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

October 2006 www.sandiegotroubadour.com Vol. 6, No. 1

what’s inside

Welcome Mat ………3 Contributors Letter from the Publishers Full Circle.. …………4 Hollis Gentry III Recordially, Lou Curtiss Front Porch... …6-8, 15 New Acoustic Generation O’ Berkley, Where Hart Thou Marie Haddad Parlor Showcase …9 A Guide to the Local Music Industry Ramblin’... …………14 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Highway’s Song. …16 The Bobs Of Note. ……………17 Kim DiVincenzo The Bobs Nathan Welden Paper Moon The Cat Mary ‘Round About ...... …18 October Music Calendar The Local Seen ……19 Photo Page

OCTOBER 2006 SAN DIEGO TROUBADOUR welcome mat

From the Publishers RSAN ODUIEGBO ADOUR San Diego Alternative country, Americana, roots, folk, As we enter our sixth year of publication, we here at the Tblues, gospel, jazz, and bluegrass music news Troubadour would like to thank all of our supporters and readers who are responsible for making this paper successful. Thanks also to those of you who attended our benefit at the Portugalia restaurant in Ocean Beach last July. We are especially grateful to those who contribute their ISSION ONTRIBUTORS time and effort so that the Troubadour can continue to serve the local M C music communtiy. To promote, encourage, and provide an FOUNDERS This month we are publishing an October issue for the first time. alternative voice for the great local Ellen and Lyle Duplessie Earlier in the year, the Troubadour staff decided to expand from 11 music that is generally overlooked by the Liz Abbott issues per year to 12 with the publication of separate issues in mass media; namely the genres of Kent Johnson alternative country, Americana, roots, September and October rather than combining the two months into a PUBLISHERS folk, blues, gospel, jazz, and bluegrass. To double issue as we have over the previous five years. entertain, educate, and bring together Liz Abbott The San Diego Troubadour is proud to remain a modest, mom-and- players, writers, and lovers of these Kent Johnson forms; to explore their foundations; and EDITORIAL/GRAPHICS pop venture committed to bringing our readers a newspaper devoted to expand the audience for these types of Liz Abbott entirely to local music. In addition to covering the history of San Diego music. Simeon Flick music, the Troubadour brings you news of up-and-coming singer-song - SAN DIEGO TROUBADOUR, the local Chuck Schiele writers and bands that perform at the many great music venues that source for alternative country, Americana, ADVERTISING San Diego has to offer. roots, folk, blues, gospel, jazz, and blue - Kent Johnson The Troubadour will continue to give ink to all the many deserving grass music news, is published monthly and Joanna Schiele and creative artists who make San Diego their home. The local music is free of charge. Letters to the editor must BUSINESS MANAGER be signed and may be edited for content. It scene is flourishing and shows no sign of slowing down. As long as Joanna Schiele is not, however, guaranteed that they will there’s music playing, the San Diego Troubadour will be there with inter - appear. DISTRIBUTION esting articles and information. Kent Johnson All opinions expressed in SAN DIEGO Dave Sawyer TROUBADOUR, unless otherwise stated, Mark Jackson Liz Abbott and Kent Johnson, Publishers are solely the opinion of the writer and do Peter Bolland San Diego Troubadour not represent the opinions of the staff or Indian Joe Stewart management. All rights reserved. STAFF PHOTOGRAPHER ADVERTISING INFORMATION Steve Covault For advertising rates, call 619/298-8488 or e-mail [email protected]. WEB MASTER Will Edwards SUBSCRIPTIONS are available for $30/yr. Send check payable to S.D. Troubadour WRITERS to: Liz Abbott Peter Bolland San Diego Troubadour Marcia Claire P.O. Box 164 Lou Curtiss La Jolla, CA 92038 Will Edwards E-mail: [email protected]. Kate Kowsh WHERE TO FIND US Can’t find a copy of Jim McInnes the San Diego Troubadour? Go to Bart Mendoza www.sandiegotroubadour.com and click Raul Sandelin on FIND AN ISSUE for a complete list of Dave Sawyer locations we deliver to. Chuck Schiele ©2006 San Diego Troubadour. Sven-Erik Seaholm José Sinatra D. Dwight Worden The San Diego Troubadour is dedicated to the memory of Ellen and Lyle Duplessie , Craig Yerkes whose vision inspired the creation of this Cover design: Chuck Schiele newspaper.

www.sandiegotroubadour.com 3 OCTOBER 2006 SAN DIEGO TROUBADOUR full circle Hollis Gentry III 1954-2006

Evans would continue to be a complete set of his recordings will whenever Gentry walked into the major force in Gentry’s life. In the need copies of albums by Patrick room. We knew we were about to early 1980s, the pair helped found Yandall, Gomango Invasion, Planet hear something special. jazz quintet Fattburger, and although Groove, Doug Robinson, and Robin Gentry’s full-time role with the Henkel, to name just a few. There are group was relatively short, the con - enough guest appearances out there nection remained strong. He appears for a good sized box set. Dizzy’s on nearly all of the bands 14 albums owner Chuck Perrin has the distinc - to date, including the 2004 album tion of having Gentry’s last recorded Work to Do . It’s a testament to the performance as part of the 2005 band’s affection for Gentry that even album, :44 of Love . though he had long ceased to be a It’s hard to put into words just full-time band member, his picture how important Gentry was to the still appears on the bio page of local music community or even how Fattburger’s web site. By the end of much talent he had. But it was in a the decade he was helming his own live setting that his music thrived band, Neon, which would release a and that’s what I’ll miss most. At self titled album on the Nova label in home with ensembles of all sizes, 1989. anyone who saw him perform will Hollis Gentry III While Gentry kept a slightly lower recall the anticipation of music fans profile during his post-Neon years, by Bart Mendoza turn when he was diagnosed with until the time of his accident he was cancer just two months before his a perennial presence at numerous an Diego’s music community passing. clubs and festivals, as well as at the was dealt yet another major A true local music icon, Gentry occasional recording session and blow on September 5 with the had an illustrious career, although he S tour. A re-teaming with Carlton in passing of jazz icon Hollis Gentry, managed to stay just under the radar. 1990 can be seen on the video 51. Saxophonist Gentry had survived He already had a formidable rep as a release of Larry Carlton Live at the a roll over car accident in 2004 on sax player during his high school Montreal Jazz Festival . September 2, which fractured his jaw years. In 1969 he helped found local Neon would eventually fade, but and caused serious facial damage, funk band Power —alongside Nathan Gentry released a pair of solo preventing him from playing his East, Carl Evans, and Skipper albums, including For the Record in instrument; he was hospitalized for Ragsdale — going on to tour with 2001. Gentry took home a San Diego nearly three months. Sadly, he never Barry White, Nancy Wilson, Al Music Award in 1996 for Best Jazz fully recovered and could no longer Jarreau, Joe Sample, David Benoit, Artist and contributed to many local play, but things took an even worse and Larry Carlton among others. recordings. Anyone looking for a

