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

March 2007 www.sandiegotroubadour.com Vol. 6, No. 6

what’s inside

Welcome Mat ………3 Contributors San Diego Folk Song Society Full Circle.. …………4 Kenny Newberry Recordially, Lou Curtiss Front Porch... ………6 Harp Guitars Steph Johnson Parlor Showcase …8 Sven-Erik Seaholm Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Highway’s Song. …12 Leo Kottke & David Lindley Of Note. ……………13 Gaskins ‘n’ Gunner Chad Farran Alex Esther Manisha Shahane Kevin Jones ‘Round About ...... …14 March Music Calendar The Local Seen ……15 Photo Page

MARCH 2007 SAN DIEGO TROUBADOUR welcome mat Sam Hinton’s Folk Song Society Turns 50 RSAN ODUIEGBO ADOUR Alternative country, Americana, roots, folk, by Allen Singer country blues, and Tblues, gospel, jazz, and bluegrass music news original material. am Hinton Members play many S has worn different instru - many hats ments at all skill MISSION CONTRIBUTORS in his life. He’s an levels and we original — a folk encourage everyone To promote, encourage, and provide an n

FOUNDERS a g

alternative voice for the great local music that singer, a songwriter, a scientist, an artist, i from amateur to professional to be a part

Ellen and Lyle Duplessie F

is generally overlooked by the mass media; a father, and a great diatonic harmonica r of the group each time we meet. We e

Liz Abbott t namely the genres of alternative country, e player. On March 31, when Hinton cele - P leave nobody behind in the musical dust. Kent Johnson :

Americana, roots, folk, blues, gospel, jazz, and o brates his 90th birthday, the San Diego t You can either just sit and listen or you PUBLISHERS o bluegrass. To entertain, educate, and bring h Folk Song Society will be approaching its P can play alone or with group support. together players, writers, and lovers of these Liz Abbott fiftieth year. The San Diego folk music Over the years Sam’s dream has helped forms; to explore their foundations; and to Kent Johnson enlarge our local folk music community. expand the audience for these types of music. EDITORIAL/GRAPHICS community already misses Sam since he Liz Abbott moved up north, but they’re treasuring The Folk Song Society is Sam’s extended SAN DIEGO TROUBADOUR, the local source for Simeon Flick the time he lived and sang among us. family, now approaching age 50, with alternative country, Americana, roots, folk, Chuck Schiele Sam moved to Berkeley in December to multiple generations of satisfied, creative blues, gospel, jazz, and bluegrass music news, be near his daughter Leanne. His legacy is people doing what Sam Hinton wished: is published monthly and is free of charge. ADVERTISING Letters to the editor must be signed and may be Kent Johnson still here in the people he brought to folk getting together to sing, play, and share edited for content. It is not, however, guaranteed Joanna Schiele music, his students, and the countless in the gift of folk music. So when the that they will appear. BUSINESS MANAGER performances he gave us. next second Sunday rolls around, come All opinions expressed in SAN DIEGO Joanna Schiele It was back in 1957 that Sam Hinton over to a SDFSS meeting at Old Time Music and join with us in Sam’s everlast - TROUBADOUR, unless otherwise stated, are DISTRIBUTION suggested to some of his students Sam Hinton solely the opinion of the writer and do not Kent Johnson enrolled in an American folk music class ing dream. represent the opinions of the staff or Dave Sawyer he taught at UCSD Extension that they includes everything you need to know San Diego Folk Song Society management. All rights reserved. Mark Jackson create a local group or association devot - about local concerts, musical performanc - Old Time Music (side door) Peter Bolland ed to folk music. The inaugural meeting ADVERTISING INFORMATION es, and SDFSS meeting updates. My col - 2852 University Ave. (corner of Utah St.) Indian Joe Stewart For advertising rates, call 619/298-8488 of the San Diego Folk Song Society was umn, “Ramblings,” usually touches on Dan Long North Park or e-mail [email protected]. held that May, attended by seven mem - burning issues in folk music and musical Meetings 2-6pm on the second Sunday of STAFF PHOTOGRAPHER SUBSCRIPTIONS are available for $30/yr. bers. By 1958, the SDFSS had two chap - skill building. Membership costs $15 per the month Steve Covault Send check payable to S.D. Troubadour to: ters, 45 members, and had already held year but is not required to attend meet - Further info: www.sdfss.org or San Diego Troubadour WEB MASTER its first Hootenanny, with Sam as emcee. ings. Our group is eclectic and ageless, a [email protected] P.O. Box 164 Will Edwards Like a band of wandering minstrels, real cross section of musicians and non- La Jolla, CA 92038 WRITERS members held meetings in people’s hous - musicians alike who play folk music, E-mail: [email protected]. Lou Curtiss es. A theme was chosen for the first go bluegrass, traditional old time songs, WHERE TO FIND US Can’t find a copy of the Simeon Flick round of the song circle to bring in new San Diego Troubadour? Go to Mike Hayter songs and ideas. The second time around www.sandiegotroubadour.com and click Jim McInnes folks could pick and sing whatever struck Raul Sandelin on FIND AN ISSUE for a complete list of their musical fancy. We still follow the locations we deliver to. Chuck Schiele Sven-Erik Seaholm same format at our SDFSS meetings. SUBMITTING YOUR CD FOR REVIEW Kate Searcy Rise Up Singing was SDFSS’ original If you have a CD you’d like to be considered for Derek E. Shaw song book. Today songs come from review, send two copies to: San Diego José Sinatra everywhere and anywhere. The Folk Song Troubadour, P.O. Box 164, La Jolla, CA 92038. Allen Singer Society meets on the second Sunday of Steve Thorn ©2007 San Diego Troubadour. each month, 2-6pm, at the Old Time D. Dwight Worden Music Store in North Park, on the corner Craig Yerkes of University Ave. and Utah St. Meetings Cover photo: Gail Donnelly-Seaholm are open to anyone, including folk Cover design: Chuck Schiele singers, song writers, and anyone who just wants to listen. Themes are wide and The San Diego Troubadour is dedicated to the memory of Ellen and Lyle Duplessie , deep, sometimes borrowed and some - whose vision inspired the creation of this newspaper. times blue. The SDFSS has a great newsletter, edited by Tanya Rose, that

www.sandiegotroubadour.com 3 MARCH 2007 SAN DIEGO TROUBADOUR full circle Guns, Ghosts, and Guitars by Mike Hayter request for Proud Fairy,” Ronnie spat out. The band would play for a couple more years with to many, Kenny eschews the idea of a home cowboy turned, looking at Ronnie with the some new members and then slowly disappear demo because he wants the best ears in the enny Newberry, Gram Parsons, and coldest eyes I’d ever seen. Ronnie and Kenny from the local scene. Sadly, we lost Ronnie business to engineer his project. Look for Kenny Newberry & the Slidewinders Sneaky Pete. The names rattle around just took it in stride and fired up the Long 15 years ago to lung cancer. something special when it arrives. Besides sin - Kin my brain like dusty picks dropped Creedence song. The following night someone Kenny eventually dropped out of profes - gle-handedly moving the state of alt country don’t believe me, listen to the sample of him in an old guitar. Turn it upside down and either got shot or knifed and died right there sional performing for about a decade. He even forward for the benefit of local performers, singing Jack Tempchin’s chestnut “Learning to shake vigorously until they come out. Dust in the bar. It could have been Deadwood . sold his guitars. But like any musician, he is Kenny has lent his pen as well, having written Dance.” This band must be doing something them off and play those great old songs again. hard-wired to play and sing. He started playing articles about the Gram Fest, Eve Selis, right, because anyone who hears them live I first met Kenny Newberry and his musi - again when his girlfriend asked if he would Heather Myles, Berkley Hart, and Tim becomes an instant believer. Jim Soldi, one of cal partner, Ronnie Long, sometime in 1974. I record some of the songs he was playing in his Flannery for a local publication. Check out his San Diego’s best ever, told them, “You guys are was a rock ‘n’ roll refugee and they were like a living room. One by one other players joined interview on BerkleyHart.com by clicking on good, no, I mean really good.” Typically, breath of country fresh air. They had a great in and a new band was born. “reviews and press.” It’s great copy and reflects Kenny is modest about his success and ques - band called Stagecoach and played all the old A few months ago I caught up with Kenny another facet of the man’s musical passion. tions whether he is as good as he used to be, honkytonks here in town. They were different following a show at the Belly Up Tavern in say, five years ago. Trust me, Kenny, you sound than your regular country homeboys and I Solana Beach. Sin City Revue was billed as a better than ever. found out how different real soon. Kenny and tribute to Gram Parsons’ music, although it The Slidewinders have planned a trip up to Ronnie played alt country, or anti-Nashville was not strictly limited to his music alone. The Santa Cruz later this year to play at a radio country, before such a thing existed for the show featured San Diego acts that Kenny had show there as well as continue their regular gigs rest of us. Songs by Willie Nelson, the Flying hired to play at the annual Gram Fest in at Pappy and Harriett’s in Pionneertown. They Burrito Brothers, Commander Cody, and the Stagecoach, ca. 1975 Pioneertown, located in the high desert near have opened for Pete Anderson, Dwight late great Gram Parsons. Songs with those Joshua Tree. Always the efficient networker, he Yoakum’s long time producer and guitarist, as pure harmonies and plenty of back beat to There was always an entourage of ladies corralled prominent local artists Eve Selis, well as Heather Myles. Kenny is planning a match. Songs with an authentic Americana feel that followed us, meaning Kenny, Ronnie, and Berkley Hart, and Tim Flannery into perform - mid-summer show at the Belly Up with Heather but with a new California vibe. After I joined Mark. Word had it that Kenny would go out ing regularly at the Gram Fest and now at the and Jim Austin. I can’t wait for that one. the band, I was rewarded with lots of novel between sets and get acquainted. Ronnie, Belly Ups tribute show, which looks like it Kenny Newberry An austerely beautiful and eerie place, the musical influences that were just beginning to being a slow starter, would wait until after the might become a regular musical fixture. Kenny high desert holds a special connection for coalesce but would someday be part of the gig was finished. They told me that cowgirls was also in the process of helping put together The Slidewinders came together like most Kenny and his band as well as many a per - essential lexicon. I was just a Bay Park bass aren’t afraid of much and can be very patient. I a memorial concert for Sneaky Pete (Kleinow), bands do. Somebody knew somebody and that former. Gene Autry and Roy Rogers filmed player who knew some Buck Owens tunes. would just order a beer and wait my turn, which would also take place in Pioneertown. A guy knew someone else and pretty soon the there and Gram, who later died there of myste - The drummer, Scott Elam, was a San Carlos which never seemed to come. close friend of Kenny’s, Sneaky Pete also band was born. Kenny’s partner, Dennis rious circumstances, partied on the town with funkster. Mark Trainer played pedal steel. Stagecoach used to perform at the free con - played steel on the Stagecoach album, which Challman, is the former steel player from Keith Richards. The song “Wild Horses” was Kenny and Ronnie did all the singing and certs held at the Starlight Bowl in Balboa Park. was recorded in the 1970s. So after Pete died Stagecoach. John Kuhlken drummed in the written about Gram and his untimely demise. traded lead guitar duties. After spending a On one occasion Kenny and Ronnie led us in January, Kenny naturally got the call to MacAnanys and with the Rugburns. Alex, When Tim Flannery recently booked the same month in Santee practicing, we were ready for through our best songs along with some Beach honor this music legend. Back in the 1970s, Charlie, and Tim round out the guitar, pedal hotel room as the late Parsons, a sleepless and the bright lights. Boys to boot. The crowd ate it up. Although when Kenny traveled to Nashville to shop his steel, and bass slots. When Kenny and Dennis rattled Flannery had to leave the room to wan - We played our first gig at the Lakeside we only played there twice, we had the crowd music demo, Sneaky Pete and his longtime reconnected, the universal laws of musical der in the unknown desert until somehow he Hotel, which had to be the oldest standing up and cheering. I still have the reel-to-reel producer were two of the first people Kenny physics applied. Calling their music California found the flat rock where Parsons was report - hotel in town — and still the roughest. One tapes we made on my old Teac. They still contacted. He spent a while doing the country, these two talented singer-players are ed to have been cremated. Shaman’s magic on night — I think it was on a Sunday night — sound fantastic. Nashville thing and was well received. The greater than the sum of their combined musi - a dark night. there must have only been ten people there all Although most of the venues where enormously exclusive Bluebird Cafe and other cal parts. It’s all sweet harmony and effortlessly And so, the nexus continues. Celluloid night long. Once in a while a patron would Stagecoach played have been closed for years, haunts saw him perform with a combination smooth story telling coupled with a restrained cowboy heroes, cocaine hippies, and today’s turn around from his sloppy perch on a bar they still have a special place in San Diego’s of band members and Nashville studio stal - confidence, resulting from years of performing musicians share a tug for a special place and a stool and glare at us. We played our four sets musical heritage — the likes of Wild Bills, the warts. Kenny also made the rounds in L.A., together. All of the band members are able common bond, with music and place coming and collected $15 each. When we played there Lakeside Hotel, Kentucky Stud, and Mikes in including a stint at the Palomino Club. songwriters; they will rock hard one moment together to reinvent a unique legacy. The West again a couple of months later, everything had El Cajon won’t be seen again. “Mister, keep Guitars, Cadillacs, and another connection and adroitly switch to an authentic country is the best and beneath that endless horizon, changed. With plenty of gigs under our belts, your bullets off my snare drum and pick up made. Check. swing the next. Doing it fine and in time, the music is reinterpreted and then reborn — we were sharp and rockin’ at that point. That that gun you just dropped.” A guy with a Fast forwarding to the present day, an these guys do it all and do it well. it’s always new but somehow always familiar particular night a menacing looking cowboy machine gun under his duster comes in and upcoming studio recording of Kenny’s current “Professional, musical, and just right” is how and true. Kenny, we owe you for that one. Can came up and asked Ronnie something between looks carefully at the band and the bartender. band, the Slidewinders, will be done by one music professional described the you sing that song once again? songs. Ronnie bent down to hear him, shaking Not recognizing anyone, he leaves. Nothing Sneaky Pete’s longtime producer who owes Slidewinders. I think Kenny’s voice is about as Visit the Slidewinders on the Internet: his head in agreement. “Our next song is a unusual in East County during the 1970s. The Kenny a favor and is happy to oblige. Contrary rich and pure as you are going to hear. If you www.slidewinders.com and on YouTube.com.

