/295199836)
CD tracklist:
01. Night Train – 6:16
02. Get Up Jonah – 5:03
03. Pacing The Cage – 4:41
04. Mistress Of Storms – 6:12
05. The Whole Night Sky – 3:54
06. The Coming Rains – 4:49
07. Birmingham Shadows – 9:41
08. The Mines Of Mozambique – 6:14
09. Live On My Mind – 6:46
10. The Charity Of Night – 8:05
11. Strange Waters – 5:50
Note: Simultaneously released on cassette and CD by True North Records. Re-issued on CD and 180g 12-inch vinyl double LP by True North Records in 2021. Available at Bandcamp: https://brucecockburn.bandcamp.com/album/the-charity-of-night
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