4 www.myspace.com/sandiegotroubadour OCTOBER 2006 SAN DIEGO TROUBADOUR full circle n

HAT S OLK USIC o

W I F M ? s d r a h c he debate about the definition of i R

l l folk music is an argument that i B

Recordially, Lou Curtiss : o stopped me from using the term t o h

T P back in 1987 when the last San Diego Folk Festival was held. At that time the San cussions about the terms “folk” and “old- lyrics and the accompaniment. If the song Hank Snow, Gregory Page, Patty Hall,Carol Diego Union (Don Freeman in particular) timey” can cause major riffs in the firma - sounds like it could be an old song or if it McComb, and a host of others but so often had the idea that folk music was “Joanie ment. If it wasn’t destroyed by photograph rustles up nostalgic issues, that’s a given. it’s the accompaniment that finds a per - and Bobby and Pete. Oh, my!” and proba - records, radio, TV, and the like, the Great Songs that have a message — à la Woody former wanting. bly subversive to boot. At any rate, the Folk Scare of the late 1950s and early Guthrie or Pete Seeger — also have a long The 36th Adams Avenue Roots (and word “folk” didn’t get me a lot of press, so 1960s sure finished it off. Others say, tradition, which implies roots. A pop song maybe Folk) Festival comes along the I quit using it. My definition of a folk song “Naw! that just added more folk songs to is a pop song and, for the most part, that weekend of April 21 next year and already was one that had been passed on and the list.” My problem is that there are isn’t roots. So much of what I hear from performers’ packages are coming in. I’ve Lou Curtiss changed some. In fact, that’s still my defi - types of music that I would have to add to singer-songwriters isn’t what I want to heard from Sparky and Rhonda Rucker, nition of a folk song and the festival I my “what is a folk song?” list (like rap, hear at the Roots Festivals. Not that some who will be out this way. Guy and Candie thanks from all of us. Over the next year, wanted to do included folk songs, but it which is related to old talking blues and of it isn’t good music. It just belongs at the Carawan, who haven’t been out to San check out the FolkArtsRareRecords.com also included some other stuff that wasn’t country recitations as well as Afro- Adams Avenue Street Fair, not the Roots Diego in several years, want to come out website for selections from those years necessarily folk music — like jazz, blues, American toasts and the dozens) that Festival. Over the years I’ve booked singer- and show us a new film made by their past. swing, and even some contemporary first- probably wouldn’t work and the Roots and songwriters like Mary McCaslin, U. Utah daughter Heather that showcases their I just heard that the folk music com - generation stuff. Some of the folks I book Folk Festival. But that doesn’t mean it isn’t Phillips, Ken Greydon, Lou and Peter work with the civil rights movement and munity lost one of its biggest supporters write songs that sound like they ought to a folk song. One of the types of song that Berryman, John Bosley, Patty Hall, Jim various other causes as well as play some this week with the passing of Ted be folk songs and my guess is that they has kept its purity, form, and longevity is Ringer, Jody Guthrie, Ross Altman, Bodie music. Hopefully we can get some of the Theodore. Active for years in the San will probably become so. Other kinds of the bawdy song, which is surely a folk Wagner, and Gregory Page, who all fall festival regulars from years past back here, Diego Folk Song Society, Ted was always music, such as bluegrass, Cajun, or Irish song but you aren’t going to find it at a into my idea of what constitutes roots like Mary McCaslin, Hank Bradley, Cathie there behind the scenes with his ever-pres - music, have their own ladder between family oriented festival like our Roots music. Some grew up with it; some were Whitesides, Larry Hanks, Frannie Leopold, ent tape machines in tow. All the folkies what is contemporary and what is folk. Festivals, except perhaps at a late night from second and third generation families; and Ray Bierl, as well as first timers Carol he talked to around the world on his When I started doing festivals again, I unofficial pick session others just had that unique and original Elizabeth Jones and Laurel Bliss, Rick Lee, Citizens Band radio are going to miss his picked the term “roots” to describe the Now comes the singer-songwriter and quality that I define as roots music. and others. promotion of San Diego folk happenings; kind of festival I was doing. That lasted for there have been quite a few of them at the So many people write good songs and The reel to reel library at the Lou local folkies will miss his enthusiasm and another 13 years or so until it was decided various Folk and Roots Festivals. Deciding then just destroy them with poor accom - Curtiss Sound Library grows every day good will. to tag the word “folk” back on to the whose music is appropriate for these festi - paniment. I’ve never understood meaning - thanks to people who put stuff on tape Roots Festival’s name, which started the Recordially, vals has always been more complicated. I less banging on a guitar when subtle flat - over the years and are donating their reels whole debate up again. Just look at blogs think it has to do with the structure of the picking or fingerpicking would do so to our digitization efforts. The Sound Lou Curtiss on www.sugarinthegourd.com, where dis - much more for a song. If you can’t accom - Library project, cosponsored by the pany a song, don’t expect to get it across Library of Congress and UCLA’s as well as you’d like to. I know it’s a sacri - Department of Ethnomusicology, includes lege to say this, but I’ve never been a big tapes of concerts and festivals in San Diego fan of Richie Havens, mostly because he that date back to the early 1960s — all the bangs the hell out of a guitar. I know he San Diego Folk Festivals, Roots Festivals, has a fine voice but just rapping or brush - and a variety of concerts from all over the ing a guitar with your thumb is not play - area. The unsung folks who manned the ing a guitar. I grew up with real guitarists old real-to-real decks, which captured all like Merle Travis, Mississippi John Hurt, that great music from artists like Richard Joe Maphis, Memphis Minnie, and Doc Schurch, Bob Pillow, Ted Theodore, Jack Watson. I’ve heard tasteful accompaniment Van Olst, Dennis Squier, and others I’m to original songs from Mary McCaslin, not remembering, deserve an extra special