4 www.myspace.com/sandiegotroubadour MARCH 2007 SAN DIEGO TROUBADOUR full circle n o

MIKE SEEGER s d r a h c guess the first time I met Mike Seeger was i R

l l at the 1959 Newport Folk Festival. Up i B

:

Recordially, o until that time country music for me was t o

I h

the kind of stuff I heard and saw around P Southern California like Town Hall Party , Cliffie Stone’s Hometown Jamboree , and San Diego’s Smokey Rogers, etc. Folk music includ - ed a pretty wide range of stuff — from the Lou Curtiss Weavers and Oscar Brand to Ewan MacColl and the Kingston Trio. Then I saw the New Lost City Ramblers and heard the word “old- there and invited many of us to play tunes Tommy Jarrell; Nimrod Workman; Martin, timey” connected to a kind of music I’d only with him. In 1963, 1964, and 1965, he per - Bogan, and Armstrong; the Highwoods String heard smatterings of before. (I think I saw formed at the UCLA Folk Festivals, several Band; and so many others, including his own Lou Curtiss Cousin Emmy at a Town Hall Party show and times at the Ash Grove in L.A., at the Berkeley Strange Creek Singers (with Alice Gerrard, heard Grandpa Jones, the Crook Brothers, and Folk Festival where I saw him, and back East Hazel Dickens, Lamar Grier, and Tracy Stringbean on the Grand Ole Opry.) again at Newport and at a Friends of Old Time Schwarz). When Mike played at a festival with have amassed a collection of old-time songs on Mike Seeger, John Cohen, and Tom Paley Music concert in New York City. I also saw old timers he knew, he’d get them to play vinyl and CD, which is probably the greatest Mike Seeger made up the first NLCR group I heard, and I Mike with Tex Logan at the Philadelphia Folk tunes they didn’t often play. Along with Mike’s source of tunes and songs in existence. They saw as much of them as I could that weekend Festival and at a place called the Second Fret. musicianship, you also get his knowledge of were able to get old timey music going during and later at a place called Pinewood Camp jobs were having hissy fits because the band the genres of old-timey folk and country that the lean years when country music had turned where I heard others who also played this kind would be performing in the Hoover High he’s always been involved with. its back on its roots by getting people playing of music (Jean Ritchie, Frank Warner, and oth - School auditorium. Of course, Mike Seeger Mike is going to be with us at the upcom - this kind of music again. They created links ers). But it was the NLCR that I was most was Pete Seeger’s brother and Pete, of course, ing Adams Avenue Roots and Folk Festival in with the old timers who were still around, impressed with and I had a chance to talk a bit was still in the process of being blacklisted, April. I recommend that you take in his show forged links between the folk song and blue - with Mike and John. When I went back to since he was a Communist, so the concert was and, if you get a chance, thank him for the grass communities, and over the years have Newport in 1960, I saw them again and when held amid some picketing. We later brought support he’s given to this festival and so many continued to make converts to old time song. I came back to San Diego that year, I was the band out to San Diego State for a noontime others like it over the years. Mike and his At a time when the Adams Avenue Roots bound and determined to get an old timey concert, so I got to hear more of this good old- NLCR compatriots sold me an old-timey and Folk Festival has had to cut back on so string band together. Unfortunately, no one I timey music and a lot of other folks did too. I music book 48 years ago when I heard them many of the regulars who have made its repu - knew in San Diego played that kind of music think some of the rightie crowd were disap - for the first time. I know my life and career in tation, it’s good that they are still interested in or had even heard it. So, I took up the kinds of pointed that they couldn’t confirm more of music would be much emptier had Mike bringing out a musician who has meant so folksongs that were around then. their suspicions (which is often the case with Seeger not been a part of it. I’m glad he was much to the festival over the years. A couple of years later, when I was a stu - those folks). and still is. Recordially, dent at San Diego State, I heard that the New Over the next few years I saw the NLCR For those of you who haven’t heard Mike Lou Curtiss Lost City Ramblers were going to play in often. They played at San Diego’s Sign of the or the New Lost City Ramblers, I should men - P.S. Check out the Festival website Sun bookstore. Mike also did a solo weekend town. Of course, San Diego’s right wing nut tion that there are many records and CDs (www.AdamsAveOnline.com) or (some rare, some not so rare) out there to lis - FolkArtsRareRecords.com for information on ten to. You can buy nearly every recording the this year’s festival (April 21-22), and I’ll see NLCR recorded on Smithsonian Folkways, for you there. which Mike has also done solo LPs. He also The New Lost City Ramblers: John Cohen recorded for a variety of other labels, including on guitar (in the back), Seeger on fiddle, Mercury, Vanguard, Rounder, one from Japan and Tom Paley on banjo (I forget the label name), and a couple from Europe (including one with his sister, Peggy). By 1967, when I started booking festivals, Mike is one of those performers you can start Mike was a contact to help bring old timers to listening to from most anywhere in his career town. Along with playing most of the festivals and always be assured of consistent quality. himself (both the San Diego Folk Festival and I should also mention that Mike is respon - its successor, the Adams Avenue Roots sible for seeing some of the best of the old Festival), he has been directly responsible for timers who made records. His great recordings helping us bring such artists as Roscoe of Dock Boggs, Sam and Kirk McGee, and the Holcomb; Lily Mae Ledford; John Jackson; the True Vine albums on which he plays with a Balfa Brothers; Napoleon Strickland and the variety of old timers are a delight and belong Como Mississippi Fife and Drum Band; in any old timey record collector’s library. Cousin Emmy; Sweet Honey in the Rock; Mike Seeger and the New Lost City Ramblers

www.sandiegotroubadour.com 5 MARCH 2007 SAN DIEGO TROUBADOUR front porch

The Many Faces of the The Harp Guitar Harp Guitar An Instrument Like No Other by Derek Shaw the Pacific Northwest. Seattle’s exploratory spirit, frontier mental - his enchanting story begins in ity, and taste for fine craftsmanship con - Europe during the romantic era tributed to the development of the American when western civilization was on harp guitar. Knutsen showcased uniquely T the rise following the age of shaped bodies reminiscent of Victorian and enlightenment. However, a movement away Edwardian-style homes. Beautiful inlay with from those norms resulted in a period of intel - ornate designs and elaborate carvings suggest lectual and artistic rebellion. The turn of the higher artistic ideals. nineteenth century saw legitimization of the The W.J. Dyer & Brothers and Larson individual imagination as a critical authority The Knutsen family, 1900 Brothers companies licensed the production of that allowed freedom from classical notions of the harp guitar and proliferated Knutsen’s art, instead stressing emotion as the source of Italy went nuts for folk, securing the guitar’s models throughout the Midwest and Southern aesthetic experience. mainstream popularization once and for all. California. Gibson and the Jenkins Company Society became spellbound by the folk The harp guitar was the most outlandish of later introduced harp guitars with jumbo bod - music that resonated throughout this vibrant free-form instruments developed during that ies and sub-bass strings attached to a supple - epoch. Metal strings allowed for greater ampli - period of cultural awakening and inventive for - mental neck or extension. fication as the guitar was rediscovered and titude. An extended-range guitar, unfettered These American instruments responded to reformatted in the lyre, lute, and mandolin. and unfretted, the harp guitar is an arena for a need for greater volume and diffusion of These manifestations beautifully complement - boundless combinations of polyphonic notes, sound. The parlor era of acoustic guitars was ed the flamboyant virtuosity and lyrical unconventional melodies, and complex chords. forsaken with the rise of twentieth-century melody of the romantic age, contributing dis - Remarkably independent from European country western music as more performers tinctive sensory and tonal colorings to the tradition, the harp guitar was refashioned in pumped up the decibels. dreamy music. the United States during the late nineteenth The city-slick 1920s and 1930s introduced (photos courtesy of Gregg Miner and Harpguitars.net) Roma gypsy music and Spanish flamenco century. Chris Knutsen’s hollow-arm guitar, the world to big band, swing, jazz, and blues. emerged as the most popular styles of the mid- featuring an extra sound chamber to support The dawn of radio forever changed the face of nineteenth century. France, Russia, Austria, and floating harp strings, remains characteristic of music as loud electric sounds gained favor over understated traditional styles. It wasn’t until the cultural upheaval of the the harp guitar to ensure its preservation, and popularity of this special instrument, focus - P

h expansion, and legacy. ing on the history of its development in Europe, o 1960s when America was again ready to appre - t o

: Harpguitars.net is an amazing website reinvention in America, and modern rediscov - ciate the subtle splendor of extended-range L i

z founded by renowned expert Gregg Miner. The ery. It features hundreds of ancient relics, unbe -

acoustic guitars. San Francisco was the hub of A

b popular domain provides the most comprehen - lievable designs, and beautiful guitars. b democracy and experimentation, shifting to an o t t inner quest for spirituality, consciousness, and sive information about this rare instrument on The exhibition is accompanied by a series lucidity. Music defined identity, and the guitar the Internet. It’s supported by hundreds of vol - of three solo concerts by contemporary harp became the revolution’s spokesman. untary subscribers, which keeps the website guitar heroes Stephen Bennett, John Doan, and The modern resurgence of the harp guitar devoid of ads, banners, or pop-ups. And it’s all- William Eaton. Miner provides historical and was spawned from the movement by ingenious access except for the interactive forum, which interpretive introductions at the performances. artists who began looking for new ways to links harp guitar enthusiasts around the world. Concert admission is $18 ($15 for members), improve on old classics. The harp guitar was “This instrument, unlike any other, embod - which includes a wine and cheese reception. rediscovered and honed to meet the needs of ies a free inventive spirit,” said Miner, collector Bennett is a premiere musician and contemporary music. The focus shifted away and specialist on American harp guitars. “Due founder of the Harp Guitar Gathering. from synthetic styles and industrial develop - to the broken canons of instrument design, it Showcasing an eclectic blend of traditional and ment toward refined artisan expression, crafts - lends itself to creative self-expression.” contemporary styles, he presents original com - manship, and natural settings. Because of its inconsistent features and positions as well as Beatles tunes and Dvorak Musical mavericks again flocked to the many names, the harp guitar thus lacks precise arrangements. Inherited from his great grand - harp guitar to satisfy urges of originality and form from a musicological perspective and father, Bennett’s knack for precision and Part of the incredible exhibit at the Museum of Making Music exploration. A new generation rallied around remains difficult to define from the point of artistry is testament to decades devoted to the organology. It’s so uniquely diverse that a vari - craft of harp guitar playing. ety of artistic hybrids and related forms simply “I acquired my great grandfather’s 1909 defy classification. harp guitar in 1988 after it had sat in a base - The instrument’s innovative design ment for 20 years following his death,” Bennett encourages imagination and improvisation. recalled. “As a solo guitarist, it took me less The additional open strings are usually sup - than five minutes to realize the enormous pos - ported by an extra arm or attached to the gui - sibilities inherent in the instrument…the tar frame. The unstopped notes accommodate sounds that emanated from the beginning individual plucking, sympathetic vibration, intrigued me, and I was aware that composi - intricate picking. tions were going to flow forth from it.” Harp Guitars: Passion, Imagination, and His solid musicianship, charming wit, and Artistry is currently being showcased at relaxed demeanor make him a delight on Carlsbad’s Museum of Making Music in stage. He’s performed to critical success in Carlsbad. The exhibition explores the origin France, England, Italy, Germany, Sweden, Holland, Australia, New Zealand, and Japan. On Saturday, March 24, Oregonian John Doan will perform 20-string portraits of sound, taking samples of everyone from John Fahey to Jimi Hendrix. With his playing, his audiences are taken on an international odyssey that traces the roots of harp guitar and reinvents its contemporary applications. Playing on a rare three-necked harpolyre, a predecessor of the harp guitar, Doan evokes a time when people used to dream without the help of film, television, and the Internet. Finally, William Eaton will dazzle crowds on Saturday, April 21, on his custom-built double-neck electric harp guitar. An accom - plished luthier (guitar maker), Eaton is acknowledged as one of the world’s greatest designers of guitars, harp guitars, and stringed instruments. From quantum physics and string theory to the one-string shaman’s bow, Eaton has written scores for chamber orchestras and world fusion ensembles. A panel discussion is planned for some - time before the exhibit closes on July 30. It will be facilitated by luthier, sound engineer, and musician Rick Turner who partnered with Miner in bringing this exclusive collection to San Diego. For tickets or additional informa - tion, go to www.museumofmakingmusic.org or call (760) 438-5596.

