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SAN DIEGO ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, , and bluegrass music news

December 2005 www.sandiegotroubadour.com Vol. 5, No. 3

what’s inside Welcome Mat ………3 Mission Statement Contributors ‘Tis the Season Full Circle.. …………4 Recordially, Lou Curtiss Front Porch... ………6 Bordertown Cosmos Coffee Cafe Parlor Showcase …8 Bert Turetzky Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Highway’s Song. …12 Amos Lee Of Note. ……………13 Amber Rubarth Andre Balazs Kev Annie Bethancourt Mark O’Connor ‘Round About ...... …14 December Music Calendar The Local Seen ……15 Photo Page Tony Muhammad S N O S S S S A E B L

• Beginning to Advanced • Focus on Music Theory • Local and National Experience • Jazz, Blues, Improv & sight reading techniques

Guitarworks 619-280-1937 3043 Adams Ave. , CA 92116

PHIL HARMONIC SEZ: “We make a living by what we get, but we make a life by what we give.”

— Winston Churchill DECEMBER 2005 SAN DIEGO TROUBADOUR welcome mat

RSAN ODUIEGBO ADOUR Tis the Season Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news

s we look back on another year gone by, it is natural for us to assess where MISSION CONTRIBUTORS we’ve been and where we’re going. We are proud of the fact that we have been To promote, encourage, and provide an around as long as we have, which is now going on five years. alternative voice for the great local FOUNDERS A music that is generally overlooked by Ellen and Lyle Duplessie I recently had an interesting conversation with a singer- friend who was talking the mass media; namely the genres of Liz Abbott about the amount of work and effort one needs to expend as a musician to get one’s name Kent Johnson alternative country, Americana, roots, out there and get noticed. He had spent two or three years doing that, which meant playing as folk, blues, gospel, jazz, and bluegrass. PUBLISHERS many gigs as possible, sending out press releases as often as necessary, and getting involved in To entertain, educate, and bring togeth - Liz Abbott er players, writers, and lovers of these Kent Johnson as many musical endeavors as he could. His work paid off and, for a time, he was enjoying forms; to explore their foundations; and some degree of success. But after three years of this, he had to stop and ask himself: what’s to expand the audience for these types EDITORIAL/GRAPHICS of music. Liz Abbott the next step in the journey? Once people know who you are, what do you do to keep your For advertising rates, call 619/298- Chuck Schiele act fresh? 8488 or e-mail [email protected]. ADVERTISING The San Diego Troubadour is asking itself the same question. It took us several years to get San Diego Troubadour Liz Abbott noticed and make a presence in the community. But now that we have reached that goal, how P.O. Box 164 Kent Johnson La Jolla, CA 92038 do we move on from this plateau? In order to succeed at what you do, you need to evolve and DISTRIBUTION grow. We will continue to strive to bring our readers articles and information about the local E-mail: [email protected]. Lois Bach Peter Bolland music scene that entertain, inspire, and provide information relevant to the local music scene. SAN DIEGO TROUBADOUR, the local Greg Gohde source for alternative country, In this issue you’ll notice a questionnaire that will not only help us learn a little more Kevin Irvin Americana, roots, folk, blues, gospel, Mark Jackson about you, our readers, but will also serve to gather data. This data will help us attract advertis - jazz, and bluegrass music news, is pub - Jenna Duplessie Pabalate ers and give them concrete reasons to be a part of our growing family. Please take a few min - lished monthly and is free of charge. Bill Richardson Letters to the editor must be signed and utes of your time to fill our the questionnaire and return it to: San Diego Troubadour , P.O. Box Dave Sawyer may be edited for content. It is not, Chuck Schiele 164, La Jolla, CA 92037. If you’d rather, you can fill the questionnaire out on line at: however, guaranteed that they will Indian Joe Stewart www.sandiegotroubadour.com. Either way, your input is valuable to us. appear. All opinions expressed in SAN DIEGO PHOTOGRAPHY We would also like to take this opportunity to thank all of you who have supported us TROUBADOUR, unless otherwise stat - Steve Covault over the years as well as our writers, columnists, photograhers, and helpers who have donated ed, are solely the opinion of the writer WEB MASTER their time and talents to make the San Diego Troubadour the publication that it is. Thanks and do not represent the opinions of the Will Edwards staff or management. All rights especially to my “team” — Chuck Schiele, Will Edwards, and Simeon Flick. I couldn’t have reserved. WRITERS made it through this year without you! Lou Curtiss ©2005 San Diego Troubadour. Will Edwards And, finally, we wish all of you a very happy and safe holiday season. Jim McInnes Bart Mendoza The San Diego Troubadour is Tom Paine Liz Abbott, Publisher dedicated to the memory of Ellen and Chuck Schiele San Diego Troubadour Lyle Duplessie , whose vision inspired Sven-Erik Seaholm the creation of this newspaper. José Sinatra D. Dwight Worden

www.sandiegotroubadour.com 3 DECEMBER 2005 SAN DIEGO TROUBADOUR full circle Rosie and the Originals Put National City on the Map

prove problematic in the ensuing years, but “Angel Baby” became a certified smash in 1961, racking seven weeks in the nation - al top 10. It was even released in the UK on London Records. Amazingly, when the master tape of the single was requested by their British label, the wrong master (an alternate take) recording was sent, so the two singles are different. To date most comps have used the British master, making the original hit and San Diego version of the song the rarer of the two. Collectors will also want to search out a Canadian release on the Zirkon label. The height of fame found the group opening for the Rolling Stones on their first visit to San Diego, major airplay, and more, but this would be the band’s peak. Rosie and Noah soon went to to open for Jackie ally settled in National City, and she attend - Wilson at the into one hit wonder territory, it’s also by Steve Thorn and Bart Mendoza ed a number of area schools, including Paramount, to per - true that “Angel Baby,” with its inces - Mission Bay High. Her family was very musi - form six shows a day, with santly catchy, yet simple melody and he majority of rock historians agree cal and by the age of 13 the performing session players rounding out their sound. teen-angst vocals guarantees pop culture circa that rock ‘n’ roll hit a dry spell bug had bitten. Borrowing her sister’s And she signed to Brunswick. immortality for this group of former 1969, which were Tbetween 1960 and 1962. The charts makeup in an attempt to look older, she In March 1961 Rosie made a record for National City teenagers. www.rosieandtheo - placed alongside the singles for told the story: leather clad rockers were auditioned for and joined a country band the Brunswick label after impressing Wilson. riginals.com out, acne free boys and girls were in. There while performing for family functions along - The A side was titled “Lonely Blue Nights” a best of package. The new millennium saw are several key reasons why the music side a group of cousins. In 1960 she discov - and despite an appearance on American Rosie become a favorite at festival stages all retreated from the intensity of Little Richard ered a love for the , which led to a Bandstand in February 1961, it sadly didn’t over the U.S,. the clear highlight of her to the conservatisim of Connie Francis — family friend helping her begin her musical come close to achieving the success of more recent touring days being her appear - the deaths of Buddy Holly, Eddie Cochran, career by introducing her to fledging group “Angel Baby.” Another aspect of the ance on the 2002 PBS music special, Red and Ritchie Valens; Chuck Berry’s bitter — the Originals — David Ponci as well as Brunswick contract stipulated that she White and Rock . In the meantime, the court trial; the payola scandal; and last but Noah Tafolla on and Tony Gomez on would be managed by Wilson’s agent, Nat releases kept coming. In 2000 new material not least, Elvis Presley’s military obligation. bass. Later on Carl Von Goodat (drums) and Taranpol. Considering Jackie was voted from Rosie brought “Steppin Out In Style,” These events provide an insight into why Alfred Barrett (sax) were added to round Entertainer of the Year for 1960-61 by recorded with her current touring band, the record charts of the early 1960s were out the sound. Cashbox, it seemed that Rosie would have while Ace put together a wonderful career being represented by such major “rock” The group made a local recording continued career advancement under her retrospective with more rarities, including personalities as Lawrence Welk, Steve “Kinda Makes You Wonder/My One and new management. She made one more sin - vintage radio station promos, in 2001. Lawrence, and Anita Bryant. Artists like Roy Only Love” with the help of another gle for the label that same year — “My Topping things off, Lennon’s “Angel Baby” Orbison, Ricky Nelson, and Gary “U.S.” National City-based group — the Cascades Darling Forever” — and followed it up with finally made its belated CD debut in remas - Bonds did their best to keep the rock ‘n’ — on the flip side, and at the age of 14 an album, which met with little chart tered form on the Rock ‘n’ Roll reissue as a roll torch lit, their singles being a welcome Rosie wrote the song that would make her success. bonus track in 2004. relief from all the “safe” music that was a staple of oldies radio: “Angel Baby.” The But that’s all right. The following years Rosie, who currently resides in New pushed down listeners throats. song was representative of the type of found “Angel Baby’s” legend growing, rack - Mexico, continues to make the occasional However, “safe,” soft romantic ballads music that was being played on the radio in ing up more than 30 compilation album live appearance, although a lifelong love of painting has taken precedent. While it’s true were huge, and one of them, the oldies-low 1961. Syrupy sentimentality was selling big, appearances and continuing as a cult Rosie looking good rider classic “Angel Baby” by National City’s but at this point the group was still favorite of major acts. gave that Rosie and the Originals fall squarely Rosie and the Originals, was the perfect, unsigned. Rosie a name check in the song “How albeit lo-fi, example of this. The song, In late 1960 the group headed to an old Many More Times?” on their 1969 debut. which reached number four in the national airplane hanger, located in San Marcos, would also go on to record charts, would be Rosie and the Originals’ which was being used as a two-track “Angel Baby” for his 1975 Rock ‘n’ Roll only hit. Their story is worth telling, for it is recording studio, and taped the song. album. Although bootlegged at the time in a prime example of the music industry’s Sadly, the group’s saxophone player’s a national TV campaign on an album most common casualty: the one hit mother wouldn’t let him attend the session dubbed Roots , the cut wouldn’t see an offi - wonder. because he had to do yard work, so Tony cial release until a posthumous vinyl only improvised the sax. Amazingly, the group compilation, Menlove Avenue in 1985. didn’t have a song prepared for a flip side, In 1973 Rosie released another 45 — “I so improvised a tune and had a friend, the Don’t Understand” — which became wonderfully monikered Bluefurd Wade, ad extremely rare, but save for a name check lib lyrics. The song became “Give Me that same year on the Led Zeppelin album Love.” Houses of the Holy , (on both the track “Dyer John Lennon quoted in Rolling Stone Maker” as well as the sleeve notes) that (11/23/68) said about the song: “It’s an would be the last the general public heard amazing record. It’s one of the greatest of Rosie and the Originals for nearly three strange records, it’s all just out of beat and decades. She did stay involved in music, everybody misses it — they knocked off the however, appearing at the occasional oldies B side in ten minutes. I talk Yoko’s leg off show and, more important, establishing a telling her this is it, this is what it’s all music program for Logan Heights youth at about!” He would go on to tell Life maga - the Barrio Station, which helped to mold zine in a 1969 interview that Rosie was his further generations of musicians. favorite female singer. Meantime, since the The year 1995 saw the band included in group had a difficult time finding a label, the One Hit Wonder section of the Rock ‘n’ Early National City days they took a copy of their disc to the local Roll Hall of Fame, and this began a revival Kresges, and when it was played in store of sorts. The following year Linda Rondstadt Like another famous female singer con - kids loved it! In a scene right out of a recorded a version of “Angel Baby” for her nected to San Diego to follow some 34 movie, a label rep happened to be in the Dedicated to the One I Love album. Long years later, spent part of her store and, without a contract, the group time fans were thrilled when in 1999 childhood in Anchorage, Alaska, although handed over its master tape. This would renowned U.K. label Ace unearthed an she was born in Oregon. Her family eventu - entire unreleased album of demos recorded 4 www.sandiegotroubadour.com DECEMBER 2005 SAN DIEGO TROUBADOUR full circle