www.sandiegotroubadour.com 5 OCTOBER 2006 SAN DIEGO TROUBADOUR front porch t Coulter, Simeon Flick (who will be l u a v

using this forum as his CD Release), o C

Kim Divine (her CD is reviewed this e

New Acoustic GeNerAtioN v e issue, page 13), and the Cathryn Beeks t S

: o

Ordeal. I asked these performers to t o h A Field of Dreams for Acoustic Musicians share their thoughts about the New P Acoustic Generation and what it means to San Diego music. Cathryn Beeks (local champion of live acoustic show - by Craig Yerkes acted on his idea and launched the something he approached lightly. cases, including the highly successful New Acoustic Generation, a series of “With this venue, it’s a risk if you Acoustic Alliance) said, “Michael’s NAG ew things in life are more difficult shows at none other than the leg - come up short, but I really like the nights at the Belly Up are an amazing than convincing people to come endary Belly Up Tavern in Solana people at the Belly Up.The crew that’s opportunity for San Diego’s acoustic Fout to a local acoustic music show. Beach. in there now is phenomenal,” he artists and fans alike.” Simeon Flick Ask any San Diego music promoter and I asked Tiernan recently about the explains. concurs, “Mike is opening doors for so they will tell you that sometimes it genesis of NAG. As he recalls, “The The first show last January, which many of the overlooked artists here in seems to take an act of Congress just to Belly Up had come to me and asked featured such notables as Renata San Diego, giving them a chance to get 20 people through the door. So, me to put a show together at the last Youngblood, Tiernan himself, and exhibit at a prominent local venue.” what made local singer-songwriter minute after something fell through. . . Paige Aufhammer, brought in roughly Kim Divine loves the fact that Tiernan Michael Tiernan Michael Tiernan think he could get . . they dug my idea for the kind of 250 (paid) people, sending a strong has “taken some of Southern hundreds of people to come out for an show we could do and we decided not statement that NAG was for real. Since California’s best songwriters and creat - Diego music scene as having the ability acoustic show on a week night . . . in just to do it last minute, but let’s really that first show, other San Diego heav - ed an event that takes them out of the to continually enhance and re-define North County ??!! Maybe he watched the do this!” The fact that Tiernan was able ies, such as Steph Johnson, Lindsey coffee shop vibe . . . and welcomes the image of our entire town (think movie Field of Dreams a few too many to secure such a prestigious venue Yung, and Carlos Olmeda, have per - them into the prestigious Belly Up Austin and Seattle). times (“If you build it, they will turned more than a few heads in the formed at NAG, and attendance has Tavern.” Aussie transplant, Lee Coulter NAG represents a promising point come.”). Lucky for all of us, Tiernan San Diego music scene and it’s not continued to be truly impressive, if not adds, “It’s a common misconception of light for all of the acoustic perform - shocking, considering that all of the that if you’re acoustic and you’re not ers in our fine city. “I am trying to cre - shows have been on weeknights. huge, playing anything bigger than a ate a really good karmic thing, person - Clearly, to have that kind of suc - coffee shop would be a waste of a ally and for the entire San Diego music cess, you have to pick the right people sound system. After seeing an NAG community, with these shows.” to play. Tiernan states, “I try to book show, folks would agree that a lot of Tiernan built it, they came, and it people who have some kind of buzz the local acoustic acts deserve to share looks like they’re going to keep on surrounding their music and I like to that stage with the national and inter - coming. give spots to up and coming artists national acts who come through.” In For more info on the New Acoustic who maybe haven’t had a chance to addition to the above-mentioned per - Generation and the performers play at a larger venue. It’s also impor - formers Tiernan let it slip that there involved, go to tant that the artist shows excitement will be a “surprise guest performer” on www.tiernantunes.com/sdnag.html or for the show and a willingness to really the October 4 bill, but you’ll have to www.bellyup.com promote it.” While it’s one thing to get come see for yourself because he won’t the right acts to fill the roster, the next say who it is! challenge becomes structuring a show Looking forward, Tiernan sees an in such a way that people will come indefinite future for NAG. He explains, and stay for all or most of the night. As “We’ll probably stick to the idea of Tiernan points out, “The trick is to get doing the shows every couple of people to come and not just stay for months to make sure it’s always an the artist they came to see, but to stay event. We’ll look to include more and for the others as well. We do the song more out-of-town [indie] acts as well as circle at the beginning to give every - some of the more established acoustic one a taste of what the artists will be acts in San Diego.” As a broader goal, doing. We make an effort to move fast Tiernan sees NAG growing into some - between performers as well.” thing that will have “brand name The next NAG showcase will be recognition beyond its individual per - held on October 4, featuring locals Lee formers.” Tiernan sees the entire San

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O’ Berkley, Where Hart Thou? e C e C