6 www.myspace.com/sandiegotroubadour MARCH 2007 SAN DIEGO TROUBADOUR front porch z t l i D

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: o Steph Johnson Sings t o h the Truth P by Kate Searcy As the set danced on, the audience wasn’t almost painful to get out at times, Johnson merely in front of her but also hanging off her winces in what she calls her ugly face while t was just after dark in the back of Solana every word, laughing at her inter-song jokes, reaching down deep to pull out her melodies, IBeach’s long revered Belly Up Tavern, reacting to her coersions for them to dance, coming up to release them into the air like a when she took the stage. Above the hum and always applauding her ability to bend and charge of lightning before going back down of dinner conversations, floating waitresses, hold notes at the most striking and surprising again. and clangs of martini glasses, Steph Johnson junctures. A week later, as she settles into her chair at and her band spread out comfortably across When she huddled with her band to pick a a local Ocean Beach coffee shop to talk about the stage to open the evening for legendary cover tune to plug the extra minutes at the the point where music and her life intercept, it Steph Johnson Latin jazz artist Poncho Sanchez. The rest is end of their set (they settled on Sade’s “No becomes disarmingly clear that, with her, fuzzy. Ordinary Love”), Johnson joked with the there are no pretenses. What she offers on On her website’s bio, she talks about how In 2004 Johnson released the EP A As soon as her musty-sweet, down and crowd that they’d had their “little band meet - stage is simply an extension of her life, with a quickly she was able to tumble into the role of Demonstration to a stellar reception. Her delta voice released from the speakers and ing” on stage and were ready to play again. It’s few spotlights turned on. singer. “I took a few vocal lessons. Then, liter - efforts were also rewarded with a nomination onto the crowd, the reaction was joltingly this gutsy, unedited approach that endears her Without even saying a word, Johnson ally a month later, I was a member of a jazz for Best Acoustic Performer at the 2005 San instantaneous. It was as if her microphone to the crowd and allows them to share in the comes off as a lady to be taken seriously. With gospel choir and was hired to sing with Diego Music Awards. Her debut album, chord was frayed where it touched the good, the bad, and the unexpected. relaxed shoulders and soft features, which she (upright bass player) Glen Fisher,” she Genesee Avenue, showcases her powerful voice ground, while the crowd was ankle-deep in Like a pin to a balloon, Johnson’s “rooted often employs to accentuate her points, explained. “All of a sudden I was sitting in and its ability to blend jazz-infused riffs with water. in reality” personality collects energy off the Johnson uses her commanding spirit to put with amazing jazz players including musicians old blues sentiment. Backed by her relaxed, solid band and crowd and uses it for fuel to propel her others at ease. A strong, maternal brunette, who had backed Ray Charles and Frank As for her next album, Johnson has big backup singers, Johnson may have put on one melodies, which explode as they touch the Johnson’s deep brown eyes are as all encom - Sinatra.” ideas. First, she wants to release her new set hell of a hip shaker that night, but none of it surface. A true lover of jazz, her sultry, blues- passing as her vocal abilities. The only thing Johnson uses the well-worn resonance in of songs in a slicked-back, refined two-to- was a show. Instead, she kept it real, inviting tinged vocal meanderings take off in the most she leaves at the door are formalities. her voice to belt out classic tales of woe with three minute radio-friendly format, and then the audience in to share with them a few unexpected directions, carrying the crowd She talks about growing up around music, all the sincerity of a woman scorned once or dress it down into extended, more accentuat - things she’s learned along the way. along with her at all stops. In what looks and how, although she’s only been singing in front of crowds for a few years, it’s been part twice, herself. ed renditions for a remix album. She likens of her life ever since she can remember. In her song “True Love,” she sings the oh- the first to music you’d drive to work singing Throughout her youth, she tried her hand at so-true tale of a woman who has it bad for the along to, while the other will fit better as boo - learning different musical instruments in wrong man. She accentuates the pain and gie down, love-making tunes for the back - order to accompany her voice, but says she frustrations that are so real at times, it’s diffi - ground. never really got past lesson one with any of cult to accept the fact that she’s only a woman As is the case with most working musi - them. It wasn’t until her early twenties that of 26 years. She nails the emotions to the air, cians, Johnson straddles two different para - she seriously took up the guitar. bending her voice to punctuate each and digms, at times — the real world and her every turn. music world. She is the beginning and end of every aspect of her music career, propelling it along with the same solid work ethic she uses at her day job to make rent and pay the bills. It’s this dichotomy toward which she express - es some weariness. But what makes all the questionable gigs, bad times, and tumultuous circumstances worth all the pain is the singing. She uses it as her own personal release valve. It’s her therapy. And all are invit - ed along.

www.sandiegotroubadour.com 7 MARCH 2007 SAN DIEGO TROUBADOUR parlor showcase

by Simeon Flick Photos: Gail Donnelly-Seaholm sotto voce: a conversation with SSvveenn--EErriikk

o up to Sven-Erik Seaholm’s home Beatles, and one of the late Buddy Blue, a longtime SSeeaahhoollmm studio sometime (there’s literally a friend who recorded there on several occasions both professional recording studio in his solo and with the Farmers. house) and take a look around. It’s You’ll see some of wife Gail Donnelly- a shrine, a chapel dedicated to the Seaholm’s photographs in the main hallway, worship of every aspect of writing, vibrantly colorful and visceral live portraits of locals recording, performing, and enjoying like Gregory Page and Peter Bolland, who both Gmusic. CDs and old vinyl LPs line the walls on stopped in to contribute cherished aural carefully organized shelves. Microphone stands mill tchotschkes to Sven’s new solo album, Sotto Voce about on the living room’s hardwood floors and pal (which drops at the Belly Up Tavern on tax day, around with amplifiers in the directly adjacent April 15). spare bedroom. Guitars sit attentively on a rack, I recently made the pilgrimage to interview patiently waiting for the next bit of inspiration to Sven at this musical Mecca in Allied Gardens and hit their owner. One boom stand quietly holds an found a man still young at heart, happy and important looking mic; a pop screen stands guard healthy, basking in a wide circle of dear friends, in front of it, and the whole rig is still set up high brimming with enthusiasm in the continuing fulfill - enough for whoever last sang into it. There’s an ment of his life’s passion, and anxious to be seen as anteroom adjoining the living room that houses a a singer/songwriter for a change, instead of “local versatile PC, handling everything from official producing legend,” as he has sometimes been Kitsch & Sync Production business (self-designed labeled. Sotto Voce should go a long way in this album graphics and websites for clients interested regard, since being a singer/songwriter is at the in more of an entire development package, not just heart of everything he does. the audio capture) to lyrics, this month’s “Zen of TROUBADOUR (T): Okay, we’re here with Sven- Recording” column, photos, and more. Erik Seaholm, solo artist, engineer, Belgian beer from place to place, boxed and did different wanted to continue with music but they didn’t real - Wander back into the second of three bedrooms acolyte, one quarter of the Wild Truth, award-win - things, and when [World War II] happened he ly have anything that involved piano. They told me and you’ll find the ad hoc control room, home to ning record producer [etc.]. Tell me a little bit joined the Navy and was stationed in Europe. they needed trombone players. So for four years I another PC armed with the SONY Vegas digital about where you come from geographically and He eventually came back and got a job working played trombone, and during my senior year I was recording platform, a mixing console, various pre - artistically, a little background if you will. for Preston Tucker [as in the movie of the same in the district all-star band on trombone. amps and processors, and more musical instru - name, starring Jeff Bridges]. He ended up being a I’d picked up guitar a little bit in my junior SVEN-ERIK SEAHOLM (SE): My grandfather was ments. Underneath the desk housing the computer commercial artist for the auto industry, an inde - year. I don’t play much better now than I did then, a steamboat captain through the fjords of Sweden, is a box with reams of as-of-yet unused lyrics on pendent at a time when there weren’t a lot of inde - because as soon as I could play a song, all I needed and he was also an engineer and architect. When the miscellaneous scraps of paper (which comically ends pendents — they all worked for one company or the guitar for was to accompany myself and sing U.S. was developing the Panama canal, they put out up being dubbed the “bridge box”). Cables line the another. When one of those companies needed to the song. an open call to locate different people with the kinds floors, meander down hallways into other rooms, meet a deadline and their employees weren’t getting It’s not like I was always involved in music, it of skills they needed, and locks were part and parcel and disappear under carpets, carrying their musical it right, they hired my dad to come in and do it. was more like music was always involved in me. to [my grandfather’s] experience. They offered him a signals back and forth as electric inspiration. And he met my mom, and they had a very Just always compelled to write some song or record deal to come down and help them design the You’ll also see dozens of posters and memora - romantic, passionate relationship for a couple of something. Record production and songwriting to Panama canal, and they rewarded him with citizen - bilia depicting various bands, some legendary, some years, but his lifestyle as far as working long dead - me have always been kind of hand-in-hand. I didn’t ship. So afterward he moved to New York and had obscure, many of whom Sven has recorded. Some lines . . . he’d work four or five days at a time really start one necessarily before the other; I did three kids — my dad and his two sisters. of them promote past gigs of his own projects, such without sleeping, which affects your personality both at the same time. Some people write the lyrics My dad grew up through the depression. He as the Wild Truth, maybe even E-Ticket. There’s [laughter]! first, some people write the was one of those guys who hopped trains and went one of a younger-looking Switchfoot, a few of the Eventually he helped her move out here, relo - music first, but sometimes cating to San Diego when I was two. I grew up in they come at the same Southeast San Diego, off of Skyline Drive, up time, and recording has “My career path has until the time I was ten. I was going to Fulton been like that for me been not so much Elementary School, and somebody came to school since I was a kid. one day and pulled me out of class, brought me to My first recording becoming something the principal’s office and gave me a verbal test. experiences consisted of Next thing you know, a couple weeks, later I was taping one song, mixing it than actualizing what moved to Encanto Elementary, which was the first onto another cassette, and I already was.” school in San Diego at the time to have a gifted then putting another song program. on, and making mix tapes — Sven-Erik Seaholm When I was about eight years old I remember before there was really the playing on the monkey bars and suddenly hearing technology to do it easily. Marvin Gaye’s version of “Heard It Through the Then I found things where you could have sound- Grapevine.” I let go of the monkey bars and I on-sound recordings, where you could record some - stood there transfixed, just listening . . . I was thing and then sing along to it. . . . eight years old and I knew what I was going to do T: Overdubs. with my life. SE: Yeah. So I was always doing both those things Shortly thereafter, I started writing little songs at the same time. in my head, and I would walk around singing At one point I had a roommate [George these. I had piano lessons eventually when I was Seibert] who had a bunch of recording equipment, Seaholm in his living room. about 12 or 13, and when I got into high school I 8 www.myspace.com/sandiegotroubadour MARCH 2007 SAN DIEGO TROUBADOUR parlor showcase