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e Recordially, Lou Curtiss g inoes m o d nd Coltrane —who brought about flat. If Nashville could market a hum, haven’t read any mention in la e b h e changes in jazz. It was also somewhat that’s all there’d be.” Individuality is the local press about the t u true with blues, but it changed too much of a risk. It’s too bad there’s musical history of that block. l b

overnight with the introduction of the so much of that attitude and that it’s When I first became acquaint - e i

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electric guitar and still managed to so centralized in one place. We need ed with the building, the whole b

o keep its regional uniqueness to some those barn dance shows all over the top floor was the Pacific Ballroom ie john b ill extent, because it’s still mostly a rural country that reflect local taste as well during the mid to late ’50s and early w e music. as what comes out of Nashville and ’60s. I saw the best of that era’s l t t i Country music has come the fur - the Grand Ole Opry. I don’t see how , rock ‘n’ roll, and l thest from its regional roots. First, we’ll ever get them back. Folk festi - jazz at the Pacfic, including B.B. King, country music radio stations that vals book old time country music, but Little Willie John, Bobby Blue Bland, played records in the late ’40s and the folk audience isn’t the same Jimmy Smith, Sonny Stitt, Little son enguin ny p s Lou Curtiss ’50s tended to get lots more pickers to demographic as the country music Richard, Gene Vincent, Big Joe s e t h i t play the same way and then from the audience. Folk festivals, particularly Turner, Roy Milton, the t t ’60s on Nashville kind of centralized those that cost money, attract middle Penguins, the Dominoes, Buddy merica was once filled with the music publishing and recording in and upper middle class. The working Knox, LaVerne Baker, and a voices. They came into your that city, so that there was no longer class audience just isn’t gonna pay whole lot more. Before it became living room through the A any distinction in the sound. They all $60 or $80 to go up to Yosemite or the Pacific Ballroom, the dance radio, sounding as familiar as your used the same musicians and pat - some other pretty place to listen to hall called itself the Palladium. The y sm m ith family or the neighbors. They came m terned their style from the other peo - one or two old timey, or blues, or jazz name change came some time in the i from your phonograph as unique j ple around them. There’s a direct line acts on a bill with some folk singers ’50s and I understand all the big ox voices that didn’t sound like anyone n from those early ’50s guys like Hank and singer- who may play bands played there in the 1940s (it k else. You could listen to the intro of a y Williams and Lefty Frizzell to the ’60s music that just doesn’t appeal to opened some time in the ‘30s, I d song and the steel guitar on a Gene them. Of course, without any radio believe). I don’t have much informa - d Merle Haggard and George Jones to u

Autry record didn’t sound anything b today’s Alan Jackson and Dwight outlet for vintage country music (in tion on the building during those like the dobro on a Roy Acuff disc or Yokum, and although I know I’m San Diego jazz and blues have KSDS years. I remember there was a record the Texas lead guitar on an Ernest leaving lots of folks out with each 99.3FM, thank goodness), the coun - store called Palladium Record City on Tubb side. Each country band had its generation, it’s harder to tell them try fan is forced to listen (if he listens the street level and the ballroom was own sound, and since the artists were apart. Maybe that’s just me getting at all) to the watered down country upstairs. Radio station KCBQ used to from different parts of the country, ry. The old Pacific Ballroom was an old, but I suspect it’s true. I hear sound that Nashville foists on us broadcast from a booth live in the they had their own vocal nuances too. important part of my musical coming enough roots music from different today or else listens to old time window when it was the Don Howard It was the same with old blues. of age and I might add that one night parts of the country to know that records. I recommend the latter, but and Harry Martin era at KCBQ. For a Mississippi Delta artists didn’t sound in that same building when a Richie regional diversity is still alive and then I own a record shop. short time in the early ’60s the ball - like Dallas, Texas bluesmen or those Valens show was sold out and I well in many, or nearly all, parts of room became Ward’s Jazzville but that from the East Coast. Even jazz had its couldn’t get in, I went into the Zodiac the country. It just doesn’t get played effort soon went under. Since that regional patois and differed from city Coffeehouse, which was below the on the radio or talked about much in time almost no one has written about to city and region to region, although Pacific Ballroom on street level. It the popular media. the place, and now it’s gone. It might it was the first to change. It was gen - must have been about 1958 and my Quite a few years ago Chet Atkins be nice if a plaque were put up on the erally the great performers — first experience at a coffee when I lis - said, “They’re all converging on A street or the side of the new building Armstrong, Dodds, Parker, Davis, when it’s built. I could say the same tened to a folksinger named Mickey for other San Diego landmarks like Myers. That led me into a whole dif - the Bostonia Ballroom, the ferent side of my musical makeup. I Site of the former Pacific Ballroom Sportsman’s Club at 30th and hope some of you who are reading this and remember the old Pacific TEARING DOWN A MONUMENT Imperial, the Heritage Coffeehouse in Ballroom or have parents who I drive by 12th and Broadway Mission Beach, the College Inn, Pacific Square Ballroom, and others. remember its early history as the every Sunday night on the way to Palladium will agree with me that KSDS to do my radio show, and I It’s not fitting in this time that San Diego, which has a musical history memories should not be allowed to recently noticed that the block die. between 11th and 12th Avenues has dating back to Jelly Roll Morton when Recordially, been flattened to make way for a he played at the U.S. Grant Hotel in monument of progress or whatever. I 1917, be allowed to forget that histo - Lou Curtiss

www.sandiegotroubadour.com 5 DECEMBER 2005 SAN DIEGO TROUBADOUR front porch BORDERTOWN : A Time Capsule of Local Legends

by Raul Sandelin “Woodstock sound,” which is solid, electric rock on one hand coupled with harmony ark Phillips remembers the crisp and traditional music on the other. And, if a San Diego afternoon well. The semi-danceable groove found its way into fire engine was racing up the the mix, well, it was all good. Today, we M might call this music roots or Americana. street, the bell was clanging, kids were run - ning behind or leaning off the sidewalk for Back then it simply came from a time a closer look. At the wheel, five-year-old before record execs decided that hard rock Thom Landt was pedaling as fast as the red and country and R&B should be sold to fire truck would allow him. It was Thom’s mutually exclusive demographics and, God first day in the neighborhood and already forbid, should they ever bleed into each Thom Landt Mark Phillips Rodger Farris he was turning heads. Mark and Thom other on the same stage or same album. Mark Phillips was unfortunately still would become lifelong friends. Crunched in between the Dylan and function within the Western social psyche of committed to the Overtons. And by the As Eisenhower’s 1950s soon evolved Mason covers were nearly two hours of this new millennium. But, whatever they’ve mid-’80s, the members of Southern Pacific into the turbulent Vietnam era with its revamped nostalgia as the band revisited got, their spontaneous choreography works had all but drifted to different, distinct cor - incumbent Hippie and countercultures, songs from that generation’s collective 8- well. Thom Landt stalks the center stage, ners of the San Diego music scene. Thom’s fire truck gave way to a Fender track collection. Most were sung exquisitely bringing all of his road miles together to But in the Summer of 2005, the time Strat. And soon Thom was jamming with by Thom Landt. Yet cameo moments such form a real rock star aura: serious and oth - seemed right to pull the old band back some of this area’s finest musicians of the as Mark Phillips’ lead vocals on Little Feat’s erworldly. Rodger Farris provides a counter- together…and then some. Upon turning time. At the ripe age of 15, he was asked to “Fool Yourself” added outstanding contrast. weight. He too is serious yet more mercurial 50, Tommy Neel decided to reunite the join Leroy Zeke, San Diego’s premier rock They also sideswiped the audience with as he punches forward with a flurry of sur - many members of his old musical projects outfit in the early ‘70s, which opened local - some surprises such as Tom Williamson prising guitar licks and single-note runs. for one, giant backyard jam. Southern ly for Paul Butterfield, the Doobie Brothers, singing Mark Knopfler’s “The Bug” while Mark Phillips and Tom Williamson add an Pacific, with the addition of longtime friend and Jim Croce among other national acts. Thom Landt ripped up the house on lap - uplifting dose of lighthearted humor as Mark Phillips, decided to put in some Later, he would record for A&M Records, slide. they trade glances and grins and generally rehearsal time beforehand, then proceeded play with the likes of Steve Marriott (Small Bordertown also included a number of have a good time. Tommy Neel never fails to go out and blow away the birthday rev - Faces, Humble Pie), and tour with Paul originals, most written by Landt. The self- to dazzle as he moves around his domain of Tom Williamson elers attending Tommy’s bash. Bordertown Cotton of Poco fame. titled song “Bordertown” gave a darker percussive hardware. was born! Mark, for his part, spent the early ‘70s edge to the band. Although easily within In case you’re still wondering, The lineup now stands with Thom playing the Southern beach bar the folk-rock genre, “Bordertown” the Bordertown is the real deal. It isn’t often Landt, Mark Phillips, and Rodger Farris on and coffeehouse circuit and traveling up song, wove a mosaic of minimalist sensuali - that a supergroup comes out of the wood - . With Tom Williamson on bass, the and down old Highway 101 when sleepy ty not unlike Chris Isaak at his hauntingly work. (Yes, I’m well aware that Cream sold voices necessary for their intricate four-part towns like Encinitas and San Juan desolate best. out the Albert Hall this past year. But, I harmonies are all in place. Tommy Neel rig - Capistrano dotted the landscape with little On stage, Bordertown has a presence promised my wife I wouldn’t strain my car - orously provides a rich canvas of percussion but scrub brush in between. These gigs, earned only by the century of combined diovascular system ranting against market - that includes standard traps and an array of though usually within the county, some - gigging that its members bring to the ing scams. So, I won’t.) But, for those who exotic drums and artifacts. times took him as far as Sonoma and table. It’s been said that successful bands still remember San Diego as a small town On a recent night at Milano’s Pizza Mendocino, hotbeds of alternative folk and have appeal because they are able to tap that liked to rock its ass off…and for those near Birdrock in La Jolla, the band ran countercultures. Eventually, he became the into the various cultural formations lying who still remember the many San Diegans through its two-hour set, while trying some touring guitarist for the Overtons, a well- dormant within the audience’s subcon - who actually made it, shoulda made it, or new tunes, both originals and covers, for known family act from Oklahoma that fit scious. , for instance, were once almost made it…and for those who remem - the intimate crowd. The set began with into the same niche as the Osmonds, described as the Holy Trinity plus a circus ber a time in September (Oh, sorry, that’s Dylan’s “My Back Pages,” done Byrds style Tommy Neel DeFrancos, and Cowsills. The Overtons clown. It was thought that the Western another article altogether)…for those who with twangy guitars and buttery vocals plus were at one time part of Bob Hope’s stable World of the mid-1960s was taking a critical remember that we had a local music scene an extra dose of electricity and vigor. Think of young talent. Mark also headlined ball - yet reverent look at its spirituality. Hence, long before the Gaslamp and a couple of McGuinn, Crosby, Hillman, and company rooms and state fairs from Tulsa to New we had John as the Father, George as the Superbowls at the Q made it official…well on steroids. A Dave Mason tune closed out York. Son, Paul as the Holy Ghost, and Ringo as, then, Bordertown is for you. the show and was stretched into 15 min - At about the same time as the fire well, Ringo. Besides regular appearances at utes of communal jamming and alternating engine incident, Tom Williamson was wait - It’s probably still too early to make Milano’s, the band just played at the open - solos. Local mando player Steve Roche ing for his uncle to return home after a sea - grand pronouncements about Bordertown’s ing of the Anza-Borrego Visitors Center. A came on stage for a turn as well. son of touring. That his uncle was on tour number of new shows, as well as a possible was nothing new in this musical family. But, CD, are planned for the coming year. what is noteworthy is that Tom’s uncle was Colonel Parker’s right-hand man. The tour in question was yet another one of Elvis’ early treks across the country. In fact, each Classic Bows Violin Shop time a tour ended, Tom’s uncle filled the OLD WORLD STYLE FOR THE 21 ST CENTURY house with discarded guitars, amps, drum sets, stage lighting, and other assorted sou - • Violins, violas, cellos, bows, strings Dan venirs from the King’s tour bus. Tom Papaila R