: o t o h A Joyous Celebration of P American Roots Music

by Peter Bolland the Coen brother’s film, O Brother, Where before a packed house in February of last Art Thou? , Berkely Hart will take center year. eauty and truth are timeless; they stage along with the 7th Day Buskers, In the late 1990s, Ethan and Joel never go out of style. Great art Eve Selis and Marc Twang, Gregory Page, Coen began conceiving a film project Bseems to break the bounds placed Lisa Sanders, Randi Driscoll, Cindy Lee around an unusual idea. They wanted to on lesser creations. Tidy classifications of Berryhill, Robin Adler, Tim Flannery, and film a new version of Homer’s Odyssey, genre and style fade in the bright light others to render songs from the film’s set in the American South of the 1930s. Jeff Berkley and Calman Hart cast by masterpieces. Out of the unique best-selling soundtrack as well as other An unusual melding of two classic eras American musical vernacular came the songs of the period. But what sets this — ancient Greece and the Depression-era According to Rohlf, this music matters songwriting. “It’s meant everything to tap roots of blues, jazz, gospel, folk, show apart from other tribute shows is South — called for an unusual approach. because “it seems to go deeper than my me to go to school on this music,” says country, and rock. O’ Berkley, Where Hart the seamless integration of original Typically, music is added to a film at the ears. I can feel it in my bones. I hear my Berkley. “It’s infused in everything I do.” Thou? celebrates those roots. Who knew material. Folk music is, after all, alive end of the process. But before the Coen ancestor’s pain and struggles as they Listen to any of the original recordings that eternal transcendence could pour and well here in San Diego. And whether brothers wrote or shot one scene, they crossed an ocean and braved the ele - of Berkley Hart, Eve Selis, the 7th Day forth from a five string banjo, a flat- you call it folk, bluegrass, Americana, or hired T-Bone Burnett to record the ments to find a new life. I feel the excite - Buskers, Tim Flannery, Gregory Page, and picked guitar, a low-slung fiddle, and a roots, one thing is clear. It’s damn good soundtrack. Using field recordings and a ment and joy of dancing on the front the rest of them, and you’ll hear the slapping upright bass? stuff. core group of musicians to create new porch to the banjo and fiddle after work - ghosts of American music brought to San Diego folk icons Jeff Berkley and On Friday, October 13 at 7:30 the material, Burnett created a powerfully ing from dawn till dusk. There was no life. This show is so much more than just Calman Hart are once again gathering Seaside Church Auditorium in Encinitas moving musical experience. With Hollywood glamour, no MTV, no CD a cover band party. There is an almost together some of their talented friends will be transformed into an Appalachian Burnett’s soundtrack playing in their sales or Grammy awards to complicate, religious reverence to this show. Maybe for a second installment of their sold out back porch. Also on hand will be the just headphones, the Coen brothers set out sterilize, and exploit this music. It was it’s the innate spirituality of the material 2005 tribute to old time American music, released DVD/CDs of the original O to write and shoot the film. The sound - simply played to entertain, comfort, and itself and the way it illuminates the dark - O Berkley, Where Hart Thou? Riffing on Berkley, Where Hart Thou? , recorded track became a surprise best seller with pass along some history to the next gen - est corners of the soul with the possibili - the single “Man of Constant Sorrow,” eration. We are so far removed from that ty of redemption and salvation. even garnering extensive radio play on today.” What strikes you first when you listen top-40 country stations, including local Although the show is the brain child to this music is its naked intimacy, hon - station KSON. Some even credit the suc - of Jeff Berkley and Calman Hart, the esty, and fearlessness. Willing to grab the cess of the soundtrack with paving the endless details of management and pro - devil by the horns, these songs spread a way for a resurgence in alt-country and duction are handled by Berkley’s long- healing balm over the existential wounds Americana artists like Allison Krauss and time collaborator and partner, Lizzie of loneliness, poverty, death, and despair. Union Station, Gillian Welch, and a host Wann. When she isn’t booking her high - Hear Ralph Stanley’s “O Death” and feel of others. But one thing is sure. The suc - ly successful and long-running Meeting the hair stand up on the back of your cess of this music proves that there is a Grace house concert series, or pursuing neck. Feel the cold darkness slide hunger out there for heart-felt, simple, her own career as a poet, Wann pours through your veins when the Cox Family true American music, something hundreds of hours into arranging sings “I Am Weary (Let Me Rest),” a Nashville stopped providing decades ago. rehearsals, working the phones, booking mournful lament sung by a dying child Serving as “house band” for the the facility, stage managing, handling to her grieving mother. Feel the relief of evening, the 7th Day Buskers (Shawn the financials, and, in short, doing the belly laughs as you hear the classic Rohlf, Robin Henkel, Dan Broder, Beth everything but sing and play guitar. For hobo fantasy “Big Rock Candy Mosko, and Jim Austin) bring the Wann, it’s a labor of love. “When I hear Mountain,” with its cigarette trees, lakes authentic roots feel and masterful chops this music,” she says, “I am transported of stew, and chickens that lay soft boiled that the material so dearly requires. to another time and yet I can easily eggs. Weaving sorrow and joy together in relate to the words and music. They are a life-like tapestry that wraps around an The 7th Day Buskers spiritual without being preachy; they audience like a warm embrace, music make me feel lifted up. They are easy on like this, performed by artists like this, the ear without being simplistic. They make you remember why you fell in love are funny without being ridiculous. I with music in the first place. don’t grow tired of these songs because If you had the misfortune of missing they feel more real than so much of the first production of O Berkley, Where what you hear on the mainstream radio Hart Thou? last year, here’s your chance these days.” for redemption. For tickets and further “It’s so much fun to be a part of these information, visit www.berkleyhart.com shows,” says singer-songwriter, folk musician and voice of the Padres, Tim Flannery. “It’s just a sure night of feel- good music on the ears.” For long-time friends and collaborators Berkley and Flannery, the real strength of the show is the camaraderie the musicians share. Gathering around one or two micro - phones, just like they used to do in the Calman Hart’s Top Ten Reasons 1930s, keeping it lo-tech and hi-warmth, Why He Loved Doing makes the magic happen. “Getting O Berkley, Where Hart Thou? everyone together is the real prize for me,” says Berkley. “It’s a party and a half. 10. Got to see the 7th Day Buskers The audience feels it, we feel it, and it dressed like they just stepped out of a 1920s’ southern speakeasy goes with us when we leave.” And if, between songs, you see them passing 9. Got to shout, “How ’bout some fiddle!” and “Take it away around a Mason jar full of clear liquid, dobro!” in the middle of our chances are it isn’t water. Flannery still songs has deep roots in the hills of Kentucky 8. Got to hear the audience sing “I where he’s from, and maybe, just maybe, Went Down to the River to Pray” he might have slipped a jar or two of 7. Got to hear Eve Selis sing like genuine Moonshine past customs on the Ralph Stanley last Padres road trip. It’s possible. For O 6. Got to watch Robin Henkel shred Berkley, Where Hart Thou? , no detail is left in suspenders to chance. 5. Got to hear Lisa Sanders sing the Flannery, Berkley, and everyone blues involved feels the same way about the 4. Got to hear Gregory Page play music and its timeless relevance. And the kazoo that’s what sets this show apart from the 3. Got to hear Jeff Berkley play banjo flurry of other tribute shows that have come along in recent years. For these 2. Got to play music with my daughter artists, this music has been the heart and soul of the inspiration for their own 1. Got to yodel