At the same time, Paul Simon’s One Trick within. If there’s any eclecticism about this album, Pony album was out, and Stevie Wonder’s Hotter it’s just in the difference of the songs’ impetus, not Than July was out, and I would listen to them in the production style. every single day, over and over again, and it was One of the overall themes in making this record like my mind was opening, and my body, my hands was the celebration of my friends. I was talking to couldn’t work fast enough to keep up with all of my mom a few years ago, and she said, “You know, the inspiration that I got from that music. one of the things you’re going to find as you get I spent a concentrated period of time writing older is that it gets harder and harder to make new very scholastically, writing for the sake of writing, friends.” And I’ve already seen that somewhat. But trying to perfect it structurally, lyrically, melodical - we’re just so blessed with the people we have in our Charlie Loach, Seaholm, Bill Ray, and David Ybarra ly, chordally. I was maybe showing somebody a lives here. We know so many awesome people that song here and there, or maybe I’d go someplace we consider close friends. and do an open mic and play three songs. But my Through The TruTh, Wildly 23rd birthday was the first gig I had with my first Like many bands, the Wild Truth has a band, Sven-Erik and the E-Ticket Rollers. There twisted and gnarled family tree. Since were a lot of jokes that went into making that 1990, it has included the talents of four name, and within a year or so we became E-Ticket. different drummers, three lead guitarists, Then around the time I came back from L.A., I three bass players, a keyboardist, a sax met a girl [Jeanne Wooster] who was an artist, a player — and the guy who writes the singer/songwriter too, who really opened my mind songs, sings, and plays rhythm guitar to discovering who I was as an artist. I knew who I (Seaholm). Whenever Seaholm thinks was scholastically as a musician and a singer and a about the definitive lineup, it will always songwriter. But she really opened me up to finding be the current one. out who I was and how to express that. Charlie Loach plays guitar in a fierce She was really integral to opening the door. She style that can only be described as singu - showed me that not only can you write a song, but larly American . Among the influences one you can also write it about something, you can can browse through in his playing are the address some of the issues that you’re carrying Boston-bluesy squall of Aerosmith’s Joe around. Recently I was talking to an old friend and Perry, the southern gentleness of Chet and he needed somebody to help him run it any - told him I must have really had a chip on my Atkins, and the laid-back Californian way, so he taught me how to use all the stuff. I shoulder when I was younger; He said it was more intensity of Joe Walsh. Amazingly, these guess from that point on that’s all I did; every like a weight . Being able to not only write songs disparate inspirations blend into a sound spare minute was to write songs or record them. and be directed musically, but to also be able to use that is simply Charlie. it as a vehicle for alleviating that weight was really So a lot of this album is an attempt to give Bassist David Ybarra (Playground Slap, T: It sounds like you became what you were going cool. The first two Wild Truth albums came out of back to my friends in the form of a testament to the Cloud Merchants) would seem to hail to become fairly quickly, considering how long it that and I stayed on that path from there. our friendships, so either they’re playing on it or from a completely different planet by can sometimes take. comparison. Whether he’s slapping with T: Sven, tell us about your new record. I’m addressing them in some way, just acknowledg - SE: My career path has been not so much becom - ing that bond, and how happy that Gail and I both funk-inflected panache, laying down the SE: The genesis of this particular record starts with ing something than actualizing what I already was. are here. Marcia Claire came in, Patti Zlaket, my sturdiest of rock solid foundations, or the Gandhi Method. When we [Sven, Cathryn And I do all these things now. I’m not running for son Drew Andrews, Cathryn Beeks, of course. . . . nimbly walking through jazzy gardens of Beeks, Chuck Schiele, and Scott Wilson] started mayor, I’m not on a quest to corner the market on There were more women who played on this record soul, he has been the rock Seaholm the Gandhi Method, we didn’t have any songs that depends on for almost 15 years. He’s also every single aspect of music making and listening, than men, which was on purpose; I wanted to pur - were written for the Gandhi Method. Each of us one of Seaholm’s favorite local producers it’s just all connected. I didn’t have anybody who posefully stay on the feminine side of things. could do graphic art for me, didn’t have any money had songs we were contributing that we couldn’t fit (Meghan La Roque, Marcia Claire), with T: Any closing words? to pay someone else to do it, so I learned how to into some other project and would easily be trans - a crazy sonic signature all his own. do that. I didn’t have anybody that could record formed into this vehicle. SE: Just that it’s the most honest record I’ve ever Grammy-winning drummer Bill Ray is me without paying them a bunch of money, so I And then we all began to write songs for the made. It’s been a realization of myself as an artist a songwriter’s dream. Not only does he became that guy. All project and that totally affected my writing style; I since 1990. I always start with the song, and the play a great groove under you, he’s deep inside the lyrics as well, underscoring hid - those things have been in started trying to open up the space for harmonies song tells me where it’s going to go. So all of my den meanings, heightening emotional “My career path has service of the songs I and other things. albums and projects have been very eclectic because context, and making things just mean so have in my heart. After the Gandhi Method came to a conclusion, of it, because I always go where the song tells me. been not so much when I was playing rock stuff with the Wild Truth, To come to that [on this record] makes it feel very much more. His deft touch, dynamic sen - T: When did you start I still had these songs like “Turn Away” and “Cry important to me as far as defining myself for sibilities, and textural colors made him becoming something writing songs? the obvious choice to play on Sotto Voce , Baby Blue” that are on the record . . . and myself. I hope it translates to people. which, Seaholm says, “is pretty much my SE: Well, I always had “Acquiesce” was one I wrote then that just started than actualizing what T: I’m sure it will. musical Dr. Jekyll to the Mr. Hyde I what I call jingles in my me on this whole thing of diving into the world of become within the Wild Truth.” I already was.” head, verses or choruses. altering my voice. Sven-Erik Seaholm and the Wild Truth play at And then when I was It’s an interesting record to me because of the Indie Fest, main stage, March 3, 1:30pm; Sven — Sven-Erik Seaholm about 12 or 13 I wrote way it turned out. I’d be working all day and play - plays solo acoustic on March 7 at the Aztec Cafe, SDSU, and on March 30 at Hot Java Cafe. my first complete song, ing loud music with people or recording loud which was an instrumen - music, and I would pick up the guitar at the end of tal called “Ralphie” [laughter], which I then put the day and Gail’s like, you know, it would be real - words to. And then in high school I started writing ly cool if you played something really soft and songs in earnest — I was about 16 or 17 years old. quiet, and she just likes when I sing softly, anyway. I was kind of a late starter really. I was already Hence the title Sotto Voce , which also means to distracted by other interests, like acting. But by the say something under your breath. time I was 18, I was a full-blown songwriter. I read Ultimately, I made this album for Gail. This this book called You Can Write a Song , and it album is the most cohesive musical statement I’ve went through the basis of structure, lyrical and made because I set parameters that I tried to stay musical, and it really turned me on. j www.sandiegotroubadour.com 9 MARCH 2007 SAN DIEGO TROUBADOUR ramblin’

Bluegrass CORNER by Dwight Worden

by Sven-Erik Seaholm Ratio: This is how much you attenuate SPRING CAMP OUT chance to listen in while Wayne chats with the the signal once it rises above the threshold. band members. Way to go, Wayne! A ratio of 2:1 means that for every 2dB of FUNDAMENTALS OF BLUEGRASS ETIQUETTE: AM I PLAYING volume increase above the threshold, the Sven-Erik Seaholm COMPRESSION TOO LOUDLY? perceived volume increase is only 1dB. A ratio of 4:1 signifies an even more drastic Bluegrass jamming is great fun as well as a key ell, it’s time to get all scholastic the soft parts louder.” Well, sort of. While it part of the bluegrass experience. Its free form reduction in volume, because for every 4dB on you gentle readers of this does make the louder parts closer in volume emphases improvisation that’s exhilarating and jump in volume, it’s being heard as a 1dB column. Yes, the following tex - to the softer ones, the bottom line is that all open to all. There are, however, some important W jump. Considering that 3dB is essentially tual verbosity may be a tad drier than the that attenuation is going to make for a sig - unwritten rules that all players should be aware twice as loud as 1dB, a ratio of 3:1 renders moist, wholesome entertainment you’ve nal that is overall not as loud as the unaf - of and follow. We will discuss some of them in your peaks half as loud as they would be become (perhaps unintentionally) accus - fected signal. That’s where this comes in. this column from time to time. This column will without compression. Compression ratios of If you’ve never been to a bluegrass camp out, tomed to; but listening to some of the focus on: Am I playing too loudly? 10:1 or more (up to infinity:1) are actually The wonderful irony of all this gain then it’s time you tried one! Everyone is invited demos and albums I’ve been sent for master - To answer this question, keep in mind the called “limiting” and can be quite drastic by reduction is that it allows us to increase a to the annual bluegrass camp in Chula Vista, ing and consultations as of late, I think it’s following: comparison. track’s level overall. In the case of our bass Friday through Sunday, April 20-22. If you plan high time to address the old “sonic • The purpose of a jam is to make good music. Attack: The time it takes for the com - line, the notes jumping out at the listener to attend the Adams Avenue Roots & Folk squeeze.” If one player is too loud, the music suffers pression to kick in. More accurately, it’s the cause us to lower the level of the bass in the Festival that weekend, come on down during Next to eq, compression may well be the as the others cannot be heard. amount of transients you’re allowing to pass mix. This makes us say “where’s the bass?” the evenings. It’s only a 20-minute drive. most “go to” of all the available processing • When the song being played is a vocal, though before attenuating the signal. On until the loud notes jump out, at which Come in your RV or bring your tent. If you choices in the effort to make things sound remember that the vocals must be able to be our bass track, we may want to adjust this point we go “oh, there it is.” This can result prefer, you can rent a cabin on site. The facility “mo’ better.” The fact that the results vary in days in frustration over the bass not is very close to home, located just off the I-805 heard and understood by everyone in the so the initial “pluck” is still heard before the so widely depending on the application, being exactly right in our mixes. in Chula Vista, hidden away in a pleasant tree- jam. You MUST play your instrument accord - fundamental note is subsequently attenuat - varying parameters, and the characteristics Let’s say the peaks of those loud notes filled grassy nook. The KOA campground fea - ingly, lowering its volume to allow the ed. This is what is often referred to as of the source material only serves to under - are at -1dB and the rest of the track is hover - tures full hook ups, a pool, and other amenities. vocals to be heard without the singer need - “punch.” Other times, we may be trying to score the necessity of utilizing it with a sure ing around -8dB. Set your threshold at - The camp out is casual, with lots of jamming ing to scream. tame down some nasty “clickiness” in the and practiced hand. You could say it’s like 12dB, with an attack of about 5 millisec - day and night, BBQ cooking, and relaxing. It’s a • Likewise, when the quieter instruments such note’s attack, in which case we would go for cooking with salt — the right amount is the great way to kick back and really enjoy your as guitar and mandolin take a solo, the other the fastest attack possible, which can kind onds. Set the release to around 180 millisec - right amount. Too little is still fixable, but musical friends, to meet and play with new instruments MUST quiet down so the lead of smooth over those transients. onds. Try a ratio of about 4:1 to start, with a too much is potentially catastrophic. friends, and to get in as much bluegrass playing can be heard. Release: This controls how quickly the soft knee and bring the output to where the So what is compression and how does it time as you want. You can count on a potluck • When playing back up to a singer, remember compressor “lets go” of the signal, returning volume in bypass is close to the effected sig - work? Essentially, it’s a process wherein the dinner on Saturday with great food followed by to play only during the spaces in the lyrics, it to its normal, unattenuated state. You nal. This should put you in the ballpark. loudest parts of a signal are attenuated (a jamming and entertainment. Trust me, you’ll not on top of the singing. Also remember may have heard of compressors exhibiting Look at your Gain Reduction meter. The fancy word for “automatically turned enjoy this camp out. To sign up, contact Phil that everything you do must be subservient “pumping” or “breathing.” This refers to the average attenuation should be around 2 or 3 down”) to bring them closer in perceived Levy at [email protected], or visit the SDBS to and support the vocals. volume constantly rising up at the end of dB, with severe peaks at like 6dB. If you’re volume to the softer passages. Using the website at www.socalbluegrass.org and click on • Remember to share fills. A loud banjo, notes, as the compressor releases the signal. seeing it crunching things at 9dB or more, example of a bass guitar track, one might the calendar. If you have questions about the dobro, or fiddle can play a fill in every open Slower release times make this anomaly less you may want to back off the input or raise facilities, check out the campground website at: find that while the overall performance is spot in a vocal tune, but they shouldn’t — noticeable, but a fast release is sometimes the threshold. www.koacampgrounds.com/where/ca/05112/. consistent, some notes are “jumping out” at give the guitar and the mandolin a chance used as a special effect as well. Similar settings can be used for other you intermittently. Judicious use of a com - longer note-type instruments like vocals, BLUEGRASS ON THE RADIO too! There is nothing more annoying to a Knee: There are two basic types of com - pressor can tame those peaks, helping the singer than an instrument that plays over the pression “knees,” which are labeled simply keys, or strings but always, always, always part to “sit” better within the mix. vocals. Likewise, it is very annoying to other enough “soft” and “hard.” Hard knees are use your ears and good musical taste. The judicious part comes from knowing jam players when one instrument hogs all easier to explain, in that they work pretty I personally use compression most con - the various parameters of the compression the fills. much as I’ve described to this point; every - sistently on lead vocals (5:1), backing vocals stage and how they affect the signal. Of As many of you know, Wayne Rice hosts the In the final analysis a good rule of thumb is thing above the threshold gets squashed the (8:1), bass (4:1), and bass drum (6:1). course, all compressors are not made equal - Bluegrass Special on KSON radio (97.3 FM and that if you can’t hear the singer or the soloing amount you’ve set your ratio to. Sometimes I compress banjos, dobros, and ly. Many omit some features entirely, while 92.1FM in North County) every Sunday night instrumental break, you are playing too loudly. If Unfortunately, this can be less “musical” acoustic guitars a little (2:1). I almost never others add some esoteric ones. What follows from 10pm to midnight, playing great bluegrass you play the banjo, do this test at home: turn sounding than a soft knee compression compress snare drums (blindly compressing is the most typical feature set. music. The Bluegrass Special is the longest-run - the banjo so it faces straight up toward your slope. Soft knee means that even though them should be outlawed) and, less rarely, face and play a tune. Note how loud it is — Input Gain: This controls how loud the ning bluegrass radio show in the country! you’ve set your ratio to 4:1, signals barely electric guitars (the amp compresses it a lot that’s how others hear it when you play normal - signal you’re working on will be. You’re not Wayne has recently embarked on a program, in above the threshold may only be attenuated already). In mastering I often compress at a cooperation with the San Diego Bluegrass ly with it facing away from you and toward the really trying to do much here but make at 2:1; as signals rise further above the ratio of 1.65:1 with perhaps an additional Society, to present some of our top local blue - group. If you aren’t sure if your playing is too things loud enough for the compressor to threshold, the intensity of the compression 1.5dB of post-compression limiting. grass bands live on the show. loud, discreetly ask someone else in the jam. A see, which is why many don’t even have gradually increases. This makes for a less The ultimate goal is to tame these all of Last summer 117° West and Second tougher question is when to tell someone else, this feature. noticeable effect upon the signal. Used on these elements so that they can be utilized Delivery played live on the show and talked unasked, that they are playing too loudly. Try Threshold: Okay, now we start to “get it vocals, the net result might be described as to their fullest musical potential within the about local bluegrass happenings including the polite approach: “you know, you sure play on.” The threshold is the point at which the more “natural” sounding. On bass drum context of your work. Think of it as giving Summergrass. More recently, the show has fea - well, but if you would back down the volume a compressor starts to, well . . . compress. your tracks a nice warm hug. Who doesn’t bit, it would be even better for the rest of us!” however, a more consistent leveling may be tured the Virtual Strangers. Each week Wayne’s Think of it like the height line at amuse - like that? Have fun out there. desired, so hard knee would be the choice. show is an outstanding bluegrass experience, ment park attractions: everything above this Output (or Makeup) Gain: Lots of Sven-Erik Seaholm is an award-winning and now you’ll have the added treat of hearing line gets on the ride, everything below it top local talent perform live along with a resources refer to compression as “making independent record producer who also provides remains unaffected. art design, mastering and CD replication services through his company, Kitsch & Sync Production www.kaspro.com