learned his craft on Elvis’ gear, later apply - • Full line of accessories A ing that craft on the local music circuit. • Printed music, method books T Fast forward to 1980. Enter Rodger I S

Farris and Tommy Neel, who were also solid • DVDs and videos U N

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Together with their mutual friend Thom O Z Landt, Tom, Rodger, and Tommy formed an S Z early precursor to what today is called SOUTHERN CALIFORNIA ’S ONLY MUSICAL GIFT BOUTIQUE S E Bordertown. This band was called Southern t-shirts, neckties, hats, jewelry, greeting cards, tote bags, mugs, A J Pacific and made a bit of a name for itself journals, scarves, decorative items, posters, rubber stamps, pencils and L locally while holding down the acoustic- pens, picture frames, luggage tags, key chains, sunglasses, beach towels, playing cards, magnets, EVEN DOG TOYS, and much more! tinged, folk-country, melodic-rich sound of We have a large selection of musically themed holiday cards the outgoing decade’s rock ‘n’ roll at a time ✁ • Advanced to master class when disco, punk, and various elements of • Local and National Experience CLASSIC BOWS VIOLIN SHOP DECEMBER SPECIAL • Jazz, Blues, Improvisation electronica were all vying for top spots on the pop charts. 10% OFF Southern Pacific melded all of its early all holiday cards (boxes and singles), shirts, posters, and rubber stamps Guitarworks influences: Buffalo Springfield, Crosby Stills expires December 24, 2005 & Nash, Gram Parsons, the Allman Brothers, Little Feat, early Delta, Chicago, Classic Bows Violin Shop, 2721 Adams Ave., San Diego, CA 92116 619-280-1937 and British Blues. In a way eclectic, in a way (619) 282-2010 • www.classicbows.com 3043 Adams Ave. perfectly logical, Southern Pacific brought Centrally located in the historic Antique Row, just south of Mission Valley San Diego, CA 92116 together what might best be called the 6 www.sandiegotroubadour.com DECEMBER 2005 SAN DIEGO TROUBADOUR front porch

fourth in a series covering san diego ’s best acoustic music venues s d r a w d E

l l i W

: o Cosmos Coffee Cafe t o h a warm, friendly environment with a sense of community P

by Will Edwards including a wine bar. After a major, tation has developed. three-month-long renovation Cosmos Aside from the regular open mic, an Diego is a coffee and music Coffee Café was born and was immedi - Cosmos schedules concerts every town. Not everyone who lives here ately welcomed by the La Mesa commu - Saturday night. Their indoor seating has knows that, and it is hard for nity. Like any business, there are hurdles a capacity for about 50 people and S and challenges that must be dealt with. makes for a warm, intimate environment musicians to get exposure. Cosmos Coffee Café, located in the La Mesa vil - But with a year and a bit behind them for listening to music. If you’re like me, lage, has, over the course of the last year, now, Cosmos frequently has lines out the you’d prefer to hear music without the been gaining a reputation as a budding door during their morning rush, and occasional espresso machine accompani - acoustic music venue. Proprietors Paul their indoor and outdoor seating are usu - ment. While the staff has a policy of and Patrick have created a gathering ally both full on music nights. being very respectful of performers, the space for La Mesa locals as well as other In an interview, Paul explained that fact that the stage shares the same room local musicians. Friendly service, quality at the core of the Cosmos mentality is with the kitchen means that every now coffee, and great food are their self-pro - the assumption that customers should be and then you’ll hear a gargle of steamed claimed business hallmarks, but Cosmos served in an efficient and helpful way milk chime in with the band. has also developed something more and that part of supporting that kind of Concerts typically consist of two or abstract inside their four walls: a com - mentality is making sure that their three separate performers or bands and munity. employees are happy and treated well. there’s usually no charge for admission, They believe that building a solid foun - so advance tickets aren’t necessary. While s

d dation out of their relationship with their Cosmos doesn’t put many restrictions on r a

w workers will, in turn, translate to happier the kinds of music that they are willing d E

coffee drinkers and a healthier environ - to host, they tend to have acoustic per - l l i ment. He says that in the early days formers rather than electric bands. That’s Facts and Figures W

:

o they’d feel overwhelmed from time to not to say that there aren’t electrified t

o Where: 8278 La Mesa Blvd. in the La Mesa village

h time because they’d be so busy. Now, he instruments or the occasional drum kit – P says, they get a bit of a rush when the there are. But, the stage is too small for When: Mon. & Wed. thru Thurs. 6:30am-8pm; Tues. crowds really hit the store. The challenge large scale performances and the music is is welcome now that everyone has coincidentally typical of contemporary & Sat. 6:30am-10pm; Sun. 7am-6pm. become more familiar with the situation folk-rock, blues, and traditional styles. Paul and Patrick met each other Music: and how to handle it. He admits that If you are a performer and are inter - Mostly acoustic; open mic on Tuesdays; through their wives and have been Saturday concerts friends for the better part of seven years. they had high expectations for them - ested in playing at Cosmos, you’ll want Both couples have lived in La Mesa for selves and their business and reflected on to play the open mic and give Patrick the fact that they have received a lot of and Paul the opportunity to hear you Capacity: Approximately 65 with indoor and outdoor some time and have ties to the area. seating Compared to their current occupations, help from the local community during and see what you do. Their main con - their formative stages. cern is that their music scene continues both business partners have varied pro - Level: Local San Diego music fessional backgrounds. Before creating A short while after opening their to nurture the community they’ve built. doors to the public, Patrick approached Cosmos also rotates hanging art on their Cosmos Coffee Café, Patrick worked for Prices: Usually no cover charge for music. Good Sharp Hospital and Paul worked in the local singer-songwriter, Michael Tiernan, walls on a quarterly basis and artists are food — serving breakfast, lunch, and dinner legal profession. Paul explains that both about setting up and hosting an open invited to approach management if they of them had a common interest in break - mic at Cosmos. They had two goals: first are interested in using the café as a at moderate prices. ing out of the typical corporate environ - to develop a larger community around gallery. Information: ment. “I’ve never really been main - their shop and second to provide La For now, Cosmos is focused on their 619/698-4217 or www.cosmoscoffeecafe.com stream… never really followed the Mesa locals with great entertainment. continued growth. They’re developing crowd,” says Paul. “Patrick was tired of Michael accepted the offer and now the their menu and they still get rave reviews Troubadour the politics involved in corporate Cosmos open mic is one of the busiest in for their coffee (locally roasted Café Moto Rating: Warm, friendly environment. Excellent for America.” Both men wanted to work for greater San Diego, drawing performers beans). I get the sense that Cosmos is testing waters at open mics if you’re new to themselves and eventually the opportu - from all over the county. It is a great more of a family than a business. The the scene. nity knocked. opportunity to ‘test-drive’ local talent. majority of their customers go to Cosmos Six to eight months before Cosmos However, the open mics can be inconsis - every single day and the open mic host - opened its doors Patrick had approached tent. Occasionally, the place is so packed ed by Michael Tiernan every Tuesday has the previous owner about possibly taking with talent that it becomes competitive become a very well attended event, adds another dimension to the place. Saturdays (music nights) they stay open over the café. At that time it was an to get a spot on the stage, and yet the bringing local music enthusiasts and Parking in downtown La Mesa is until the close of the show, which is usu - antique store and coffee shop. They con - next week there might be less than a local musicians together in a relaxed and sometimes relatively full, but I’ve always ally around 10 pm. They’re open on sidered other possible uses for the space, dozen musicians who show up. But that encouraging environment. The thing that has been less often the case as their repu - really sets Cosmos apart from its com - found a spot within a block or so of the Sundays from 7 am until 6 pm. petitors is the people. You’ll feel welcome café. The café is open for business every there and you’ll notice right away that Monday and Wednesday through Friday there is a sense of community, which from 6:30 am to 8 pm. On Tuesdays and