www.sandiegotroubadour.com 7 OCTOBER 2006 SAN DIEGO TROUBADOUR front porch Community Vibe

their hesitation and after a couple too, can play its role. Perhaps it be singing a different tune. of “get-up-to-speed” sentences, will be all things to all people but I Musicians have become more inte - they’d be off like a jet, talking doubt it. Instead, I hope that it will grated with those around them. about all their interests and sincere be one more patch of stick and One word that was used frequently hopes for the future. mortar that helps to join the artis - throughout my interviews was the I landed upon this most interest - tic and logistic characters and com - word “community.” Some people ing discovery: many of my com - ponents of the acoustic music were looking for more of it and by Will Edwards attempted to traverse the wide rades were indeed hopeful about scene together. others seemed to have found it. range of acoustic music events now the future of their music and their I said earlier that my recent But, everyone wanted to see it co-existing in San Diego. I felt like WHAT ’S THE BIG IDEA ? hometown’s scene. This was in experiences have changed the way grow, recognizing that community a gypsy with a video camera and On September 14, I woke up contrast to the usual open mic I think about San Diego and all the is an integral part of moving every - sometimes I’d be at three events in with an idea in my head for an banter about how someone played musicians I know. I’d say that my one forward. one night! What I found out has awards program that would cele - a great gig on Saturday night and introduction to performing as an The San Diego H.A.T. Awards will com - changed the way I think about San brate and promote the talented hardly anyone showed. We all independent artist was a bit lonely. mence on October 8. More information is Diego and all the musicians I available online at http://www.sandiego - members of the acoustic music know that music is a tough gig (no For a long time there was, in my hatawards.com. community in San Diego. Perhaps know. pun intended) but we also tend to eyes, a competitive current that Will Edwards can also be found online at it was the lunar eclipse this month THE POWER OF SILENCE complain a little when given the flowed beneath the surface. This and http://www.willedwards.net. You can or maybe my brain was subject to email him at [email protected]. “What are you going to ask opportunity. But, there was more was never my preference, but I some kind of gravitational anom - me?” That was commonly the first than hope or sympathy present in resigned myself to it. The voices aly during the solstice, but it question out of the mouth of each these interviews. What emerged I’ve been hearing recently seem to seemed clear that a time had come new interviewee. I had a set of was a clearer picture of how all the for the legions of singer-songwrit - basic questions about the scene, people and places that constitute ers in San Diego to stand and be their experiences, etc. and found our acoustic music community recognized for their accomplish - people to be hesitant at first talk - play their part and contribute in ments. I call it the H.A.T. Awards ing on camera. Some of them unique but very important ways. which stands for “Honoring couldn’t decide whether they were Some provide our inspiration, Acoustic Talent.” talking to the camera or to me and while others do the groundwork. In recent months many people their eyes would dart back and Some of us are the ears of the scene have come up to me and started forth like they were watching a and others are the voices. I was talking about the growing sense of NASCAR race. I found a valuable amazed what I could learn from a community that exists among ally in my search for honest little bit of silence! acoustic musicians here. I decided answers: silence! First I’d ask, “Tell HONORING ACOUSTIC TALENT to begin collecting video “testimo - me about your experiences as a ny” as well as nominations. My I’ve done roughly 20 or 30 inter - musician in San Diego.” Then I’d hope was to find out what people views to date. I’m going to do wait; they would answer briefly would say about their individual more. But, in the interim, I’m and there would be silence. I’d experiences. Over the next two focusing on ways to take what peo - look at my guest with an earnest weeks, I found myself wandering ple have told me and try to weave sense of interest and patiently wait. further and further afield as I the H.A.T. Awards into the existing The silence always seemed to break fabric of the community so that it,

8 www.myspace.com/sandiegotroubadour OCTOBER 2006 SAN DIEGO TROUBADOUR parlor showcase

ftentimes, the most difficult aspect of any undertaking is facing the challenge of knowing where to begin. It’s one thing to be inspired about music. It’s another to be inspired about Othe business of music. This is what separates the hobbyists from the professionals. After all, when you’re talking about the “music business,” unfortunately the emphasis falls on the word “business.” We asked a number of San Diego's foremost professionals to share their insights with regard to where to begin and how to survive the music industry. Although there are many topics to cover, in this issue we’ll focus on recording and promotion.