10 www.myspace.com/sandiegotroubadour MARCH 2007 SAN DIEGO TROUBADOUR ramblin’ y a d a r a F

n o

l Radio Hosing Down l a F

: o by José Sinatra t o h P ART AND SOUL celebrity in existence, a real-deal, feel-good sex machine whose impact on the world will surely Daze Proper appreciation of the Arts is a concept be acknowledged just as soon as Mankind as deceptive as it is elusive. Just when you think reclaims its brain. you’ve got it all figured out, something happens Yes, the passing of Anna Nicole Smith is a to point out your imbecility and make you feel blow to the world of Art, even as it enriches the by Jim McInnes the need to start all over again. Like the bon tabloids who seem to take her superb artistry in vivant who is privately enraptured of the same an insane, retarded, or maybe just viciously mis - gorgeous blonde at the same bar for seven or informed manner. Her ongoing one-woman Killer Fish in Jim McInnes eight nights in a row. He takes his time — not to street-theatre performance piece, Blotto , took Concert! build up the courage to approach her (he’s nearly three years to outline and was highly The gently twisted Mr. Sinatra recently had his own middle name legally actually was a folkie, would play weddings lauded even by Brando when he was alive. lyrics myself. They’ll be sensitive, respectful, and changed to “Courage”) — but because he knows “She’s changing the nature of theater, of art, s we all know, the Troubadour is a and such with a repertoire of Kenny that only through careful, attentive observation thoroughly “now” (which is what audiences publication for the unplugged Loggins, James Taylor, and whatnot. nearly every moment she breathes,” said a close seem to demand more and more) and they’re will he be able to get a proper measure of those friend of a cousin of a lady whose sister once Acommunity. I’ve been wondering At the time I considered us to be the yours at nominal cost, I promise. qualities necessary in a partner for the exciting met Brando. for years, “Who gives a rat’s butt what Jim most bizarre bunch that ever plugged in, adventures of life, learning, and love-play. And now she breathes no more. The incalcu - BEYOND THE TEAR-SLICKED ROAD thinks about anything? He isn’t a folk singer but time has a way...blah blah blah. He decides he’s satisfied with her credentials lable loss is doling out its own dreadfully strange When are you gonna come back? Are things the or jazz musician. Hell, for 32 years he was a I am writing this with headphones on, on the eighth or ninth evening and introduces consequences throughout the Hollywood commu - way you had planned? rock and roll radio deejay! Who does this listening to the Piranha recording and mar - himself, inviting her to come up to his bachelor’s nity. Britney Spears was distraught enough to Leaving an infant and numerous boy-toys, sayin’ guy think he is, anyway, writing for the veling at how sloppy, yet engaging, we paradise to listen to some Sister Sourire music, they’re her old man . . . shave her head, just as several female Family Troooooob ?” And it still bugs me, but... were and at how well the recording came share a couple bottles of Jack Daniels, maybe members did when Charles Manson was taken Court cases go on forever; plenty of people who’ll sue, I just dug out a live 1980 recording of out. check out his complete collection of Hustler and from them. Brad and Angelina plan to move Mongrels who all want the baby my “proto-punk” band, Land Piranha. It Our set on that November night in 1980 other art books. away from Hollywood, such is the palpable vacu - “It’s not about money,” they’ll swear ‘til they’re was recorded at the Spirit, the hub of all included Paul Revere and the Raiders’ “Just Some delirious hours later, as the two pre - ity of the town without its goddess. pare to embark on Life’s most precious and prom - blue (blue like you/boo-hoo) things new in San Diego music, circa Like Me”; the Stooges’ “TV Eye”; a medley As global warming increases, should we not 1980s, by a guy named Bob Quick. Bob set of “Satisfaction,””Sunshine of Your Love,” ising journey, they divest themselves of their recognize signals of an environmentally emotion - So good-bye Anna Nicole, you’re the icon no one could ignore up two microphones on stands on the and “In-a-Gadda-Da-Vida” played simulta - cumbersome attire (or what he calls “antiquated al meltdown as well? (if only you had done Penthouse, you could have dance floor, about 15 feet apart, and ran neously ; Tonio K’s “H-A-T-R-E-D”; “Talk Talk” objects of vanity and commerce”). The coura - One dreads to imagine the effect Smith’s offered us more) them into his battery-powered Sony cas - by the Music Machine; and Cheap Trick’s geous host discovers that this sublime vision absence is having on those few sensitive nerves from that blessed bar is not actually Petronella More than the geeks that you left stranded here sette recorder, which he set on one of the “Auf Weidersehen.” within the bloodthirsty maniacs in the Middle Since your crazed circus left town (as he’d been told) but Mike something or other, East. tables near the front. That was it (Sven-Erik, At the time the audience, most of whom someone who also surely knows something Oh, the Biggest of Big Tops will sag and die; make a note). were ten years younger than we were, sat Many of whom have weapons . . . The draw was always the clown. about courage but far too little of his host’s Sure, it had to happen someday. But why Land Piranha was a five-piece band. I in bored indifference. But, in retrospect, as I hopes, needs, and decimated dreams. now? She wasn’t even 40. Ah, yet she lived Wow. Perform that in London at some big was the bass player, although I was ostensi - write this piece, I am listening to the great - It’s enough to make you want to drink. many more lifetimes than other beings, didn’t cathedral; I’ll bet Chuck and Camilla would get a bly a guitar player, because nobody else est performance by any band anywhere at So it was that Art itself has recently suffered she? Like spiders, for instance, or heiffers. kick out of it. wanted the job. I thought, “Hey, it’s only any time ! another catastrophic collapse, and only by striv - Too bad it was now . Just as the world was At any rate, if I’ve managed to take just one four strings...how hard can it be?” Don Honest. I mean it. Whatever. ing to peer into its honey-moist bowels can any beginning to get over the deaths of Marilyn person’s mind off of the ongoing tragedy of Lady Story was the lead guitarist. I still play with If you want to hear for yourself, send an of us even attempt to measure its value, to rec - Monroe and Jayne Mansfield, we’re hit hard Diana just until you saw her name in this very Don in Modern Rhythm. He’s one of the email to [email protected], and we’ll ognize its price tag, to qualify to purchase its again with a hurt that perhaps only Art itself paragraph, then this column will not have been best. Randy “Dark Fader” Fuelle played talk about making copies...cheap! Hope. Or words to that effect. might alleviate somewhat. in vain. rhythm guitar. Randy has recorded and pro - “Soul” is a word that is overused in these Elton John could help us all now. If he could Pain, of course. But no vanity. Not today. duced a zillion recordings by artists like post-postal times, and the latest express delivery redo “Candle in the Wind” one more time, only has informed us of the passing of another icon Buddy Blue, the Beat Farmers, and DFX2 at this time have it be about Anna Nicole Smith. the now defunct Hit Single Recording who, if not actually having invented its secular Doesn’t she deserve it, Elton? Don’t we all definition, spent tireless decades exuding its Services. The drummer was Larry Kosslyn, deserve it? aka “Licorice Larry,” who was manager of very essence. In a purely pop sense, any “soul” Okay, okay, “Candle” has been done to death. the old Licorice Pizza in P.B., among other we feel or groove to or aspire to is a gift from its How about “Good-bye Yellow Brick Road”? I’ll things. The singer was Steve Schmidt, who gifted diplomat who embodied it so fully. even save you and Bernie some time; I’ll do the This must have been the hardest-working

www.sandiegotroubadour.com 11 MARCH 2007 SAN DIEGO TROUBADOUR highway’s song

one of the hundreds of bands opting for an ani - Company folk club in La Mesa), sung with mal-based name during the ’60s. Although their chanteuse Nico from Andy Warhol’s clique, sole recording, a cover of the Beatles’ “And Your and had singers falling all over themselves Bird Can Sing” (backed by “Come and Live wanting to record his songs. Browne overcame With Me” on the B-side), is a 45 record coveted his studio phobia and released his first album by vinyl junkies, it is apparently a chapter in on David Geffen’s newly formed Asylum label. Kottke and Lindley: Lindley’s musical history that he’d just as soon Browne’s sophomoric effort, For Everyman forget. In an interview with the British music (1973), along with his his third release Late for fanzine Zig-Zag , Lindley maintained that he had the Sky (1974), comprised a remarkable musi - “never heard of the Rodents.” cal triumvirate seldom matched by the singer- An Instrumental Summit His next venture would be more suited to songwriters who would follow. by Steve Thorn ditch school and practice by himself in the St. encamped in the singer-songwriter craze of the his musical talents. From 1966 to 1970, Cloud State University auditorium. ’70s, and the prerequisite of that musical genre Lindley teamed up with another multi-instru - his month, the Belly Up Tavern in Kottke’s first recorded work was the rare required Kottke to sing. mentalist, Chris Darrow, to form the ground - Solana Beach will host two veteran 12-string Blues (1968) on the Oblivion label. It Kottke’s self-deprecating humor and lack of breaking Los Angeles psychedelic band instrumentalists as renowned for their wasn’t until one year later that Kottke’s career enthusiasm for his vocals resulted in his most Kaleidoscope. Although the group would expe - T rience a flurry of changes in its group lineup, off-kilter sense of humor as much as for their was truly launched. He was signed with the famous quotation. His voice, he confessed, was musical prowess. On Thursday, March 8, the Takoma label, a record company owned by reminiscent of “geese farts on a foggy morning.” the original lineup consisted of Lindley and stage lights will shine on acoustic guitarist Leo John Fahey, a musician best known for his This is perhaps too harsh of a self-critique, a Darrow, Solomon Feldthouse, Chester Crill, Kottke and Jackson Browne’s former musical seminal acoustic guitar albums dating back to case where the artist doth protest too much. and John Vidican. Considering the era, the psy - partner, David Lindley. 1959. Kottke’s debut LP on Takoma, 6 and 12- While Kottke’s singing won’t make anyone for - chedelic labeling worked in the band’s favor. string Guitar , sports an album cover illustra - get Elvis, Roy Orbison, or Dion, his vocalizing But when listening to the band’s four albums tion that is as fondly remembered as the great has resulted in several moving performances. today — Side Trips (1967), Beacon from Mars music on the disc. It is still affectionately (Check out Kottke’s great cover of the Byrds’ (1967), The Incredible Kaleidoscope (1968), and referred to as the “armadillo album,” a refer - “Eight Miles High” on the Mudlark album). Bernice (1970) — it is apparent that the group ence to Texas’ favorite creature featured on the In addition to being a frequent visitor on was offering a music course in multicultural - cover. The armadillo album was an essential the “Prairie Home Companion” radio show, ism rather than mere lysergic fantasies. record for college dorm students from coast to Kottke has collaborated with a diverse group “World music” was a term rarely used in coast. Mississippi Delta blues appear along of artists, including Lyle Lovett, Rickie Lee the ’60s, but it is a more accurate term to side Bach’s “Jesu, Joy of Man’s Desiring.” Can Jones, and the late Chet Atkins. These days, describe a band that was rocking out one you say eclectic? Kottke has been in the studio and out on the minute and dabbling in the sounds of Eastern road with bassist Mike Gordon of Phish. Their Europe and the Middle East in the next. With Leo Kottke two CDs, Clone (2002) and Sixty-Six Steps the release of several anthologies during the (2003), are accurate representations of what CD era, Kaleidoscope is now considered David Lindley Musical instruments often served as substi - can take place when a droll acoustic guitarist (along with Spirit and Love) to be one of the tute childhood buddies for Kottke. His family joins forces with a bassist who worships at the best bands to emerge from the late ’60s Los Over the next decade, Lindley spent count - moved to 12 states following his birth in 1945 shrine of the Grateful Dead. Angeles scene. less studio sessions and concert tours with in Athens, Georgia. After attempts to master A setback with tendinitis in the ’80s forced Browne. Browne’s famous compositions, l l i “Doctor My Eyes,” “Jamaica, Say You Will,” the violin and trombone, Kottke decided to Kottke to adjust his playing technique, but his h a C

“Song for Adam,” “Take It Easy,” “Redneck learn the acoustic guitar. One explanation of solos remain inspirational and his tongue firm - e v e ly in cheek. t Family,” and “Before the Deluge,” all have the why Kottke didn’t participate in the electric S

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o trademark Lindley solos, whether he’s playing blues explosion of the ’60s might be due to Lindley’s youth didn’t involve living in as t o

h guitar or the violin. two incidents of ear damage he suffered during many states as Kottke did. Although his per - P his youth. An exploding firecracker resulted in sonal MySpace web site lists Nashville as his In 1981, Lindley became a concert draw in a severe loss of hearing in his left ear. Kottke current home, Lindley is a Los Angeles (San his own right when he formed El Rayo-X, a later had damage to his other ear, the result of Marino) native who was born in 1944. He was band devoted to the same musical globetrot - weapons fired in practice drills during his Kottke’s “armadillo album” an enthusiastic participant in the Great Folk ting Lindley had pursued with Kaleidoscope. service in the Navy Reserve. Scare of the early ’60s, and the names of the The single “Mercury Blues” received heavy FM Returning to civilian life, Kottke entered Los Angeles music agent Denny Bruce, early folk and bluegrass groups Lindley partic - airplay and was enjoyed as a highway anthem Minnesota’s St. Cloud State University but was who would later oversee the business affairs ipated in resemble a lineup from the old by Mercury owners, Chevy drivers, big-rig no more cut out for academia than Robert for San Diego’s Beat Farmers, was able to move Hootenanny! TV show — the Dry City Scat Kaleidoscope circa 1967: Chris Darrow, Soloman truckers, and other motorists on America’s Feldthouse, Lindley (with harp guitar), John Zimmerman (aka Dylan) was at the University Kottke from the ranks of the independent label Band, Mad Mountain Ramblers, and Smog City highways. In recent years, Lindley has collabo - Vidican, Chester Crill of Minnesota. Dylan searched for any coffee - into the major league when he he signed the Trestle Hangers. On five occasions he walked rated with avant garde guitarist Henry Kaiser, house in the Twin Cities that would allow him guitarist up with Capitol Records. Kottke’s away with first prize at the Topanga Canyon Jordanian percussionist Hani Naser, and per - to play. Kottke, on the other hand, would Capitol years (1971-1975) found him Banjo and Fiddle Competition. In 1972, Lindley participated in what was cussionist Wally Ingram from Timbuk 3. The British Invasion era begat the garage the longest overdue debut in the singer-song - Tickets for the Leo Kottke/David Lindley music scene in the U.S., and Lindley joined a writer genre. For six years, Orange County’s concert are available online at San Bernardino rock outfit called the Rodents, Jackson Browne toured endlessly (one of his www.bellyup.com. favorite haunts was the now defunct Candy