www.sandiegotroubadour.com 7 DECEMBER 2005 SAN DIEGO TROUBADOUR parlor showcase

by Paul Hormick PIONEER Bert Turetzky Bbeen ceomparerd with that o f CasTals for uretzky the cello and Segovia for the guitar. here is no Over 300 pieces of music have been with such tunes as “The Parade of the graceful Wooden Soldiers” and “The Bells of written for Turetzky, more music than jazz bassist, Turetzky enrolled way to Saint Mary’s.” He joined the Arkansas for any other living person. This man’s in the Hartt School of Music in carry a dou - Travelers, a country western style band, legacy is so important that one musicol - Hartford, . While he ble bass. and a dance band that played popular ogist divides the history of the double was there, however, a few The instru - tunes and polkas for the immigrant bass into BT and AT: before Turetzky experiences convinced him that ment stands population of his small village-like and after Turetzky. jazz was not the life for him. about six home town of Norwich, Connecticut. He When attending one of Turetzky’s After seeing both George T feet tall then fell in love with jazz. As a teen, he concerts, it is best to leave your preju - Duvivier and in and has the bulk, if not the weight, of a spent his allowance on jazz records, dices about the bass at the door. He New York City, he thought that stout human being. Jazz violinist Joe often having no money for the rest of may start the concert with his composi - he might not have the chops to Venuti once phoned a score of bassists, the week. He spun records as a disk tion “Reflections on Ives and Whittier,” measure up to these giants. telling each of them to wait on a partic - jockey on a local Norwich radio station in which he makes the bass sing in high Turetzky also observed the drug ular street corner for a ride to a gig. and then rushed home to listen to Rudi flute-like overtones. In another piece he abuse that was part of the jazz Venuti had no gig lined up. Instead, he Blech’s program, This is Jazz, broadcast might bow the tailpiece for a large scene and knew that this amused himself from his hotel room, out of New York City. raspy sound, and he might move about destructive behavior was not watching more than a dozen bassists Turetzky’s devotion to jazz prompt - the stage as he performs. At a recent for him. At this point he devel - lumber around with their unwieldy ed him to switch from his first instru - recital near Del Mar, he performed an oped an interest and began instruments. ment, the banjo, to the guitar, which improvisational piece with a violin and performing Renaissance music. Composers often thought the dou - was more attuned to playing the music bass clarinet that may as well have been It was the egalitarian nature of ble bass itself lacked grace, capable he loved. Soon his bandmates convinced titled “Dissonance Rising.” Turetzky the ancient music appealed to only of slow passages in support of him that a bass was more important admits that much of his music is chal - him. “It is egoless,” he says. “If other instruments. The great bassist, than a guitar, and he again switched lenging for audiences, but people have three people play, they share Turetzky in his studio Dragonetti, began the liberation of the instruments. “I liked the bass,” Turetzky been accepting, even enthusiastic about equally in the piece. No one play - bass from this role when he convinced says. “It seemed to be the core of every - his work. “I always felt that the public er outshines the others.” Beethoven of the instrument’s poten - thing, particularly in jazz, which is what would accept what I was doing if I Early in his career, Turetzky realized tial. Beethoven gave the bass fast run - I was listening to back then. It’s the believed in it,” he says. that modern composers were desperate ning passages in his fourth and fifth glue between the rhythm and horn All of Turetzky’s concerts are to have their music heard and, he says, symphonies, and he chose its warm instruments.” unique in their format and the different “If I wanted to play, I had to hook up strength to introduce Schiller’s Ode to When he was 16, Turetzky and a accompanying instruments, but there is with composers.” Together with clar - Joy in his ninth. Other composers have friend were driving along the one constant. In 1973 he toured Europe inetist Henry Larsen, Turetzky formed followed with occasional featured pas - Connecticut shore. Their car ran out of for the first time. At the end of a con - the Hartt Chamber Players, an ensemble sages. In the 19th century Bottesini gas and a middle-aged couple offered cert in Warsaw, the hall broke into the dedicated to performing music by com - wrote a few concerti for double bass, as to help. Turetzky’s friend implored, rhythmic applause characteristic of east - posers who were trying to get their did Koussevitzky in the 20th. Past these “Can I come with you? All this guy ern European audiences. Turetzky music heard. He says, “We would play it and a few other examples, the bass has wants to do is talk about jazz.” The returned to the stage, but could not all, not sticking to what was ‘safe.’ If a stayed largely in the back of the orches - couple laughed and said, “That’s all we think of an encore. Ellington? Ives? composer wrote something for us, we tra. talk about, too.” The jazz-loving couple Finally he announced to the audience, would play it. If it wasn’t very good, we Then came Bertram Turetzky. introduced Turetzky to Eugene Sedric, “Ladies and gentlemen, an English folk would only play it once. But still com - Starting in the late 1950s, Turetzky Fatts Wallers’ clarinetist, who invited song.” He treated them to “Yesterday.” posers were getting their music heard.” took up his lifelong goal to free what Turetzky to jam with him and other At the time, audiences were not used to In 1959 Turetzky and his new wife, he calls “this noble but misunderstood greats from the swing era, such as trom - the idea of mixing high and popular Nancy, began sending letters to com - instrument” from the preconceived bonist Sandy Williams and drummer culture, but the Poles enjoyed his posers asking them to consider writing notions that constrained it to the Arthur Trapier. Turetzky says, “Here I impromptu choice. Since then, the pieces for the bass and for the Chamber orchestral foundation. He convinced was, this white kid with a blonde Kay Beatles’ classic has remained Turetzky’s Players. One of the patrons of Hartt composers that the bass could hold its bass, white on white, but they let me signature encore. College was Alfred Fuller, who had own as a solo instrument and that it play with them because I loved and At the age of 12 or 13 he began made his fortune from the door-to-door was capable of new sounds and tim - respected their music.” playing tenor banjo, occasionally win - sales of his Fuller brushes. Turetzky bres. Turetzky’s work for the bass has Deciding to become a professional ning a $5.00 prize at amateur contests thought if that technique worked for brushes, it might also work for the bass. Just like the brush salesmen, Turetzky sometimes showed up on composers’ doorsteps, double bass in hand, to con - vince them to write a composition for him. “I had to show them something of interest,” Turetzky says of his efforts. To pique their curiosity, he demonstrated the unusual techniques he had devel - oped, such as rapping on the bass for percussive sounds or the rapid tremolo effect that he borrowed from the Greek bouzouki. He showed composers vari - eties of vibrato and the large pizzicato sound from his jazz playing. “Anything to enlarge the sonic palate of the bass,” 8 www.sandiegotroubadour.com DECEMBER 2005 SAN DIEGO TROUBADOUR parlor showcase

ious, sinking in his seat. “He was proba - Hartt, and then in 1968, moved to a full bly saying a silent prayer,” Turetzky professorship at the University of says. The up bow and the rest of the California San Diego, from which he concert came off without a hitch. retired in 2003. He now teaches part At another concert early in his time at San Diego State University. career, which took place at the Living Prominent students include Mark Theatre in New York, Turetzky Dresser, who now moved into Turetzky’s announced to a young lady in the audi - position at UCSD after his retirement, ence, “There’s no piano in this, honey,” John Leftwich, Bob Magnusson, and as she sat expecting to see the tradi - Kristen Korb. Korb, the fetching young tional 19th century pairing of the bass bassist and vocalist says of Turetzky, “He and piano. Following his requests, com - is extremely passionate and compassion - posers have given him compositions ate with his students. Instead of trying that pair the bass with other instru - to make everybody sound like him, he ments besides the piano, such as helps his students find their own voic - ’s piece for alto flute, es.” Jazz great Magnusson adds, “Bert soprano, and bass, and the duo for bass is a wonderful teacher who always has and flute by . At the a great sense of humor.” extremes of the musical spectrum, a “There was no goal, no plan,” duo for flute and bass presents unusual Turetzky says. “My life has been a com - technical difficulties. The bass can over - plete improvisation.” But as any great power the flute, but since his wife is a jazz musician will tell you, improvisa - fine flutist, the pairing of the two tion is not playing randomly. It takes a instruments pleased Turetzky. He says, lot of thought, hard work, and practice “We were making a life together. We to play spontaneously. Similarly, should perform together.” Turetzky’s improvisational life, one that At a reception after a performance has left a large body of work for the in St. Louis Turetzky was asked, “Bert, bass, successful students, and accolades why do people like contemporary the - that compare him to Casals and atre more than contemporary music?” Segovia, shows more than spontaneity. He replied that music is more abstract “My family members were immigrants, and hence more difficult to follow. He but through hard work, I’ve succeed - thus feels that his work with poets and ed,” he says. “My life is the American poetry has kept his music accessible to dream.” the public; it gives the listener some - thing to focus attention on. Among the Turetzky in his studio poets Turetzky has worked with are Jerome Rothenburg, known for his he says. These new approaches and Advance Records label. The label’s first dada verse, and Quincy Troupe, who techniques are described in Turetzky’s release in 1963 featured a Turetzky riffs jazz-inspired verse on the composi - book, The Contemporary Contrabass , recital. According to some music librari - tion “I Remember Mingus,” which published in 1974. ans, it is the first recording of new appears on Turetzky’s Compositions and His reputation as the man who was music for double bass. Improvisations disc. revolutionizing the bass began to take Turetzky made his full concert Turetzky occasionally uses his own shape in 1960, with a concert he per - debut in 1964. The packed house voice for poetry or spoken perform - formed as part of the New Music in Our included jazz guitarist Jim Hall and ance. In “Jazz Gallery I” on the disk Time series at the YMHA (Young Men’s composer Frederick Zimmerman, and Tenors, Echoes, and Wolves , he impro - Hebrew Association). It featured a con - the entire program consisted of compo - vises on his bass as he recites poems certo written for Turetzky by the com - sitions written for him. Caught up in that pay tribute to four titans of the poser Ralph Shapey. He also started the excitement, Turetzky forgot his tenor sax: Coleman Hawkins, Sonny making contacts with well known mod - dress trousers. So there he was, center Rollins, Lester Young, and John ern composers such as Henry Cowel and stage, white vest, tie, and $5.00 black Coltrane. And perhaps one of the more Edgar Varese. One of the composers to chino pants. Seeing Turetzky start the well known pieces that Turetzky per - write music for Turetzky was Barney concert with a difficult up bow, a violist forms is “Failing”, a piece that requires Childs, who was also the founder of the friend in the audience was visibly anx - the bassist to read text and music, per - form them both, then confess his inse - curities about performing a composition so difficult that it seems doomed to fail - ure. Turetzky does more than pay trib - ute to Mingus, Coltrane, and jazz. He still performs the music that was his first love with the San Diego jazz band, Turetzky’s primary bass, the one he Prime Time. He also performs other uses for and his solo work, music from his youth in the Second is a 1762 Belosius, which he has had for Avenue Klezmer Ensemble. “My about 50 years. He says, however, that “it’s Grandmother used to sing these songs,” not versatile; it’s not good for pizzicato.” So he says of this music of the eastern the one you hear on his recordings is a Maggini copy made by Gunther Krammer, European Jews. As the band performs which Turetzky says has a larger pizzicato its repertoire of waltzes, freylachs, and and is more versatile than the Belosius. He horas, Turetzky jokes that the band will uses the Krammer when he plays jazz. He perform the ‘Jewish Cowboy’ song, “I also plays a Hornsteiner that has a distinc - Miss You Baby, But My Aim Is Getting tive lionhead instead of a scroll. Turetzky bows German style, and his Better All the Time.” bow of choice is a Phfretchner. “It’s the old - As if a legacy of promoting and est, the one I’ve had the longest,” he says, performing music for the double bass explaining his preference. He also uses a were not enough, Turetzky has created Kolstein that he’s had for 20 or 30 years. a cluster of fine students who carry on His newest bow is a Hoyer that he doesn’t his tradition in their own manner. He use often. “But I’m getting used to it,” he says. began teaching at his alma mater, The Second Avenue Klezmer Ensemble www.sandiegotroubadour.com 9 DECEMBER 2005 SAN DIEGO TROUBADOUR ramblin’