the two schools of audio thinking and hearing. What I’ve Saving time in the studio What should I know before I get started? found is that high-resolution digital will record whatever you plug into it exactly as it sounds. It all starts with the Be prepared! Be prepared! Be prepared! Find a producer/engineer you trust. Run down all your Producers and player, instrument, and recording environment. But, if an — Jeff Berkley, Aaron Bowen, ideas and make a rough map of what you have in mind. engineer has a decent microphone, a decent pre-amp, Sven-Erik Seaholm That way you’ll have a good foundation before you even Engineers and a great A-D converter for converting the signal from push the recording, in essence saving time. Most impor - analog to digital, then digital is the way to go. However, You can’t really. Get yourself prepared and the recording tant of all, get what YOU want. Do not let your engineer every one of those things costs money. It is the fusing of will go as quickly as it can go. The truth is that your make you sound like them!! both worlds within the same signal chain that seems to record deserves your full attention while you’re in ses - — Aaron Bowen work the best at Miracle Recording. sion. Sometimes that takes some time. Get someone with a lot of recording experience to help. Pre-production is often the most overlooked aspect of — Jeff Berkley, Miracle Recording — Jeff Berkley making an album. As I said before, readiness will save The cost effectiveness of digital systems translates into you time, money, and headaches. Pre-production is the the most important feature of all: anyone can create I’d suggest that you get a $150 four-track and make the process of going through your songs and finding out their music independently. With this in mind, the advent of best recording you can. When you’re done, go to a studio strengths and weaknesses and what kind of sound treat - digital audio has opened the recording landscape and and make a recording. With this approach, you’ll lose ment to give them or what instrumentation is needed. enabled creative output that wouldn’t have happened 15 your hair, shatter your nerves, and learn everything you — Christopher Hoffee or 20 years ago. need to know. When you enter the studio, you’ll be sharp and aware, and you won’t spend a penny that isn’t nec - I’m big on pre-production. By the time I make a CD for — Will Edwards, Tangled Records essary. Guaranteed! myself, I’ve already recorded my ideas a number of Digital editing is a powerful weapon in the modern — Will Edwards times. Sometimes what is fun to play isn’t exactly the recording era, but many people feel that they are some - same fun when listening back. This is a good place to be how cheating if they compile multiple takes into one bril - Save in the studio by being PREPARED! I know that honest with your artistic self in terms of writing and liant performance. Purist views aside, it isn’t cheating if sounds like some sort of cop out, but don’t let your arranging, which allows you to walk into the studio with your record kicks ass in the end. excitement influence your “readiness.” Are you sure confidence, because you know you’ve taken the time Conversely it is easy to overcorrect things to the you’re happy with the lyrics? Is the song structure right? and effort to heighten your music. Pre-production also point where they don’t feel as good as a live take, espe - Can you and the other musicians perform it well? Don’t helps the producer understand your vision more clearly cially in the rock and folk genres. This is where a per - rely on the engineer to fix it for you. That should only be and where his or her contributions might be more worth - Analog vs. digital? son’s experience and musicality come into play — the very last resort. while. There’s an entire segment of the music industry built knowing when not to touch something is equally as — Christopher Hoffee, CHAOS — Chuck Schiele around selling the “magic” of each of these platforms. In important as any other editing skills. Recording the end, it’s all marketing hype. What anyone really Track count comes into play when you have many Be prepared. Your music is the result of you and your What about instrumentation? needs to know is that they both do the same thing, but in little parts to add. Conventionally speaking, having more preparedness. Strive for no excuses. different ways. It’s the person turning the knobs (and than 40 parts with only 24 tracks to commit them to The denser your instrumentation, the more time (and — Chuck Schiele, StudiOB his/her knowledge of what to turn and when) that mat - means doing a great deal of submixing. You can give money) your album will consume, be it rock, jazz, or classical music. Many artists think that they should just ters. Analog and digital are format tools to record and each part independent EQ and effects to remain editable. Before going into the studio, rehearse like crazy. Have a add more instruments to “fill out” their sound. Without a manipulate sound. If you don’t know how to use them, The flipside is known as “optionitis,” where you hold off strong idea of the overall production or feel of each indi - clear vision, it will just be sonic clutter. the “magic” of either one is useless. deciding which tracks to use until the mix stage. vidual tune. Try to work on the orchestration beforehand — Paul Abbott, Zen Mastering — Sven-Erik Seaholm, Kitsch & Sync and possibly musicians that you are going to be inviting. — Paul Abbott Production — Jason Turtle This one question could spark hours of debate between www.sandiegotroubadour.com 9 OCTOBER 2006 SAN DIEGO TROUBADOUR parlor showcase

should feel embraced. Musical vision is part of it – it should feel shared. When reviewing options for recording, ask yourself this: “Who wants to hear the same result as I do?” If you choose well by that logic, you’ll probably enjoy listening to your work longer. — Chuck Schiele Pick someone you trust. Nothing speaks more about a pro - ducer’s ability to fulfill your needs than the work that they’ve done and whether you feel comfortable with them. Talk with some of their past clients. How was their experi - ence? — Sven-Erik Seaholm Know what it is that you want before going in. Send them a CD of what you love and what you perceive your music sounding similar to; and ask for some of their portfolio. — Jason Turtle