12 www.myspace.com/sandiegotroubadour MARCH 2007 SAN DIEGO TROUBADOUR of note

Gaskins ‘n’ Chad Farran Alex Esther Manisha Kevin Jones The Neighbors Are Gunner Another Ride Shahane by Raul Sandelin Listening Don’t be fooled by the Pink Floyd Back on Track by Craig Yerkes Peace in Progress mystrionics of the “The Clipping” nor the early-1970s’ Stones/Mick Chad Farran does an excellent job by Chuck Schiele Taylor opening riff on “The by Allen Singer of merging diverse musical influ - by Chuck Schiele Institution,” the first tracks off this ences into his own unique style on The Neighbors Are Listening is a self-titled CD. This isn’t a classic rock Back on Track , the new CD from his new CD, Another Ride . The vibe great new CD, featuring acoustic Here’s a project that easily tugs on album…or is it? Neither be fooled by Gaskins ‘n’ Gunner, should come of this recording is decidedly laid guitar based pop rocker Alex Esther. my musical heart strings, first due to the Nawlins’ bordello rag “Nag Hag” with a warning to hang on to your back (think surf folk à la Jack The album’s 12 tunes are written in my affection for the exotic and sec - nor by the electronic run at today’s bar stool, hold on to your church Johnson), but the instrumentation, the radio-friendly vein, fitting well ond, for what the work communi - club music in “Industrial Trance.” key, and fasten your seat belt as you grooves, and melodic ideas consis - into the niches and influences of cates and how I personally identify Kevin Jones isn’t staking a claim to drive home alone, having lost out on tently draw on the mysterious and Dave Matthews, John Mayer, and — with its inspiration. any particular genre but is showing some midnight love. Back on Track fiery sensibilities of Latin music. in the subtlest ways, Squeeze or Elvis Peace in Progress features 11 off his versatility. The fifth song,“Mel was born in late night saloons, juke Check the credits on the inside of Costello — as well as the emblematic tracks written by vocalist Manisha Ott Blues,” seems to call for a cavalry joints, and blues jams, fathered by the disc and you’ll find an amazing sound of the coffeehouse thing. Shahane who wanders through a halt of sorts. Jones is settling in. The Border Radio’s mega kilowatt anten - array of funky instruments employed The production is very nice, variety of songs and compositions. band is gone. It’s just Jones and his nas, Wolfman Jack, 1950s’ Chicago in creating these sounds (many “keeping it real” and very clean for The opening track indicates a very guitar, priming a Ledbelly-type folk blues, rockabilly, country western, T- played by Mr. Farran himself). The the most part, with the occasional exotic record, heavy with traditional blues that honors the unsung great - Bone Walker, Arthur Crudup, Eddie layered lead and harmony vocals well-placed spatial noises that make Eastern instrumentation straight ness of Mel Ott, New York Giants Cochran, Johnny Cash, Ronnie bring nice texture to the music and you turn your head as if to see if outta Bombay. It’s sung-spoken in Hall-of-Famer from the 1920s. It’s a Hawkins, John Lee Hooker, Howlin’ reminded me of Sting and Paul something is flying about the room. what I assume is her native lan - period piece, quirky in its mixing of Wolf, and countless girl-driven musi - Simon. There is also a very modern guage, but it also includes a sort of baseball and barrelhouse. It’s also a cal fantasies. The songs are filled “Like Water,” “Guiding Star,” and approach and attitude about Esther’s rap that sounds like it came from the story about life, which seems to be with wonderful heavy-bass boogie “Another Roll” stand out with their music. It is creative without shouting Blondie, CBGB era. It’s way different, where Jones feels most comfortable. rhythms, ageless guitar riffs, and infectious grooves and melodic for its own sake. Still, it maintains a and I like it. He takes us through some 20 songs, words that are just icing on this hooks. I love the way the hooks are casual feeling as if recorded in the From there, however, Shahane most of which follow the rubric set - musical road trip. A ghost of Marty not only delivered in the lead vocals breezy living room of someone’s switches to English and runs through tled upon in “Mel Ott Blues.” Jones’ Robbins appears in the opening gui - (the catchy chorus in “Guiding apartment. This combination of sen - a set of songs ranging from pop guitar colors in the details of yet tar notes on the song “Time To Stop Star”) but also in the instrumental sibilities works very well on this out - songs and show tunes to light jazzy another quirky character from the My Crying.” Mark Knopfler riffs cut tracks (the hypnotic harmony flutes ing in audio. ballads that are rendered in a way scrapbook of life. Titles such as through the mix on “Neon in “Another Roll” and the tasty back - In addition to writing all the that makes me feel as if I’m in a “Meet Me Where They Play the Moonlight.” Smoky vocals, ground melody on the chorus of material on this album, Esther also small intimate space such as a Blues,” “Hangover Blues,” and Dylanesque phrasing, Chicago blues “Come So Far”). “Growing Old” plays guitar and mandolin, and swanky hippy garden coffeehouse. “Wooden Nickels” brush streaks of band riffs, smooth sounds, along uses a dobro and a cello to create an sings. He is highlighted by the tight Track six, “Nachra Mora (Dance the down home and the down trod - with the underlying mother-of-all almost psychedelic sound, and this musicianship of the band. Producer Peacock),” is a children’s song that den. Ledbelly. Woody. Cisco blues, all contribute to the musical eerily pretty track reminded me of Dave Ybarra is featured on bass, a once again takes us straight back to Houston. That’s where Jones seems style of this CD. The boys never slow something John Lennon and George variety of percussion instruments, E- the heart of India. Its instrumenta - to find his mojo. No less than half of down, even when they take detours Martin might have cooked up after bow, vocals, and performs some loop tion is trance-like and tribal and it’s the songs nod back to musicians or change tempos. As soon as you’re drinking a couple of mojitos. programming and other resourceful, by far my favorite vocal effort. better served by honky tonks, road - fooled into letting your musical “Confess” will bring the haunting less reverent instruments, such as a Another wonderful aspect of this houses, and Okie migrant camps. guard down, you’re suddenly shaken beauty of “Fragile” (by Sting) to kitchen sink. Chester Drowers plays CD is the use of different time signa - The other half of this collection by a bass that gets loud in the mix mind, using some beautiful violin steady, big sounding drums and per - tures as evidenced in track seven, might point in a number of musical as guitars cut through and some - and fretless bass work to create the cussion. Yo Gee and Heather Ybarra which takes us back to Boston by directions both backwards and for - where in your ears you hear a boo - most sonically satisfying piece on the are credited with backing vocals, and way of a poppish show tune ditty in wards. The opening salvos echo back gie piano playing. disc. the Backyard Ensemble helps out on 12/8 called “Something in Your to the glory days of album rock, Back on Track is well-aged stuff, The title track, at first, bugged me oboe, bassoon, and violins. Voice.” It opens up in 7/8 with an when musicians were striving for the played by seasoned musicians who in the way that the tempo and The songs are fun, simple, smart - old-school jazz groove that might dense picture and a piece of art have choked on bar room smoke, groove suddenly changes mid-way ly written, efficient, and pretty damn remind one of old jazz records from more multi-layered, a time when we haven’t gotten enough sleep, and through the tune, but then it grew catchy, although I think Esther has the 1960s. From there, the music liked our rock deities to be smarter played ‘til their fingers hurt. This is on me with the way it brings the yet to write his catchiest song . . . enters a territory often traveled by than we were and fool us over the music that takes you to places your artist’s more mellow, reflective side and these are pretty catchy. He the likes of Loreena McKennitt, with course of two sides of vinyl. “Love Is parents warned you about. As I lis - into contrast with his more playful, comes across like a guy who writes a choruses written in 6/8 and the on the Way” is part John McLaughlin tened, I wished I had that old 1958 upbeat side. Several San Diego musi - lot and, if that is the case, I think this bridge written in 4/4. as Maharishi, part Kurt Cobain In Buick I learned to drive in, with one cal heavyweights add their talents to dude’s onto something. Shaking off What I find most interesting is the Utero. Its muse is self-referential, a mono car speaker blasting, rattling the impressive abilities of Farran on the now and then influences on his material that combines the Eastern post-structuralist signifier without its the windows as my car boogied this disc, with Jimmy Lewis’ awe - sleeve, Mr. Esther might find himself thing with the Western thing, signified, yet touchingly beautiful. down the road. When you play this somely tasty lead guitar and Glen singing in the tall grass of a field because A. I think it sets a good “Jerry Johnny” is an updated Irish CD, play it loud in a dark room with Fischer’s amazing bass playing stand - belonging only to his musical resi - example for the world, and B. I like it bar chantey sung a cappella, conjur - the windows open, so your neigh - ing out the most. Very enjoyable dence. And I say this with the when new things are tried. “Love ing up a hypothetical soccer match bors know you’ve come home, and work here and anyone who digs respect that he’s got one foot on the Sheets,” for instance, offers motifs between London and Belfast. “It’s be ready to shake your tail feathers their music flavored on the Latin side lawn already. There are moments reminiscent of the opening on Miles time for a beer, Jerry Johnny.” and boogie all night long. will be particularly turned on. when this music sounds as though Davis’ “So What.” But it also shares he’s singing with his eyes closed, the characteristic of Middle Eastern The one other dimension not yet alone in his own place and his own clubs and discos (with which I am mentioned is Jones’ guitar work. space, which are uniquely special on also familiar). It’s tricky business to Singer, yes. Songwriter, yes. And, this CD. The closing song, “Sunrise,” take a chance like that, but she does just as proficiently, he weaves his six- arranged for one guitar and one it gracefully and ends up with some - string flatpicking or Delta slide into voice, is a captivating case in point, thing new. almost every composition except the Phil Harmonic Sez finding its way to a place inside you This ambitious work covers a lot two that feature his equally fine key - as a listener. of territory, which is admirable. The board work. When taken one song And if the neighbors are listen - compositions are skillful, the band is at a time, this CD is a series of biog - “Facts are ventriloquists dummies. ing, they probably don’t mind. very good, and the ideas abound. I raphies about the people Jones has don’t think its meant to be a pop met, read about, and invented. As a Sitting on a wise man’s knee they record, preferring the interest for whole, it is a biography that chroni - artistic documentation. If this were cles Jones’ lucid musical skills, filtered may be made to utter words of reviewed as a “pop” record, even in through his soul. Unfortunately, at the time of this wisdom; elsewhere, they say nothing, the most general sense, I would have to say that it’s too diverse, too wide writing, Jones is fighting for his life at or talk nonsense, or indulge in sheer for the public (the American public Alvarado Hospital after one too many anyway). As “art” on its own terms, run-ins with the characters he’s diabolism.” this CD would make a killer boutique dreamt about. This CD is Jones’ gift addition to your record collection, to all of us. Our greatest gift to him — Aldous Huxley fitting nicely into the jazzy, new-age, right now would be to listen to it. world-music, torch-singer section. www.sandiegotroubadour.com 13 MARCH 2007 SAN DIEGO TROUBADOUR ’round about MARCH CALENDAR WEEKLY every sunday every thursday Shawn Rohlf & Friends , Farmers Market, Robin Henkel , Terra Restaurant, 3900 Block of Edie Carey/Jane Lui , Lestat’s, 3343 Adams Ave., DMV parking lot, Hillcrest, 10am. thursday • 1 friday • 9 9pm. Vermont St., Hillcrest, 6pm. (except Mar. 22) Connie Allen , Old Town Trolley Stage, Twigg Open Blues Jam , Downtown Cafe, 182 E. Mike Marshall & Hamilton de Holanda , Skelpin , Humphrey’s Backstage Lounge, 2241 Angela Patua/Sharon Hazel/Citizen Band/ St. & San Diego Ave., 12:30-4:30pm. Acoustic Music S.D., 4650 Mansfield St., Shelter Island Dr., 6pm. Cheeky , Tiki Bar, 1152 Garnet Ave., 9pm. Main, El Cajon, 6pm. 7:30pm. Sunday Blues Jam , Downtown Cafe, 182 E. Zydeco Night , Tio Leo’s, 5302 Napa, 7pm. Speak Easy Quartet , Museum of Man, Balboa Main, El Cajon, 3pm. John Jorgenson Quintet , Dizzy’s, 344 7th Ave., Park, 6pm. Joe Rathburn , Folkey Monkey Thursdays, 8pm. Melissa Vaughan (6pm)/ Alyssa Jacey (8pm) E friday • 16 Celtic Ensemble , Twiggs, 4pm. Milano Coffee Co., 8685 Rio San Diego Dr., Ste. B, 7pm. (except March 1) Eric James Polyn/Tiffany/Kerri Dopart/Thomas St. Cafe, 128 W. E St., Encintas. Sue Palmer/Blue Four , Patrick’s, 428 F St., 4pm. Open Mic , Hot Java Cafe, 11738 Carmel Mtn. Pellett , Twiggs, 4590 Park Blvd., 8:30pm. Rd., 7:30pm. Hargo , Borders, 159 Fletcher Pkwy., El Cajon, Peter Hall (6pm)/ Rusty Jones (8pm) E St. Cafe, Moonlight Serenade Orchestra , Lucky Star Mermaid’s Journey/Citizen Band/Wheel Chair 7pm. 128 W. E St., Encintas. Salsa Night , Hot Monkey Love Cafe, 6875b El Restaurant, 3893 54th St., 7pm. Renegades , Tiki Bar, 1152 Garnet Ave., 9pm. Cajon Blvd., 7:30pm. Stereo Suite/Josh Damigo/Chris Torres , Hot Aaron Bowen , Borders, 159 Fletcher Pkwy., El Wood ‘n’ Lips Open Mic , Borders Books & Cotton Fever , Lestat’s, 3343 Adams Ave., 9pm. Java Cafe, 11738 Carmel Mtn. Rd., 7pm. Cajon, 7pm. Jazz Roots w/ Lou Curtiss , 8-10pm, KSDS Music, 159 Fletcher Pkwy, El Cajon, 7pm. Randy Phillips & Friends , Rebecca’s, 3015 Larry Robinson CD Release , Hot Java Cafe, (88.3 FM). Open Mic , Hot Java Cafe, 11738 Carmel Mtn. friday • 2 Juniper St., 7:30pm. 11738 Carmel Mtn. Rd., 7pm. José Sinatra’s OB-oke , Winston’s, 1921 Rd., 7:30pm. Winterhawk , Borders, 11160 Rancho Carmel Bacon St., 9:30pm. Dr., 8pm. Fred Benedetti/George Svoboda , Dizzy’s, 344 Tokeli , Manhattan Restaurant, 7766 Fay Ave., Toy Piano Band Celebrates Dr. Seuss’ B-Day , 7th Ave., 8pm. The Bluegrass Special w/ Wayne Rice , 10- La Jolla, 8pm. Geisel Library, UCSD Campus, La Jolla, noon. Paul Seaforth CD Release w/ Peter Sprague/ midnight, KSON (97.3 FM). Bob Magnusson/Duncan Moore , Dizzy’s, 344 Celtic Celebration w Brian Baynes Band/Eric Open Mic/Family Jam , Rebecca’s Lila Downs , 4th & B, 345 B St., 7pm. 7th Ave., 8pm. Rigler/John Christian Edward/Maranna Coffeehouse, 3015 Juniper St., 8pm. Brenda Panneton/Amy Shamansky/Marie McCloskey , Copley Symphony Hall, 750 B St., Superstrings , 101 Artists Colony, 90 N. Coast 8pm. every monday David Patrone , Croce’s Jazz Bar, 802 Fifth Haddad , Hot Java Cafe, 11738 Carmel Mtn. Rd., Hwy. 101, Encinitas, 8pm. Ave., 8pm. 7pm. Simeon Flick , Borders, 11160 Rancho Carmel Open Mic , Lestat’s, 3343 Adams Ave., 7:30pm. Big Rig Deluxe , Del Dios