Bluegrass CORNER

by Sven-Erik Seaholm perhaps adding counter melodies, riffs, or by Dwight Worden hooks. With all of that happening, there’s a very good chance that the guitar part I used FROM THE TOP DOWN , P ART 2 A PRIMER ON BLUEGRASS special concerts as well. You can learn more to perform the song in a solo acoustic for - ORGANIZATIONS about BASC by visiting their web page: Sven-Erik Seaholm ast month’s column focused on what mat will suddenly find itself to be redundant Every bluegrass musician and every fan http://members.aol.com/intunenews/main.ht at best and, at worst, a train wreck. At this I refer to as the “Top Down” This is not to disregard the “bottom up” should have a working knowledge of the ml. point (or really, over a period of time), my approach to recording and producing, approach, where a groove is laid down as a bluegrass organizations out there and what L wherein the song itself defines what deci - part will either simplify or shift toward they have to offer. For musicians, they can foundation upon which a song can be built sions are made with regard to the sound and another role entirely. Maybe I’ll remove a lot provide gigs, contacts, fellow musicians, jam up. No less a singer-songwriter talent than textures utilized. I had pointed to the work of the strumming, or lay out on the verses, sessions, camp outs, and a variety of other Paul Simon ably demonstrated how effective of Mitchell Froom and Tchad Blake as being or whatever. The crux of the situation forms of assistance and useful services. For this method could be with one of his finest the most fitting examples. While they have described is that while things may have fans they can provide access to great festi - albums, The Rhythm of The Saints . Simon SOUTH WEST BLUEGRASS ASSOCIATION changed considerably, they were all dictated vals, concerts, jam sessions, and other get utilized some of the most extreme sonic worked with an ensemble of South American The SWBA, also a 501(c)(3) nonprofit corpora - or inspired by the song’s very essence. togethers, as well as a variety of social mangling techniques in their productions, and African musicians to create a set of lush, tion, preserves, promotes, and presents blue - On many studio projects, I’ve noticed events and opportunities to get involved that their reverent regard for the song itself vir - complex percussion-driven grooves that he grass music. SWBA offers concerts, work - subtle high-hat nuances, snare “ghost can be great fun. For example, many of the tually ensures that their efforts will still subsequently composed some beautiful shops, jams, and other special events that notes,” and bass drum accents that actually San Diego bluegrass camp out attendees are manage to support and enhance the lyric, are bluegrass related. SWBA members come music and lyrics over. Peter Gabriel is anoth - listeners not players, and they have a great melody and overall vibe. from several western states including er avowed pro - time. Best of all, they will keep you informed In the kitchen or California, Arizona, and Nevada. Membership ponent of this about what is going on. Bluegrass organiza - the studio, the best is $18 per year, $20 for bands. SWBA pub - school, as are tions typically provide newsletters, email productions are always lishes its own newsletter free to its members countless hip- updates, web pages, and other useful servic - called the Bluegrass Sound Board . Learn a team effort. The bet - hop and dance es, and most have very affordable annual more about SWBA and its programs at: ter your ingredients at music artists membership fees in the $15-$30 per year http://www.s-w-b-a.com/Default.htm. the outset, the better who have made range. Here is a primer covering what you your chances are for a a lot more CALIFORNIA should know. successful result. BLUEGRASS money than I’ll SAN DIEGO BLUEGRASS Sometimes you’re out ASSOCIATION likely ever see. SOCIETY , I NC . of cooking oil. Your The CBA is a very From this direc - The SDBS is a local decision whether to large statewide tion, many of San Diego 501(c)(3) non- use olive oil, butter, or organization with those rhythmic profit corporation dedicated make a trip to the store more than 3,000 accents and to presenting and promot - will directly affect your members! It is ded - subtleties can ing bluegrass music in San icated to promoting, presenting, and preserv - outcome. The produc - be contextual - Diego. The SDBS provides ing bluegrass music. CBA presents the Grass er’s role at this point is ized after the a bimonthly newsletter Valley Festival each year, along with other to know a lot about fact by actually called InTune Magazine , concerts and events. CBA is also a nonprofit cakes and what those writing them which is free to members, monthly flyers, a 501(c)(3) organization, but with a statewide expected results might into the song, quarterly report called the “Tweener,” spon - focus. They will present the first ever be, subsequently antici - which may on sors’ jams and events every second Tuesday SuperGrass Festival next February in pating courses of action and hopefully, balance impart the same feeling of empa - of the month at Fuddruckers in Grossmont highlight a particular lyrical passage and Bakersfield with an outstanding line up of avoiding disaster. But you can’t make a great thetic musical accompaniment. Center), every third Tuesday at Fuddruckers in music. Learn more about CBA at: cake with bad eggs, no matter how tasty the bring even more meaning to the words. Chula Vista, and every fourth Tuesday at the Now speaking only for me, I’ve never http://www.cbaontheweb.org/about.asp frosting is. This is where the supporting A great bass line can also accomplish Boll Weevil on Miramar Road. SDBS also written a song either from or over a groove musicians’ role in the process shows itself to this, as Paul McCartney showed many times presents special concerts throughout the year INTERNATIONAL that outlasted one of the top down composi - be just as invaluable. during his tenure with The Beatles. as well as other special events. Member dis - BLUEGRASS tions in my repertoire, which may be why I McCartney’s four-stringed input eventually counts to concerts and events are sometimes MUSIC The contributions made by guitarists tend toward the latter approach. Even the evolved to the point where he would over - offered. Membership costs $20 per year per ASSOCIATION and keyboardists are the most easily identifi - electronica albums I’ve produced were “song dub his bass parts last. In this way, he was family. For more information and to join The IBMA is the able. Most of your comping and soloing hap - first” affairs. Fortunately, working from a able to play under, over, and around the online visit the SDBS web page at: national and pen here, and in the pecking order for the song-oriented slant has also allowed me to vocal and other instruments in a way that http://members.aol.com/intunenews/main.ht international trade organization for bluegrass “Top Down” theory, some might justifiably work in a lot of different genres, and kept no one would have dared attempt at the out - ml. Together with the NCBFC (see below) the music. The IBMA presents the World of place them just below singer and song. After my love and interest in my work fresh. set of basic tracking, for fear that no room SDBS presents the Summergrass Bluegrass Bluegrass Festival every October in Nashville all, most singer-songwriters accompany But enough about me (yawn), let’s talk would be left in the arrangement for much Festival every August featuring three days of and offers a variety of services to its mem - themselves on guitar or piano, right? about you. Why are you reading this, when of anything else. top of the line bluegrass music. Check out the bers. IBMA members consist of professional This is where things get very interesting. you could be making music? Go get ’em! Summergrass web page at: www.summer - musicians, music agents and promoters, Because when we write songs, I think it’s gras.net. grass roots bluegrass organizations, event most often within that context: A voice, a promoters, and individual fans. IBMA has a melody, and a single instrument providing great Bluegrass in the Schools Program and both rhythmic and chordal support — from offers other services, such as insurance for the top down. To follow through and create festivals and concerts. IBMA presents the a full band arrangement at that point pres - annual Bluegrass Music Association Awards, ents a new set of choices: Do you start with the bluegrass music equivalent of the that as your basis (the singer singing and Grammys. Check out IBMA at: NORTH SAN DIEGO COUNTY BLUEGRASS AND accompanying themselves) and add comple - http://www.ibma.org/index.asp. FOLK CLUB mentary colors? Or, do you reinterpret some The NCBFC is also a 501(c)(3) nonprofit So, what do you need to do to join? All of or all of the roles of that person’s hands? corporation, promoting bluegrass and folk these great organizations are all very afford - My first-hand example of this (oh, PUN- music in the north San Diego county area. able. If you live in San Diego, I would recom - ish me for that one) is with the band I play mend joining at least the SDBS and the The NCBFC presents a concert and jam every in, The Wild Truth. I generally bring a new NCBFC. You will get informative newsletters first Tuesday of the month at Round Table song to rehearsal and run it down for them and other updates and will find out about all Pizza in Escondido. NCBFC also organizes on guitar. In that one performance, I have the local bluegrass goings on. You will also special concerts, camp outs, and other already suggested a feel and attitude to start meet some great folks. You won’t regret join - events, as well as publishes a great newslet - with. In some instances, I might go so far as ing, I promise! And remember, these organi - ter six times a year called the Bluegrass and to detail what it’s about, or different sections Folk Broadcast . Annual membership is $15 zations depend on membership dues to keep that hold particular meaning for emphasis. per family. Check out the NCBFC web page to going and to bring you the great music, jam At that point I know that my guitar part is join and for more info at: http://northcounty - sessions, and other events that they provide, about to change, because now the bass play - bluegrass.org/PostNuke/. so show that you appreciate what they do by joining. er (David Ybarra) and drummer (Bill Ray) are BLUEGRASS going to assume and expand the job current - See you at the next event. ASSOCIATION OF ly filled by my (cloven) right hand. What SOUTHERN CALIFORNIA they bring to the table is not only a skill set BASC is a 501(c)(3) far beyond what my limited abilities afford corporation and the me, but also a fresh perspective that most sister organization to often propels the song to a higher level as the SDBS, covering well. Similarly, lead guitarist Charlie Loach Los Angeles and brings sophistication and alliteration (my Orange Counties. BASC sponsors local con - obfuscation needs a long vacation) into the certs and jams in the L.A. area and presents mix, filling out the harmonic voicings and 10 www.sandiegotroubadour.com DECEMBER 2005 SAN DIEGO TROUBADOUR ramblin’ P h o t o :