Promoters

Compiled and written by Will Edwards, Chuck Schiele, the engineer for a great many Sinatra and big band records he going to think of my playing or what’s he going to do to Liz Abbott, and Marcia Claire and later produced many of Paul Simon and Billy Joel’s my music? On the other hand, a veteran could be carrying albums. The same can be said for Alan Parsons, whose around memories of bad recording experiences and need some reassurance that things are going to be better this As far as choosing instrumentation, just make sure you engineering credits included the Beatles, Pink Floyd, and time around. choose instruments that complement each other sonically. the Hollies, which eventually led to producing Al Stewart, Don’t overload on one sonic color or another. Have balance Pilot, and a string of solo project records. Tom Dowd is also — Sven-Erik Seaholm wherever possible. a great example of someone who did both. His discography includes Ray Charles, Aretha Franklin, the Allman Brothers, — Jeff Berkley How do you help nervous artists get over Otis Redding, and Eric Clapton. More recently, you’ve got their nerves? Imagine writing your song with red, yellow, and blue — the someone like Daniel Lanois, who produced and engineered limited choice of colors you have. Once you’re in the studio for U2, Bob Dylan, and Emmylou Harris. Just talk it all out and then play it all out before you roll the with a producer who has unlimited colors at their disposal, — Sven-Erik Seaholm tape. Prepare them for the weirdness to come. your little song can all of a sudden become huge and gor - — Jeff Berkley geous. What was once guitar and vocal can grow to include a full rhythm section, plus strings, horns, or percussion, and Will pitch correction save me? I try to make the artist as comfortable as possible. I let background vocals if the song calls for it. Cher is the exception, not the rule. Learn to sing and play them know everything’s okay and we will get it right. — Alicia Champion & Danielle LoPresti, your instrument. — Aaron Bowen Durga Sound Studio — Paul Abbott What single most important piece of advice Instrumentation is your palette. On the economic side of I think it’s an instrument. To say it’s wrong or right is like I shoulder the technical burden; I let the music and process would you give a recording artist with things, the more instruments you have, the more time and saying Dylan shouldn’t have gone electric. Music is what - take its course and show support by encouraging them to cost. Recording will take longer but so will mixing and regard to promoters? ever you put on tape. If pitch correction is the vehicle for try, try again. mastering. expression, then so be it. However, the sound of a clear, In the term “music business,” the emphasis falls on the — Will Edwards — Will Edwards crisp, and natural voice is difficult to beat. word “business.” As musicians we hate to say this and — Will Edwards No challenges, really. If anything, I might spend a little exta wish it weren’t this way. Clubs view entertainment as a I don’t think that instrumentation and genre impact the time acquainting newcomers with the process and the way of making people thirsty. Lesser bands that pack the process, but rather they become the process. Acoustic NEVER use them. I want to hear “people” and their emo - options, and answering their questions. To loosen things place will get gigs before better bands who can bring in instruments and country songs will flow one way. Electric tions. It is not about being perfect; it’s about being honest up, I listen to the artist and let them know I understand the people on their guest list. Even the Beatles had to rec - guitars and punk songs will go another and so on. and emotional. The “perfection of imperfection” is what I where their heart is on the matter. And then I embrace it ognize this at the beginning. One can’t blame the scene or What I will say is that those choices set the course of look for. with the same enthusiasm. From there I like to keep things the city’s lack of cultural interest. It is what it is, and it’s everything to come. — Christopher Hoffee fun, which it should be, and kick in my smartassness to been that way for everyone throughout all time. Accept it, — Christopher Hoffee I have a noose hanging from the ceiling of my studio for lighten things up a bit. While building my studio I had a get smart, and go for it. Therefore, you should be as enthu - great concern for mojo . I wanted to create a space where siastic about promoting yourself as you are about your Instruments all have timbres and harmonic ranges that this very purpose. Works great! No problems with pitch as everyone could forget the day and feel comfortable and music. It matters. It’s what separates the hobbyist from the might be difficult to mix with each other of like qualities, of yet. musical. truly serious. And promoters are pretty serious about this hence making an album sound too busy. Be sure to cover — Chuck Schiele reality. all ranges if you’re going to do your mixing with a large — Chuck Schiele I always say its not the plow, it’s the farmer. All the plug-ins We would also say that you need to “be the scene.” group of instruments. It’s essential to remember that this is a service industry. and effects currently available to us are just tools. If you Go to your peers’ shows, talk to people about what’s hap - — Jason Turtle Your number one job is to make the artist comfortable. rely on them to make music for you, it’s going to sound like pening, and do things that foster a better scene. Pretty Whether it’s getting their headphones to sound right or get - it. If you always remember that you’re making music and soon you’ll find yourself in one. ting them a bottle of water. Everyone deserves to be treat - Influential producers you apply these tools judiciously in service of that, then We also like to tell artists, “You are your own prod - whatever helps you attain the best musical result is the ed like a welcome guest in your studio, period. Your needs George Martin is the prototype. Jimmy Page was one of the uct, so you need to sell it. Whether or not you know it, right thing. should always be secondary to theirs. first great crossover successes as musician and producer. you’re selling yourself every day — your services, your — Sven-Erik Seaholm Rick Ruben is a modern day high-water mark. — Sven-Erik Seaholm product. If you can’t find the practical/entrepreneurial side — Paul Abbott of yourself, ally with someone who really likes what you do What are the common challenges for you What’s the most important advice you’d and will work with you to handle these aspects.” And It depends on who you ask. I like T-Bone Burnett, Rick give a recording artist with regard to always, always be reciprocal. If a promoter takes a chance Rubin, Daniel Lanois, Mark Howard, Ethan Johns, Glyn when you record first-timers? production and choice of studio? on you, they’re going to give you their time and attention Johns, Paul Dieter, Sven Eric-Seaholm, George Martin, Ben The recording process is weird and a little unnatural, so because they’re investing in your ability. Be honest about Moore, Cindy Lee Berryhill, Marti Amado, John Katchur, bridging that gap can be difficult sometimes. The main Get what YOU want and make sure you trust this person to your draw, get the word out, and be sure to ask people to Steve Lillywhite, Gregory Page, and myself because I can thing is to just make them feel at ease so they can deliver do just that. It’s your music!!! come to your show. produce one hell of a turkey freakin’ sandwich. That’s an the performance that both of you want. — Aaron Bowen old joke: “You’re the producer, right? Why don’t you pro - — Chuck and Joanna Schiele, — Jeff Berkley Nothing beats working with someone you feel respected duce me a turkey f##kin’ sandwich!” I love that one. Beach Music Mafia by, someone who is eager and excited to work with you — Jeff Berkley Helping the artist to articulate what that they want and get - and your music, someone who wants to help you manifest Whether you’re working with a promoter, a venue owner, ting all these strange misconceptions out of their heads or another band organizing the show, always make sure Phil Spector, Barry Gordy, Trina Shoemaker, Butch Vig, Ani about how things are supposed to work. YOUR vision. Finding the person you click with is a wonder - ful thing. Finding a studio you feel comfy in is, to us, more you have all the details before you agree to do a show, i.e., Difranco, Glenn Ballard, Quincy Jones, Linda Perry. — Aaron Bowen important than finding one with all the latest gear, because what time you’ll play, what you get for playing, what you — Alicia Champion & Danielle LoPresti expect from each other, such as comps for drinks, how Lack of preparation, lack of vision, unrealistic expectations. at the end of the day so much of the success of your many people you are allowed to put on the guest list, etc. Daniel Lanois and T-Bone Burnett both adhere to a sense of For example, someone who wants to sound like Joss recording will be in the product YOU deliver. If you’re com - Most shows these days are run on a handshake, not a authenticity that I relate to. This attachment isn’t rational Stone, but has a voice like Gwen Stefani’s, or someone who fortable, you’re going to play and sing your best. Nothing contract, however, and are also negotiated via email so but more connected with my emotional response to their wants a radio-ready product, recorded, mixed, and mas - can beat that. you have it all in writing. music. Daniel Lanois’ work on Bob Dylan’s Time Out of tered in three hours. — Alicia Champion & Danielle LoPresti Mind (1997) stands out. My favorite is Brian Eno. His work — Cathryn Beeks, Listen Local — Alicia Champion & Danielle LoPresti with U2 and James were both very influential to me. I think the best thing an artist can do is to educate them - selves about what happens in the studio. Learn about EQ, You’ve got to keep remembering that promoters, bookers, — Will Edwards Experience helps, but confidence is the key. Try recording and club managers, as much as they love music, are all the first song that is the easiest. Use it to build the confi - compressors, and acoustics. You’ll save time, sweat, and In no specific order Tom Dowd, Tony Visconti, Glyn Johns, making their living doing this. Make sure you know what’s dence to relax. money if you learn the talk and you’ll be able to better ren - Phil Spector, Steve Albini, and George Martin. der your creative idea if you understand the tools. expected of you before the gig. Try and define what a suc - — Christopher Hoffee cessful gig is at that particular club for that promoter (20 — Christopher Hoffee — Will Edwards people? 50 people? 100 people?). Many times, whether it’s their first time in the studio or Assuming you’re asking for one who does both at the same I’ve always made my personal choices based on the their hundredth, it comes down to one word: trust. A rookie — Big Fellas time, there are surprisingly few high-profile examples. instinct of mojo (art starts turning into science without it). I recording artist may be afraid of the unknown, i.e., what’s Many producers started out as engineers. Phil Ramone was recommend the same for others. Trust is part of it – you 10 www.myspace.com/sandiegotroubadour OCTOBER 2006 SAN DIEGO TROUBADOUR parlor showcase