Country Store, 20154 Dr., 8pm. Jazz Jam , Hot Monkey Love Cafe, 6875B El Mike McGill , Borders, 159 Fletcher Pkwy., El Lake Dr., Escondido, 8pm. Open Mic , E St. Cafe, 128 W. E St., Encinitas, Cajon Blvd., 9:30pm. Cajon, 7pm. North County Cowboys , Cask & Cleaver, 3757 S. 7:30pm. Terry Matsuoka , Borders, 668 6th Ave., 8pm. Mission Rd., Fallbrook, 8pm. Swing Thursdays , Tio Leo’s, 5302 Napa St., Sue Palmer Trio , L’Auberge, 1540 Camino Del Tango Dancing , Tio Leo’s, 5302 Napa St., 8pm. Mar, 7:30pm. Kim Divine , Borders, 1072 Camino del Rio N., Patty Hall , Borders, 1905 Calle Barcelona, 9pm. 8pm. New City Sinfonia , 1st Unitarian Church, 4190 Carlsbad, 8pm. Front St., 7:30pm. The Game w/ Derek Evans/JR Robinson/ Greg Douglas , Del Dios Country Store, 20154 every tuesday every General Lee , Boat & Ski Club, 2606 N. Mission Lake Dr., Escondido, 8pm. friday Boogiemen/Cash’d Out , Humphrey’s Backstage Bay Dr., 8pm. Open Mic , Cosmos Coffee Cafe, 8278 La California Rangers , McCabe’s, Oceanside, Lounge, 2241 Shelter Island Dr., 7:30pm. Delancey/Erik Vice/Pure Yellow Colour/Matt Mesa Blvd., La Mesa, 7pm. Jennifer Cunningham , Borders, 1905 Calle Ellis , Twiggs, 4590 Park Blvd., 8:30pm. 4:30-9pm. Jim Earp , Borders, 11160 Rancho Carmel Dr., 8pm. Jazz Night , Rebecca’s, 3015 Juniper St., 7pm. Barcelona, Carlsbad, 8pm. Peter Mulvey/Nathan Welden , Lestat’s, 3343 Franco Z & Friends , Tommy’s Italian Band in Black , Cask & Cleaver, 3757 S. Mission Keith Varon/Sara Green/Northstar Session/ Jack Tempchin & Friends , Cafe Calypso, 576 Restaurant, 1190 N. 2nd., El Cajon, 6pm. Rd., Fallbrook, 8pm. Adams Ave., 9pm. Dino/Jon Zucker , Twiggs, 4590 Park Blvd., N. Coast Hwy. 101, Encinitas, 7:30pm. Jaime Valle-Bob Magnusson Jazz Duo , Andrea Reschke , Borders, 1905 Calle 8:30pm. Barcelona, Carlsbad, 8pm. Hot Club of San Diego , Prado Restaurant, Harry’s Bar & American Grill, 4370 La Jolla Robin Henkel & Girlfriends , Lestat’s, 3343 saturday • 17 Balboa Park, 8pm. Village Dr., 6:30pm. The Clachan Boys , Del Dios Country Store, Adams Ave., 9pm. 20154 Lake Dr., Escondido, 8pm. Temecula Bluegrass Fest w/ Bluegrass Open Mic , Portugalia, 4839 Newport Ave., 8pm. Amelia Browning , South Park Bar & Grill, 1946 Fern St., 7pm. Steven Ybarra , Borders, 1072 Camino del Rio Etc/Byron Berline/Sligo Rags/Silverado/ N., 8pm. saturday • 10 Burnett Family/Pac. Ocean Bluegrass/Dave every wednesday Jazz Night , Rebecca’s, 3015 Juniper St., 7pm. ESP , Dizzy’s, 344 7th Ave., 8:30pm. Stamey/Bluegrass Brethren , 11am-7pm. Basin Street Band , Lucky Star Restaurant, Balkan Singing Workshop (4:30pm) & Dance www.temeculacalifornia.com Music at Ocean Beach Farmer’s Market , 3893 54th St., 7pm. Ghost Town Deputies/Erick Macek/Leviticus/ Party (8pm), Dancing Unlimited, 4569 30th St. Johnson, Bosley & Morin , Borders, 159 Newport Ave., 4-7pm. Alpine Daze & Boogie Nights/The Gooses , Fletcher Pkwy., El Cajon, 7pm. Open Mic , Egyptian Tea Room & Smoking Twiggs, 4590 Park Blvd., 8:30pm. Robin Henkel Blues Trio , Miramonte Winery, Jaime Valle Quartet w/ Bob Magnusson , Tuto Parlour, 4644 College Ave., 9pm. 33410 Rancho California Rd., Temecula, 5:30pm. Dave Stamey , Acoustic Music S.D., 4650 Mare, 4365 Executive Dr., La Jolla, 6pm. Staring at the Sun CD Release w/ Will Mansfield St., 7:30pm. Tom Smerk , De Oro Mine Co., 9924 Campo Edwards/Podunk Nowhere/Marie Haddad/ Steve Ybarra (6pm)/ Julie Mack (8pm) E St. Old Timey Night , Folk Arts Rare Records, Rd., Spring Valley, 9pm. (except 9th, 23rd) Coyote Problem/ Barbara Nesbitt/Citizen Band , Cafe, 128 W. E St., Encintas. Jim Earp , Upstart Crow, Seaport Village, 835 W. 2881 Adams Ave., 7pm. Harbor Dr., 7:30pm. O’Connell’s Pub, 1310 Morena Blvd., 9pm. Suzanne Shea/Kalimba Kings , Cosmos Cafe, High Society Jazz Band , Tio Leo’s, 5302 Napa Gregory Page , Lestat’s, 3343 Adams Ave., 9pm. 8278 La Mesa Blvd., 7pm. Celtic Celebration w Brian Baynes Band/Eric St., 7pm. every saturday Rigler/John Christian Edward/Maranna Michele Lundeen & Blues Streak , Patrick’s II, Joe Booze/Paulina Logan , Hot Java Cafe, Connie Allen , Old Town Trolley Stage, Twigg 11738 Carmel Mtn. Rd., 7pm. McCloskey , Copley Symphony Hall, 750 B St., Tracy Johnson , Rebecca’s, 3015 Juniper St., 428 F St., 9pm. 8pm. St. & San Diego Ave., 12:30-4:30pm. Jim Earp , Borders, 159 Fletcher Pkwy., El 8pm. Cajon, 7pm. Aaron Bowen , Borders, 1905 Calle Barcelona, Open Mic , Twiggs, 4590 Park Blvd., 8:30pm. Vintage Vegas w/ Laura Jane & Franco Z , Martini’s Above Fourth, 3940 4th Ave., 6pm. saturday • 3 Steve White , 101 Artists Colony, 90 N. Coast Carlsbad, 8pm. Open Mic , Dublin Square, 544 4th Ave., 9pm. Hwy. 101, Encinitas, 8pm. Tiamo , Borders, 11160 Rancho Carmel Dr., 8pm. S.D. Indie Music Fest (7 stages/70 musical The Donnis Trio , Borders, 11160 Rancho Nate Donnis Trio , E St. Cafe, 128 W. E St., acts) , University Ave. between Ray & Utah Carmel Dr., 8pm. Encintas, 8pm. Streets, North Park, noon-midnight. Aramburo/Alyssa Jacey/Drew Gasparini/Steve Steven Ybarra , Borders, 668 6th Ave., 8pm. Jim Earp , Borders, 1072 Camino Del Rio N., 8pm. Alan James , Borders, 159 Fletcher Pkwy., El Ybarra/Silent Partner , Twiggs, 4590 Park Blvd., thursday • 29 Cajon, 7pm. The Railheads , Del Dios Country Store, 20154 Pat Metheny/Brad Mehldau , CA Center for the 8:30pm. Lake Dr., Escondido, 8pm. Arts, 340 N. Escondido Blvd., 8pm. Michele à Trois , Calypso Cafe, 576 N. Hwy. 101, Wendy Bailey/Annie Dru , Hot Java Cafe, 11738 Audrey Session/Poor Bailey/The Mockers , Leucadia, 7:30pm. Carmel Mtn. Rd., 7pm. Michele Lundeen & Blues Streak , Kaito Damaru , 101 Artists Colony, 90 N. Coast Hwy. Lestat’s, 3343 Adams Ave., 9pm. Restaurant, 1476 Encinitas Blvd., 8pm. 101, Encinitas, 8pm. Alex Esther , Twiggs, 4590 Park Blvd., 8:30pm. Samite , Acoustic Music S.D., 4650 Mansfield Chris Duarte , Humphrey’s Backstage Lounge, St., 7:30pm. Doug Culp/Jamaica Rafael/The Soulstress/ Gregory Page/Annie Dru , Twiggs, 4590 Park Dee Ray , Lestat’s, 3343 Adams Ave., 9pm. 2241 Shelter Island Dr., 9pm. Pam Shaffer , Twiggs, 4590 Park Blvd., 8:30pm. Blvd., 8:30pm. Ian Allen/Kristi Martel/Bigfellas/Abigail’s Little Big Men , House Concert, University City, Band in Black , Hennessey’s, 4650 Mission 8pm. Reservations: [email protected] Allison Lonsdale/SuperUnloader/Travis Larson Joanie Mendenhall/Saba/Sara Petite , Lestat’s, Attic , Tiki Bar, 1152 Garnet Ave., 9pm. Blvd., 10pm. Band , Lestat’s, 3343 Adams Ave., 9pm. 3343 Adams Ave., 9pm. Peter Sprague w/ Leonard Patton , Del Dios Country Store, 20154 Lake Dr., Escondido, 8pm. Savoy Brown , Humphrey’s Backstage Lounge, The Freemonts , Whistlestop, 2236 Fern St., 9pm. 2241 Shelter Island Dr., 9:30pm. friday • 30 Simeon Flick , Aromas Cafe, USD Campus, 8pm. sunday • 11 Eve Selis , Humphrey’s Backstage Lounge, 2241 Shelter Island Dr., 9:30pm. Teflon , Borders, 668 6th Ave., 8pm. Sven-Erik Seaholm/Michael Tiernan/Peter Staring at the Sun CD Release w/ Anna Steve Kowit/Deborah Smaller & Steve Garber sunday • 18 Bolland , Hot Java Cafe, 11738 Carmel Mtn. Rd., Troy/the Grams/Coyote Problem/Marie 7pm. w/ Dave Curtis/Gregory Page/Danny Campbell , Haddad/Blizzard/Christopher Dale/the saturday • 24 Dizzy’s, 344 7th Ave., 8:30pm. Shambles/Mark DeCerbo & Four Eyes/Citizen Temecula Bluegrass Fest w/ Bluegrass Grand Canyon Sundown , Del Dios Country Peggy Lebo/JR Robison/Aramburo/One Year Band , Starlight Bowl, Balboa Park, noon. Etc/Byron Berline/Sligo Rags/Silverado/ Maybe Tonite/Jeffrey Joe Morin , Hot Java Store, 20154 Lake Dr., Escondido, 8pm. Burnette Family/Pac. Ocean Bluegrass/Dave Cafe, 11738 Carmel Mtn. Rd., 7pm. Yesterday/Green Water District , Twiggs, 4590 S.D. Folk Song Society Mtg. , Old Time Music Stamey/Bluegrass Brethren , 11am-7pm. Tenacious Dave/Alex DePue , Twiggs, 4590 Park Blvd., 8:30pm. Store, 2852 University Ave., 2pm. www.temeculacalifornia.com John Doan (harp guitarist), Museum of Making Park Blvd., 8:30pm. Music, 5790 Armada Dr., Carlsbad, 7pm. Astra Kelly/Justin James/Latham/Audrey Peter Sprague/Kevyn Lettau/Bob Magnusson , Ruby & the Redhots , Del Dios Country Store, JJ Grey & Mofro/Chuck Prophet , Belly Up, 143 Surface/Defect of Character , Triple Crown Pub, 101 Artists Colony, 90 N. Coast Hwy. 101, 20154 Lake Dr., Escondido, 3pm. Holly Near , 1st Unitarian Church, 4190 Front S. Cedros, Solana Beach, 9pm. 3221 Adams Ave., 8:30pm. St., 7:30pm. Encinitas, 7pm. Byron Berline , Acoustic Music S.D., 4650 Anna Troy/Derren Raser/Josh Damigo , Lestat’s, Trevor Davis , Lestat’s, 3343 Adams Ave., 9pm. El Rayo Guitarworks presents Dan Papaila/ Mansfield St., 7:30pm. Berkley Hart , Heritage East House Concert, El 3343 Adams Ave., 9pm. Cajon, 8pm. Reservations: [email protected] Tom Smerk , De Oro Mine Co., 9924 Campo Rd., Anna Troy/Eleonor England , Dizzy’s, 344 7th Chris Ayers/Amy Cooper , Lestat’s, 3343 Adams Spring Valley, 9pm. Ave., 7pm. Ave., 9pm. Unknown Legends , Del Dios Country Store, 20154 Lake Dr., Escondido, 8pm. saturday • 31 Patty Griffin , 4th & B, 345 B St., 7pm. Chet & the Committee , Patrick’s II, 428 F St., 9pm. sunday • 4 Steve Gillette & Cindy Mangsen , Templar’s Stevie Wonder Tribute w/ Peter Sprague & Robin Henkel Band , Coyote Bar & Grill, 300 Hall, Old Poway Park, 14134 Midland Rd., 7pm. Leonard Patton , Dizzy’s, 344 7th Ave., 8pm. Carlsbad Village Dr., 6:30pm. Ellen Johnson CD Release w/ Rick Helzer/ Lowen & Navarro , Dark Thirty House Concert, monday • 19 Coyote Problem , Hooley’s, 2955 Jamacha Rd., Josh Wright/Lindsay White , Hot Java Cafe, Gunnar Biggs/Jeanette Kangas , Dizzy’s, 344 7th Lakeside, 7:30pm. 619/443-9622. Ste. 21, Rancho San Diego, 8pm. 11738 Carmel Mtn. Rd., 7pm. Ave., 4pm. Willy Porter , Acoustic Music S.D., 4650 Blue Monday Jam , Humphrey’s Backstage Chris Torres/Tim Mudd/Carlos Olmeda/Allison Lounge, 2241 Shelter Island Dr., 7pm. Novamenco , Humphrey’s Backstage Lounge, S.D. Guitar Society Mtg. , Old Time Music Store, Mansfield St., 7:30pm. Barnes , Twiggs, 4590 Park Blvd., 8:30pm. 2241 Shelter Island Dr., 7pm. 2852 University Ave., 4pm. Low Standards/Steve Beck , Lestat’s, 3343 Astra Kelly/Kim Divine/Grass Gypsys/Donnis The Radiators/Sue Palmer Boogie Woogie Trio/Josh Damigo , Dublin Square, 554 4th Ave., Sue Palmer Trio , L’Auberge, 1540 Camino Del John Jorgenson , Hornbacher House Concert, Adams Ave., 9pm. Quartet , Belly Up, 143 S. Cedros, Solana Mar, 7:30pm. 8pm. Beach, 9pm. Vista, 7pm. Reservations: www.hornbacher - Eve Selis , Encinitas House Concert, 7:30pm. concerts.com monday • 12 Anya Marina , Lestat’s, 3343 Adams Ave., 9pm. Reservations: [email protected] Muireann Nic Amhlaoibh , Holy Trinity Church, Band in Black , Hennessey’s Pub, 704 4th Ave., Jim Earp , Borders, 668 6th Ave., 8pm. 2083 Sunset Cliffs Blvd., 7:30pm. wednesday • 21 10pm. Nathan James/Ben Hernandez , Humphrey’s Yale Strom & Hot Pstromi , Congregation Beth Band in Black , Dublin Square, 554 4th Ave., 8pm. Backstage Lounge, 2241 Shelter Island Dr., Kris Delmhorst , Acoustic Music S.D., 4650 El, 8660 Gilman Dr., La Jolla, 8pm. Mansfield St., 7:30pm. Cheeky/Tim Mudd , Lestat’s, 3343 Adams Ave., 7:30pm. sunday • 25 Jamie Laval & Ashley Broder , San Dieguito 9pm. Richard Thompson w/ Eliza Gilkyson , Belly Up, Paolo Nutini , Belly Up, 143 S. Cedros, Solana United Methodist Church, 170 Calle 143 S. Cedros, Solana Beach, 8pm. Beach, 8pm. The Castners/Justin James/Ryan Tennis/TK Magdalena, Encinitas, 7:30pm. monday • 5 Sara Petite , Clarke House Concert, Normal Mary Grasso/Grass Gypsys/Julia Othmer/ Industries , Tower Two, 5083 Santa Monica, 1pm. Rdub9000/JR Robison/Julie Meyers/Ginger Heights, 8pm. Reservations: http://clarke - Citizen Band , 710 Beach Club, 710 Garnet Ave., Chet & the Sub-Committee , Coo Coo Club, 8203 Jackson , Twiggs, 4590 Park Blvd., 8:30pm. houseconcerts.com 8:40pm. Albert Hammond Jr. , Belly Up, 143 S. Cedros, Winter Gardens, Lakeside, 4pm. Speak Easy Quartet , Claire de Lune, 2906 Not Your Mom/Andrew Gil/Josh Wright Robin Henkel/Nathan James/Ben Hernandez/ University, 8:30pm. Solana Beach, 8pm. Anna Troy/Byron Hudson , Lestat’s, 3343 Adams Peter Sprague & Fred Benedetti , 101 Artists Project/Audrey Surface/Cowboy Jack , Dublin Colony, 90 N. Coast Hwy. 101, Encinitas, 7pm. Grand Canyon Sundown/Sliver/Sandi Astra Kelly/Sandi Shaner/Bigfellas/Paige Square, 554 4th Ave., 8pm. Ave., 9pm. Aufhammer , Dublin Square, 554 4th Ave., 8pm. Echo Scream/Making April/The Craze/The Shaner/The Blevies , Triple Crown Pub, 3221 Mile After , Lestat’s, 3343 Adams Ave., 9pm. Adams Ave., 9pm. thursday • 22 Quincy Coleman/Molly Jenson , Lestat’s, 3343 wednesday • 7 tuesday • 13 Adams Ave., 9pm. Coronado Big Band , Dizzy’s, 344 7th Ave., 7pm. Rock, Paper Scissors , Athenaeum Studio, 4441 monday • 26 Tom Smerk , De Oro Mine Co., 9924 Campo Rd., Sven-Erik Seaholm , Aztec Cafe, SDSU Campus, Park Blvd., 7:30pm. Spring Valley, 9pm. 4:30pm. Drum Circle , 101 Artists Colony, 90 N. Coast Bill Magee , Humphrey’s Backstage Lounge, Hwy. 101, Encinitas, 7pm. Tim Pahlen/Skyler Stonestreet/Chris Ayer , Ken Peplowski Quartet , S.D. Museum of Art, Twiggs, 4590 Park Blvd., 8:30pm. 2241 Shelter Island Dr., 7pm. Balboa Park, 5:30pm. Jorge Drexler/Gregory Page , Belly Up, 143 S. Pierre Bensusan , Acoustic Music S.D., 4650 Cedros, Solana Beach, 8pm. Bottle of Justice/Curtis Peoples/Martin Hard to Travel Bluegrass Jam , Old Time Music Storrow , Lestat’s, 3343 Adams Ave., 9pm. Mansfield St., 7:30pm. ROBIN HENKEL & GIRLFRIENDS! Store, 2852 University Ave., 7pm. Siren’s Lure/Bobby Doran/Donnis Trio/Julia Astra Kelly/Shant/Paige Aufhammer/Michael Blue Meridian , Lestat’s, 3343 Adams Ave., 9pm. wednesday • 14 Othmer , Tiki Bar, 1152 Garnet Ave., 9pm. Tiernan , Dublin Square, 554 4th Ave., 8pm. Super talented ladies Lisa Sanders, Michele Lundeen & Blues Streak , Patrick’s II, Annie Dru, Anna Troy, and Kelly Sue Palmer & her Motel Swing Quartet , 428 F St., 9pm. Rucker join Robin at Lestat’s. thursday • 8 Croce’s Jazz Bar, 802 5th Ave., 8pm. tuesday • 27 Robin Henkel Band , Tio Leo’s North, 10787 Hoodoo Gurus/The Shambles , Belly Up, 143 S. Friday, March 9, 9pm Leo Kottke/David Lindley , Belly Up, 143 S. Camino Ruiz, Mira Mesa, 8pm. Cedros, Solana Beach, 8pm. friday • 23 Cedros, Solana Beach, 9pm. Rob Deez/Shrimpboat Pirates/Kelly/Laura Sheila Sondergard (6pm) /Eve Selis , ROBIN HENKEL BAND with HORNS! Kuebel/ , Twiggs, 4590 Park Blvd., 8:30pm. thursday • 15 Humphrey’s Backstage Lounge, 2241 Shelter wednesday • 28 4 Way Free/Tommy Edwards , Lestat’s, 3343 Island Dr., 8:30pm. Dave Castel de Oro and Troy Jennings Adams Ave., 9pm. Eric Clapton & Robert Cray , ipayOne Ctr., 3500 Big Rig Deluxe , Coyote Bar & Grill, 300 Mesa College Jazz Ensemble , Dizzy’s, 344 7th on sax, Rodney Ratelle on bass, Sports Arena Blvd., 7:30pm. Mike McGill/Tim Malley/Carl Weathers for Carlsbad Village Dr., 6:30pm. Ave., 7:30pm. and Kevin Koch on drums join Robin Governor/Erik Vice/Russ Wilson , Tiki Bar, 1152 Le Quan Ninh & Frederic Blondy , Dizzy’s, 344 Christiane Lucas , Hot Java Cafe, 11738 Carmel Dave Holland Quintet , Neurosciences Inst.., Garnet Ave., 9pm. 7th Ave., 8pm. Mtn. Rd., 7pm. 10640 Hopkins Dr., La Jolla, 8pm. for an evening of jazz-infused funk, Joey Pearson/Champion Vinyl/Dawn Julia Othmer/Dan Long/JAC/Julia Julez/Guitar Sue Palmer & her Motel Swing Quartet , blues, and steel guitar music at Mitschele/Austin Jennings/Josh Damigo , Jones , Boat & Ski Club, 2606 N. Mission Bay Croce’s Jazz Bar, 802 5th Ave., 8pm. Twiggs, 4590 Park Blvd., 8:30pm. Tio Leo’s North. Dr., 8pm. Citizen Band , Lestat’s, 3343 Adams Ave., 9pm. Working Cowboy Band , Del Dios Country Wednesday, March 14, 8pm Store, 20154 Lake Dr., Escondido, 8pm. 14 www.myspace.com/sandiegotroubadour MARCH 2007 SAN DIEGO TROUBADOUR the local seen