J e s s Hosing Down e

E Radio g a n

by José Sinatra around the fireplace with appropriate beverages and hearts full of song (no Daze DICK NICKS NICK TRICK rap, please, it’s Christmas). If you don’t have a fireplace, toss a few logs by Jim McInnes Being a lifelong abstainer from or newspapers onto an expendable gambling, I’d wager that among most chair or table and start a makeshift celebrants, the Golden Age of Free Beer fire in your living room. And tell the Christmas occurred during their child - timeless tale again . . . just hung up the phone after call - hoods. While romanticists would The debonair Mr. Sinatra attribute this determination to the For lo, ‘twas long ago whence was ing Humphrey’s Backstage Lounge Jim McInnes for the 44th day in a row in an magical innocence and greedy won - born in a chimney the bearded babe I St. Sooty and St. Joey for that exqui - effort to book another gig for “my” der of youth, I’d thumb my nobly hewn St. Nick, who was also called Kris ences. site marking of Dick’s 10-year band, Modern Rhythm. We’ve played nose and insist as romantically as Kringel. And the people proclaimed absence. And kisses to everyone else that venue at least a dozen times Steely Damned . Guess whose music him Santa Claus and he flew possible that those were more Golden involved. over the last four years but could they perform? through the chimneys and into the Christmases simply because during The event caused me to remember never guarantee that anyone would Mississippi Mudd . Deep South elec - our childhood, more members of our hearts of all men and did bring glad a very special letter I received in the show up. Sometimes there’d be 80 tric blues. Again, perfect. families were alive and sharing the air tidings of great gifts on his birthday mail two weeks to the day before or 100 people there and other times Buckethead . Why not? He wears a with us. year upon year . . . Country Dick’s death — a letter that only 14 would be in attendance. mask and a KFC bucket on his head. Gradually the family diminishes and I’ll close the curtain now, dear folk, That got me to wondering: maybe I’ve saved and will continue to cher - The Fu*ked. These guys played at all joys are increasingly incomplete. and reveal the truth: after careful we have no following, despite 23 ish longer than you, ‘cause you didn’t the old Spirit Club’s “Worst Band in We have dined on pristine happiness thought and meticulous calculations, years of existence, because the get one. the World” showcase. I’ll never for - and will savor the aftertaste for the it became clear to me this week that band’s name is so generic. Dear Hose, get the “singer” telling the audience, duration of our own lives, but each it’s all a story, just a story. Fiction! I know what you’re thinking, I never dreamed I was capable of “What the hell did you expect? subsequent feast seems prepared by There is no such thing as Santa Claus “Maybe you actually suck!” But loving a man . . . until last week We’re fu*ked!” a lesser chef. and there never was. All those pres - you’d be wrong. It’s both! We suck, when I fell into your arms and your AND our name sucks too! Now let’s examine a band name that Still, each Christmas arrives with ents you find under your Christmas golden chains caressed my heart, Let’s look at some band names doesn’t work: remarkable possibilities for those tree didn’t come a from sleigh-riding, my life lacked a heart caressed by that work (ed): Modern Rhythm . Google this one whose hearts are glistening with reindeer-loving magician. golden chains. and you’ll get not only our website goodwill and whose ears are deaf to Rolling Stones . Derived from a No, I bought them for you and Had I ever known love until then? Muddy Waters song. Perfect. but you’ll also get 57,000 treatises the saddest, most hellish song they placed them there because I care on the function of the “modern I don’t think so. Beatles. Beat Farmers. Beat Rodeo. might ever hear. about you! It’s been a lot of work and rhythm” section in contemporary Might I be filled with yours again? Beatnigs. Billy and the Beaters. I’m so very ashamed to have it’s made me pretty tired, so starting jazz, etc. The concept of “modern” Oh, please! I am a leaking vessel, They all have the root word “beat.” turned at least one blind ear (oh, okay, changes every few months...even as this year, I’m turning the job over to thirsting unto death for you, Hose. Can’t beat that! visually impaired ) to the tune until a we continue to play our repertoire of your own friends and family. If every - No one must ever know of this, of day or two ago. Why was I wrong for Rockola . A damn fine classic rock ‘40’s and ‘50’s swing and jump num - one does his duty properly, we’ll see course, lest there be rumors . . . so long? Was it because I was brain - band named for the jukebox found bers, obscure blues, rock classics, families become real families again, dig? If you speak or write or let any - washed or because I was stupid? And in every dive bar since the beginning heavy metal originals, and a polka. enveloped in generosity and debt, free body know of our secret, you’ll die a of time. Perfect. now that I’ve realized the truth, is I think we’ll be switching to a from myth but full of mirth. Yes, and so very painful death and i would be there any way to anticipate any pleas - Noise Ratchet. It doesn’t take much more accessible and obvious name eager to repay kindnesses of upset. ure in Christmas ever again? to picture that sound, does it? like FREE BEER. Christmases past, naturally. Oh, call, dearest Hose. Your gar - I’m going to try to find one, dammit. Other modern myths, from the The Locust . They dress like Betcha THAT gets ‘em into the den awaits! bugs...and sound like ‘em too. And I think you’ll want to as well. artistry of hip-hop to the Christianity club. Clara (Mrs. Santa) Claus Sometimes truth is ugly. But cannot of George W. Bush, deserve similar Ozomotli. It’s, like, Mayan or some - 1225 Fairytail Lane beauty grow from ugliness? Think of scholarly annihilation and may be thing exotic. A blend of ethnic influ - North Pole 55500 Paris Hilton. No, scratch that. Think of addressed in future columns, but I’m that grotesque, self-cenered, stoned still feeling too Christmasy to steer lit - I’m sorry I was never able to show slug that becomes a butterfly. Okay, tle Rudolph astray. the letter to Dick. I’ve always imag - now think of a weasel becoming Paris It certainly felt like Christmas a few ined him laughing at first, then sud - Hilton, No, scratch that, too. Just back weeks ago at the Casbah, when Sooty denly acknowledging the letter’s to the butterfly thing, alright? and Joey Harris reunited a very spe - authenticity, scrunching his face in Do you think that butterfly ever cial, very large family in tribute to mock disgust, and melodramatically remembers that it used to resemble a another real Santa, the always ho- bellowing some profane accusation grotesque, self-cenered, stoned slug? hubba-ho-hubba-hoing Country Dick concerning “prune-tang.” No way; truth has set it free like half Montana. Real, honest human love Bless his heart, too, this Christmas. of a two-for-the-price-of-one sale was on display in every aspect of And yours. package. planning and execution. Thank you, Now gather your loved ones

www.sandiegotroubadour.com 11 DECEMBER 2005 SAN DIEGO TROUBADOUR highway’s song Amos Lee Captivates Local Audience

last show in his fall 2005 tour, I would get a cheer from the fantastic voice always compen - would file a complaint about his crowd and bring the focus back sated for these aspects of his per - stage performance. He main - to the stage. formance. tained his presence quite well but Lee performed selections from My wife and I discussed the it took him and his band a solid his self-titled debut album on music every now and then, ask - 45 minutes to really believe in Blue Note records including ing ourselves how to define the the music again – to play with “Bottom of the Barrel,” “Black show with common terms, and passion as well as talent. River,” “Give It Up,” and his cur - we had a difficult time. We The Belly Up is a staple venue rent single “Keep It Loose, Keep decided that was a good thing. in San Diego and often attracts It Tight.” One of the rare Lee’s voice is very rich but it performers who haven’t quite moments of dead silence in the doesn’t get overdone or worn reached stardom but who have evening occurred when he out. It’s more like fine wine than made significant inroads in their played “Love in the Lies.” In this good chocolate. Bonnie Raitt and careers. Since its change of hands song he sings “Remember when James Taylor came to mind as a year or more ago, the space has we were in California/we were so appropriate comparisons insofar undergone a handful of cosmetic much happier then/now we’re as his voice is a bit nasally but changes, including fresh lighting back in New York City/looking also effortless and well-grounded. and more open spaces. The for love in the lies of a lonely The musical arrangements over venue is the perfect place to hear friend.” Everyone loves it when a the course of the evening were the music of Lee. His style is touring act sings about their varied, ranging from Americana uncompromising: musical, confi - home and to meet expectation to country and blues. dent, and very dynamic. Silence the crowd howled and cheered at The songs on his debut album is as much his instrument as is the mention of our beloved state! are largely about love and loss, the sound of his guitar. It’s that Lee’s band included a great relationships gone bad, and long - dynamic texture that he and his bass player. I thought that under ing for certain things to get bet - band create — which gives their ideal (and more attentive) cir - ter. These are all common performance an attractive sense cumstances, an upright bass themes, although his renderings of intimacy and personal atten - would have fit the mood perfect - of them make these stale topics tion — like a living room con - ly but the bass filled out the seem refreshing and creative. cert. It is sad but true that open - room in a very gratifying way, Aside from his voice, Lee has a ing acts are largely ignored by bringing a sense of cohesiveness talent for mixing words in a way Amos Lee concert attendees, so the chatter to the whole performance. The that makes them more potent over Mutlu’s performance wasn’t drums were also a perfect com - than the sum of their parts. His by Will Edwards impressed by Lee’s performance unexpected. Unfortunately, how - plement – understated and even meanings exist between contrast - on PBS that he and his wife had ever, it persisted throughout the romantic. It’s tempting in a large ing ideas. He sings “I ain’t no arrived an hour and a half decided to come down to see evening, and only on two or room to fill the space with wide-eyed rebel/oh, but I ain’t no before the opening act took him in person. three occasions did the room rhythm and command every - preacher’s son.” Lee defines him - the stage, and my wife and I The show began with a per - finally fall silent and that was one’s attention that way. But self by what he is not and effec - I only because half the room was mature drummers tend to sharp - tively avoids pigeon-holing him - settled for a pair of seats in the formance by Mutlu, a singer- rafters, our view obstructed by songwriter that Lee apparently shushing the other half of the en the music’s structure rather self. His music explores the com - the half dome structure that knew from Philadelphia. Mutlu’s room! At one point, during a par - than define it and that was how mon ground between genres and makes up the rib cage of the material mixed R&B rhythms ticularly poignant song, one guy this sounded – delicate and even his public performances Belly Up Tavern in Solana Beach. with smooth, melodic vocals. He suddenly yelled at the top of his refined. The band’s fourth mem - maintain a private, personal feel. Over the course of the next hour mostly strummed his guitar as lungs “Go!… Go!… Go!….. ber seemed to be a jack-of-all- Lee has the mark of a songwriter I watched the floor fill up (every backup for his voice — which Goooooo!… YEAAAHHHHHHH!” trades performer, opening the who is at the front end of a pros - seat was taken) with fans at the was a very nice voice — although He was watching football high - show on trumpet and also perous career. He sings, “Now sold out performance of I think that he and his guitar lights on the house TV! accompanying Lee on guitar and everybody wants to treat me like Philadelphia’s Amos Lee. would have benefited from a lit - Thankfully, the bartender turned mandolin, playing most of the a house fly/turn me around and Circumstance and coincidence tle more amplification. After it off after that and I think the melodies and lead parts. tell me to shoo/they want to tell had brought Lee to my attention. playing a half dozen songs, noisy guy went home. Quite often Amos would start me to keep on dreaming/that’s I’d gathered that his recent per - Mutlu introduced his pal Amos As a solo singer-songwriter, I or finish a song off facing the just what I’m gonna do.” An formance on Austin City Limits Lee. have my own techniques for drummer. I imagine this was his allusion, I’m sure, to the trials (splitting the night with none Now, as a singer, Lee stands dealing with distracted audi - way of locking in the groove and tribulations of an aspiring other than legendary songwriter out. His voice is bold but under - ences. One way to get people to (which was always solid) and songwriter and a wise approach. John Prine) had made waves and stated and I got the sense that quiet down is to quiet your keeping everything tight. But it had won him some valuable beautiful music is inside his very music down. Lee seemed to be compounded my sense that he Amos Lee can be found online at: exposure. I had been told about being at all times. Some singers trying to find a balance with the was not a performer who really http://www.amoslee.com and Lee twice in the past week by can produce the most melodic audience and maintain control of feeds off of the audience. I often Mutlu can be found online at: friends, and the gentleman who and pristine tones with a mini - how and when the volume of the felt that he was distracted, which http://www.mutlusounds.com . shared our cramped quarters in mal amount of effort. Lee is just room changed. He’d often sing is understandable at the end of a the balcony had been so such a singer. On this night, the his hooks and choruses at nearly tour but also less conducive to a inaudible levels and quite often great show. But, all that aside, his

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12 www.sandiegotroubadour.com DECEMBER 2005 SAN DIEGO TROUBADOUR of note

Amber Andre Balazs Kev Annie Mark Rubarth Bipolar Jukebox Acoustic Dreams Bethancourt O’Connor Something New by Chuck Schiele by Chuck Schiele NorthNorthEast Hot Swing Trio Live It is rare when a unique sense of If you like acoustic guitar you’ll by Tom Paine character emerges through the love this CD. in New York by Tom Paine sludge of slick in the music world Usually there isn’t much to talk Originally from Reno, Nevada, these days. Andre Balazs is such a about when there’s but one chap on Annie Bethancourt has one of by Paul Hormick Amber Rubarth now lives on the character. Funny how you sometimes one guitar. I mean, what is there real - those rare voices that makes other road. Tirelessly touring in support of Quite early in his career, as a pop in a CD and surmise pretty ly to say? singers want to quit. I know she has her debut release, Something New , teen as a matter of fact, Mark quickly whether or not any band or If that chap is KEV — Kevin a great album in her. Maybe many. Rubarth is winning friends and fans O’Connor secured a position in artist falls into the dolt category or Rones — you could say he plays But this isn’t one of them. all over the country. Her music falls Stephan Grapelli’s swing band. the genius category — among other damn fine guitar. You could even go Billed as an EP, NorthNorthEast is somewhere between Alicia Keys, Grapelli, the greatest of swing violin - considerations. Balazs swaggers con - so far as to say he plays with the best really a demo with only one track — Nora Jones, and New Orleans big ists, took the already accomplished fidently into the genius category and of ‘em, discarding the time honored the lush “Wavering Song” — sound - band jazz. How many singer-song - and award-winning young fiddler takes his place with the likeness of a C7 strum school in favor of complex - ing well made enough to warrant writer albums do you hear with under his wing. Since then O’Connor king settling into this throne, ity through counterpoints and woven release. But to her many fans I’m muted trombone slides, clarinet solos has accomplished a lot, making his amused by the jesters before him. If lines coming together to imply the sure this EP is a welcome way to and trumpet flurries? reputation as a top country fiddler in he were the king, he’d probably chord changes along the way. There carry a little Annie around with The excellence of the production Nashville and playing light classical enjoy carrying on with the jesters are no overdubs. No special magic them. and musicianship go a long way music with Yo-yo Ma and Edgar just as much as he would with the studio tricks. There isn’t even any Like legions of young folk singers toward distracting listeners from the Meyer. Nonetheless, that early expe - scholars and seers. help aside from the nice clean mas - before, and no doubt after her, lyrics. Playing it safe, Rubarth doesn’t rience with Grapelli left its mark, and It’s good to hear such a different tering by John Katchur, as Kevin Bethancourt has taken her youthful brave any new ground or original O’Connor is, for this generation, the set of choices on a record so catchy. Rones produced the work as well. observations about boys, ambiva - insight. But maybe that’s not what number one swing violinist. It’s familiar without becoming trite Just good guitar work. The composi - lence, and ambivalence about boys this record is about. The bounce in He and his Hot Swing Trio give and boldly unique without becom - tions are superb and the execution is and let them drift down over simple the band speaks loudly enough. The us another sampling of swing violin – ing stupid. Andre Balazs deploys his excellent, my personal favorite being songscapes. But sometimes vague - sassy confidence and girl-next-door along with swinging guitar and classical training and jazz-savvy to “Lucia,” mainly because of the “teas - ness and personal subjectivity don’t honesty of Rubarth’s singing make it bass – on their latest release, Live in “bitch-slap” pop-rock music up and ing” of the first two minutes. pass over into profundity. Sometimes obvious that this is no crying-in-her New York . If Grapelli was the man to down this record. From great “Dakota” runs a close second. slowing down and stopping don’t latte coffeehouse chanteuse. Her joi put European refinement and accen - changes to great chops and very While there is an aggressive gui - increase the impact, they only stop de vivre is the message. tuate the sense of play in swing vio - interesting arrangements. At times tarist here, with the definite and the song cold. Not one to agonize Perhaps the strangest song of all is lin, O’Connor has brought back there is a strong Tom Waits affinity, deliberate upper hand in his relation - about melody, Bethancourt instead “Two,” a Carlos Castenada/Don Juan some American panache and pluck but not really. He goes there, but ship with his guitar, there is also a lets the lyrics trickle down over the inspired peyote vision about alter - for this instrument and this music. abandons it just as quickly. This tenderness in the handling. It’s still chords like water down a street. nate realities replete with a New Except for the Frank and Joe record is also about irony and juxta - downright ballsy. Downright elo - Calling these songs aimless would Orleans jazz band accompaniment. Show, in which he co-leads the band, position. Serious chops served with quent. But often sweet. In concrete be too harsh. Maybe meandering It’s one of those ideas that looks ter - Frank Vignola has been the perennial audacious humor. For instance, my terms you can hear the post-Celtic- would be kinder. Sometimes it feels rible on paper but totally works. sideman. It’s kind of a shame, favorite tune on the planet right now nouveau thing amid modern and not like she’s only test-driving them. I Sometimes daring pays off. because he’s such a great musician is “Wasabi,” a nonsense sort of song so modern approaches to handling was left longing for her to step on it, The last track, “Rising,” is a sur - and throughout the disk he swings that states: “Wasabi is just the guitar. to commit, to quit holding back. I prise. Suddenly, out of nowhere, a and shines. As the bassist for Stephan Horseradish, nothing more, nothing Listening to this CD might draw hope her confidence grows and her sophistication and depth emerge and Grapelli for years, Jon Burr is definite - less.” It’s rendered as a sort of gypsy analogies with the likes of our very next release unlocks the bold power the full promise of what Rubarth ly at home swinging with this trio. march Hungarian tango dance thing, own Jim Earp, Lawrence Juber, these songs only hint at. could be takes flight. Here all the ele - His playing is solid and his time is complete with the accelerated Michael Hedges, Pierre Bensusan, The last track, “This Is For You,” ments of production, arrangement, right on the money. Stepping out tempo, and sporting a great violin with a dose of rock and roll ‘tude, comes closest to fully realized song - composition, musicianship, vocal from his supporting role, his solos take by Alan Grubner. Somehow and some “Spanishy” stuff now and writing. Finally, it feels like we are prowess, and sheer humanity coa - have a spark and also a lyrical quality with respect to and in spite of this then. All the while Kevin Rones hearing something real, something lesce in a shimmering three and a that is difficult for the double bass to description, this tune is seriously remains his own man, liking his spot honest, something utterly free of half minute reverie. At last Rubarth convey. remarkable. It is the only song I’ve in the mix, reporting to only to his contrivance. finally sounds like no one else but The disk mixes five standards played so frequently in the last ten “source” when it comes to his rela - Oh, but her voice! I listened over herself. A beautiful, powerful song with five compositions from years. tionship with his guitar. This must be and over again to this CD, hoping about transcendence, “Rising” cracks O’Connor, which adds to the appeal Then there’s “Highly what love sounds like to him — col - the songs would grow on me, but open the door to the immense of this recording. From tune to tune Recommended,” one of the rare love lected in each God powered episode, rather than that happening I fell promise of her next album. the styles and tempo vary quite a bit songs that’s not at all smarmy, yet it which we refer to as tracks. deeper and deeper under the trance and keep the disk interesting. The is truly sweet and carried by Andre’s Another thing worth noting is of her singing. A master of tone and Something New by Amber Rubarth is interpretations of the standards are soothing gritty baratone in duet with that he could easily decide to be mood, Bethancourt deserves great available at www.amberrubarth.com pretty straightforward, with the ren - a seemingly lovely Kate Callahan. overly flashy and rambunctious, as songs and much better musicians. dition of “Cherokee” at as blisteringly In fact, all the songs are great, but though he’s trying to prove some - Instead, this record sounds like fast a tempo as you’ll ever hear. I don’t have enough space to carry thing. But no. He certainly has the something a few friends helped her O’Connor’s compositions round on about it here. The nine cut CD is mettle to go overboard with finger- throw together as they simultane - out the tempos and feel. Although over before you know it and in that style pyrotechnics. Instead, Rones ously learned how to operate their the tune never develops much the - time he’s packed in the help of 14 makes option for what is palatable to recording software. matically, “Anniversary” is a chance wonderful musicians on astute and the human ear — never overdosing Still, as a raw, unpolished work of for the band to squeeze every blues seriously fun material, rich in compo - the listener with facility, but going to folk craft, NorthNorthEast shows lick in for all its worth. O’Connor’s sition, chops, and lyrical content. that edge. And every now and then great promise, the promise of an fiddle practically screams, shouts, While this is not an obvious work, it when you need it (and least expect artist finding her own true north. remains a stellar one. it), he rips the lick from hell on you and sweats – just what the blues Finish this review for yourself by just to let you know he can shred NorthNorthEast is available at should be. “M&W Rag” is conversely visiting www.bipolarjukebox.com you to pieces when the whim over - www.anniebeth.com lilting and light. And with “Gypsy comes him. Don’t stand to close, Fantastic,” the band tips their hats to but visit his website kevmusic.com the passion, fire, and a little bit of Django that has inspired so much of this music.