P Photos by Steve Covault unless otherwise noted h o t o :

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Kenny Edwards @ Heritage East

Fishtank Ensemble at Dizzys Josh Damigo @ Kirin Sushi

Chad Farran @ Podunk Nowhere CD Release Joe Cardillo @ Twiggs

The Grams @ Lestats

Citizen Band at 710 Beach Club Denis Sluka of the Donnis Trio @ Belly Up P h o t o :

L Not Your Mom’s Astra Kelly @ Belly Up i z

A b b o t t P h o t o :

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A b b o t t

Livingston Taylor @Acoustic Music SD

Orquesta Nacional de Mambo @ Dizzys

Donnis Trio’s Phil Woodring @ Belly Up P h o t o :

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Diana Jones @ CanyonFolk

Brooklyn @ Kirin Sushi

Podunk Nowhere at their CD release, Winston’s

Nate Donnis @ Belly Up Tim Woods in his Wood ‘n’ Lips tee-shirt

Todd Snider @ the Belly Up Joyce Ann @ Kirin Sushi

Ralph Stanley & Ralph Stanley II @ the Belly Up

Cindy Lee Berryhill w/ Marcia Claire @ 101 Artists Colony Chris Clarke & Sara Petite @ the Belly Up www.sandiegotroubadour.com 15