www.sandiegotroubadour.com 13 DECEMBER 2005 SAN DIEGO TROUBADOUR ’round about

DECEMBER CALENDAR WEEKLY

Ladies Lounge w/ Cathryn Beeks Los Strait Jackets/Pontani Sisters , every sunday every wednesday thursday • 1 Ordeal/ Randi Driscoll/Samantha Belly Up, 8pm. 7th Day Buskers , Farmers Market, Music at Ocean Beach Farmer’s Jane Siberry/David Elias , Belly Up, Murphy/Anne E. DeChant , Mission Allison Lonsdale/Anya Marina/Greg DMV parking lot, Hillcrest, 10am. Market , Newport Ave., 4-7pm. 8pm. Bay Boat & Ski Club, 2606 N. Mission Laswell , Lestat’s, 9pm. Bay Dr., 8pm. Connie Allen , Old Town Trolley High Society Jazz Band , Tio Leo’s, Pete Thurston , Lestat’s, 9pm. Stage, Twigg St. & San Diego Ave., 5302 Napa St., 7pm. Crash Carter , La Playa Cantina, 1020 sunday • 18 Jump Jones , Tio Leos, 5302 Napa, W. San Marcos Blvd., 8pm. 12:30-4:30pm. Open Mic Night , Twiggs, 8:30pm. 9pm. Sue Palmer/Candy Kane , Calypso, 576 Celtic Ensemble , Twiggs, 4pm. Peter Rutman Jazz Band , Acoustic N. Hwy 101, Leucadia, 7pm. Expressions, 2852 University Ave., Traditional Irish Music & Dance , The every thursday friday • 2 8pm. Benny Lackner Trio plays Jimi Field, 544 5th Ave., 5:30pm. Open Blues Jam , Downtown Cafe, Hendrix , Dizzy’s, 344 7th Ave., 8pm. Patty Hall , Borders, 159 Fletcher Fred Benedetti/George Svoboda , Hot Fudge Sundae Open Mic , 182 E. Main, El Cajon, 6pm. (no jam Pkwy, El Cajon. Dizzy’s, 344 7th Ave., 8pm. Anna Troy Show , Tio Leo’s, 5302 Napa, O’Connell’s, 1310 Morena Blvd., 9pm. on Nov. 24) Cool Club Quartet , Dizzy’s, 344 7th 9pm. Shooter Jennings/Whiskey Tango , Jazz Roots w/ Lou Curtiss , 8-10pm, Acoustic Cafe Open Mic/Open Jam , Ave., 8pm. Evan Bethany/Peter Bolland/ Derek Belly Up, Solana Beach, 9pm. KSDS (88.3 FM). Milano’s Pizza, 6830 La Jolla Blvd., 7- Kyle Jester , BookWorks, Flower Hill Evans , Lestat’s, 9pm. 10pm. Blues Casters , Tio Leos, 5302 Napa, The Bluegrass Special w/ Wayne Mall, Del Mar, 8pm. 9pm. wednesday • 21 Rice , 10-midnight, KSON (97.3 FM). Sue Palmer , Martini’s, 3940 4th Ave., Robert Wetzel , Acoustic Expressions, Campaign for Quiet/Amber 7pm. 2852 University Ave., 8pm. Patric’s Red Nose Ball w/ Patric Rubarth/The Animators , Lestat’s, 9pm. every monday Wood ‘n’ Lips Open Mic , Borders Dehra Dun CD Release/Chasing Golden Hill Ramblers , Atari Lounge, Petrie/the Shambles , Humphrey’s Backstage Lounge, 8pm. Blue Monday Pro Jam , Humphrey’s Books & Music, 159 Fletcher Pkwy, El Paper , Lestat’s, 9pm. Casbah, 9pm. Cajon, 7-10pm. Nate Jarrett , Lestat’s, 9pm. Backstage Lounge, Shelter Island, Scott Wilson , O’Connells, 1310 7pm. Morena Blvd., 10pm. Amelia Browning & David Owen saturday • 10 Cathryn Beeks Ordeal/Citizen (Jazz), Turquoise Cafe-Bar Europa, Band/Christopher Dale , Canes, 3105 Open Mic Night , Lestat’s, 7:30pm. Jim Earp/Terry Griffin , Borders, 159 Ocean Front Walk, Mission Beach, Tango Dancing , Tio Leo’s, 5302 Napa 873 Turquoise St., 8:30pm. saturday • 3 Fletcher Pkwy, El Cajon, 7pm. 9pm. St., 8pm. Swing Thursdays , Tio Leo’s, 5302 Whiskey Tango , Humphrey’s Tom Brosseau , North Park Vaudeville Napa St., 9pm. Backstage Lounge, Shelter Island, & Candy Shoppe, 2031 El Cajon Blvd., 5:30pm. thursday • 22 every tuesday 8pm. every friday Terri Hendrix , San Dieguito United Garrett Pierce/Renata Youngblood , Roots Music Night on Lou’s Front Pat Metheny Tribute w/ Peter Sprague California Rangers , McCabe’s, Methodist Church, 170 Calle Quintet, Dizzy’s, 344 7th Ave., 8pm. Lestat’s, 9pm. Porch , Folk Arts Rare Records, 2881 Magdalena, Encinitas, 7:30pm. Adams Ave., 7pm. Oceanside, 4:30-9pm. Diego Corriente (classical Flamenco), North County Cowboys , Del Dios Acoustic Expressions, 2852 University friday • 23 Blues Jam , Blind Melons, 710 Garnet, Open Mic Night , Egyptian Tea Room Country Store, 20154 Lake Dr., Ave., 8pm. Blue Largo , BookWorks, Flower Hill 7pm. & Smoking Parlour, 4644 College Escondido, 7:30pm. Ave., 9pm. Safety Orange/Hell on Heels , Lestat’s, Mall, Del Mar, 8pm. Zydeco Tuesdays , Tio Leo’s, 5302 Eve Selis/Berkley Hart/Mary 9pm. Spinster Christmas Party , Lestat’s, Napa, 7pm. Sligo Rags , Dublin Square, 554 Dolan/Tim Flannery , Carlsbad Village 9pm. Fourth Ave., 9pm. (except. Nov. 18) theater Tristan Prettyman/Spin Doctors , Belly Open Mic Night , Cosmos Cafe, 8278 Up, 8pm. La Mesa Blvd., La Mesa, 7pm. Industrial Jazz Group , Dizzy’s, 344 7th saturday • 24 every saturday Ave., 8pm. Irish Music Jam , The Ould Sod, 7pm. sunday • 11 Sue Palmer , Bookworks, Flower Hill Connie Allen , Old Town Trolley Lost Dogs/Dead Rock West , Acoustic Hot Club of San Diego , Prado Jim Earp , E St. Cafe, Encinitas, 11am. Mall, Del Mar, 1pm. Stage, Twigg St. & San Diego Ave., Expressions, 2852 University Ave., Restaurant, Balboa Park, 8pm. 12:30-4:30pm. 8pm. Tom Brosseau , North Park Vaudeville monday • 26 Comedy Night w/ Mark Serritella , Sligo Rags , Dublin Square, 554 Gregory Page/Roy Ruiz Clayton , & Candy Shoppe, 2031 El Cajon Blvd., Lestat’s, 9pm. Lestat’s, 9pm. 2pm. Steve Poltz/Truckee Brothers/ Fourth Ave., 9pm. (except. Nov. 26) Holiday & Adventure Pop Hot Buttered Rum String Band , Belly Arc Trio , Dizzy’s, 344 7th Ave., 4pm. Christian/Gospel Open Mic , El Cajon. Collective/the Shambles , Casbah, Info: J.D., 619/246-7060. Up, 9pm. Judy Collins , Belly Up, 8pm. 9pm. sunday • 4 tuesday • 13 wednesday • 28 Sue Palmer Trio , Bookworks Don Edwards , Acoustic Music S.D., Fiona Apple , House of Blues, 1055 Anniversary Party, Flower Hill Mall, 4650 Mansfield St., 7:30pm/619/303- Fifth Ave. Del Mar, 3pm. 8176. Sue Palmer/Deejha Marie/ Sharifa thursday • 29 Muhammad/ Douglas Pope , Dizzy’s, wednesday • 14 344 7th Ave., 7pm. Rev. Horton Heat , House of Blues, Blues Benefit for Mary Kent w/ 1055 Fifth Ave. Eve Selis , Dark Thirty House Concert, Candye Kane, Earl Thomas, Sue Lakeside, 7:30pm. 619/443-9612. Palmer, the Fremonts, Chet & the The Blasters , Belly Up, 9pm. Tin Hat , Athenaeum School of the Arts Committee/Lady Star, Bayou Brothers , studio, 4441 Park Blvd., 8pm. Humphrey’s Backstage Lounge, friday • 30 Shelter Island, 5pm. John Hull/Jamie Robb/Seth Horan , Primasi , BookWorks, Flower Hill Mall, Lestat’s, 9pm. Molly Jenson/Rusty Jones/Jenn Del Mar, 8pm. Grinels , Lestat’s, 9pm. Truckee Brothers , Lestat’s, 9pm. tuesday • 6 thursday • 15 Acoustic Alliance 10 w/ Mary saturday • 31 Acoustic Underground: Richard Dolan/John Katchur/Ann Marie Cullen Rugburns , Belly Up Tavern & Cynthia Catania/Chuck Perrin/Kelly Smith , Lestat’s, 9pm. Dalton/Evan Bethany/Eddie Anthony , Big Rig Deluxe , Tio Leos, 5302 Napa, Anya Marina , Lestat’s, 9pm. Canes, Mission Beach, 7:30pm. 9pm. Chris Isaak , House of Blues, 1055 Fifth Lighthouse , North County Bluegrass & Ave., 9pm. Folk Club meeting, Round Table Pizza, friday • 16 Ash & Washington, Escondido, 8pm. Richard Smith/Tom Boyer/Ben Owens/Ricky ruis , Santee Trolley Anna Troy wednesday • 7 Square, 7pm. Louis Prima Tribute , Dizzy’s, 344 7th Nickel Creek/Andrew Bird , House of Ave., 8pm. Blues, 1055 Fifth Ave., 8pm. J. Turtle/Lindsey Yung/Marina V. , Int’l Silver Strings Submarine Band

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DiVincenzo , Lestat’s, 9pm. E L friday • 9 Joey Show , Tio Leos, 5302 Napa, 9pm. G Patty Hall , Borders, 668 Sixth Ave. saturday • 17 Randy Driscoll & Friends , Rebecca’s • Beginning to Intermediate 3015 Juniper St., 6:30pm. Dane Terry/Steve Anderson , Acoustic • 15 Years Musical Background Peace on Earth Concert , P.B. Expressions, 2852 University Ave., • Local and National Experience Presbyterian Church, 1675 Garnet, 2pm. • Rock, Blues, Folk & Pop Fun and Energetic 7:30pm. Riders in the Sky , California Ctr. for • Tom Brosseau , North Park Vaudeville the Arts, 340 N. Escondido Blvd. & Candy Shoppe, 2031 El Cajon Blvd., I See Hawks in L.A./Lee Stanley & Guitarworks 8pm. John Batdorf , Acoustic Music S.D., Sue Palmer Trio , L’Auberge, 1540 4650 Mansfield St., 7:30pm/619/303- 619-280-1937 8176. Camino Del Mar, 8pm. 3043 Adams Ave. Robert Parker Jazz Trio , BookWorks, Charles McPherson Quintet , Dizzy’s, San Diego, CA 92116 Flower Hill Mall, Del Mar, 8pm. 344 7th Ave., 8&10pm.

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