Where should an artist or band spend their to the duplication process used by people who make CD Cons learned. “one-offs.” While CD one-offs are handy when you’re in a money in the promotion arena? With their reputation comes a surcharge. iTunes keeps a 1. Never underestimate flyers that have great graphic rush and only need a small number of CDs, replicated CDs percentage of your sales and so does CDBaby.com and design. It can define you, your music, and may even Every success boils down to hard work. Most musicians I are significantly more reliable and durable than do-it-your - Amazon. Sometimes this charge is almost 50 percent, so bring folks to see you play. know expect more promotion from someone else than self one-offs — which are literally burned rather than read the fine print before you start selling. You may find 2. Having a website that helps people learn about your they’re willing to do themselves. The point is that you pro - injection-molded like the replicated CDs that major-label that when selling a $10 CD, you only get a check for $5! music or even buy your music has to be good. mote and take responsibility for yourself as well as for your releases use. Don’t be fooled into thinking that having a website or 3. If you can afford to take out an ad in a newspaper or success. CD packaging choices. Looks do matter! a CD for sale online will guarantee success. It is an impor - magazine, do your best to make sure it’s reaching your How you promote yourself is more important than tant step, but it isn’t a replacement for live shows and good existing fans or someone quite like them. Sometimes With the traditional jewel case, you can choose from where, although where you promote is also crucial. A little music. Keep a realistic mindframe and take advantage of the web version of a magazine can be a great deal single-page to eight plus pages of inserts that include creativity allows you to do it with a small budget. With a every avenue open to you. less expensive than the printed version and may reach bigger budget, you can expand a few possibilities. lyrics, liner notes, photos, etc. You can choose how as many people or even more. — Will Edwards, Tangled Records Remember that for every musician who’s made it and says many colors you want as well. The more intricate the 4. PR firms are probably the most effective as well as the they shunned the whole promotional thing for the sake of package, the more you pay. Many people also like the most expensive way to promote your music. There are purity in their art, there is a paid PR agent drinking cham - eco-friendly soft pact, although they tend to be a tad no guarantees that the firm you hire will actually pagne backstage. Everybody who hits the big time is a big pricier. accomplish anything. The firm has to love your music fan of advertising. We’re also big fans of advertising. Remember to get a UPC bar code. You’ll need that to work hard for you, and their enthusiasm will show The first thing you need to figure out is what kind of if you want retailers to carry your product. Labels when they speak with journalists. Being so warned, budget you’ve got and work toward that. Come up with Most manufacturers have an in-house design there is hardly any other way to get your music realistic goals and create a focused plan to help you set team if you haven’t hired someone to create your CD reviewed by the New York Times , MOJO, or to be invit - your goals. Thanks to the Internet you can promote yourself package. I suggest hiring a graphic designer with expe - ed to perform on the Tonight Show . Good PR can make for pennies. That’s the up side, the down side is that since rience creating effective CD packages, because there are you an overnight celebrity (if that’s your idea of fun) or the costs are minimal, many people are doing the same certain parameters that must be observed. You’ll want a footnote to be ridiculed. thing, so standing out from the crowd becomes the chal - the best artwork and photos you can afford. If you’re — A.J. Croce thinking to yourself, “It’s about the music, man,” I can’t lenge. Local coverage is easier than regional, regional easi - Currently, TatarBoy Records works mainly with touring stress enough how important it is to have a visually er than national, etc. Print is easier than radio, which is musicians who are able sell a lot of product, so we don’t appealing product! This is the first impression many easier than television. Ask your friends to help you as well. rely on store front sales very much. Our money is best people will have of you (way before they listen to the Word of mouth is powerful. Being proactive and creative spent on getting the record to the deejays who will play it, CD), so be sure to put some effort into creating a pro - will get you great results. an impressive media kit, follow-up, and other ways to build fessional looking package that retailers can put on their — Beach Music Mafia relationships with deejays. We also buy ads in the trade shelves and people will want to listen to. media. All along the way, TatarBoy Records is working on Artists should NEVER pay a promoter or a venue owner to You can shop online for the best prices. Many of building our good reputation within the industry. play — EVER. Never ever. After your show the venue will the larger manufacturers have negotiated packages with — Mike Tatar Jr. have made more than enough on bar sales to pay their music distributors like CD Baby and music promotion staff and make a profit. A promoter makes their money on agencies like Sonicbids, so that if you use their servic - What to expect realistically the door and only books bands they know will draw enough es, you’re automatically enrolled with their business to cover expenses, pay bands, and provide a profit. Make partners. If you have a few dollars to spend and lack the Publicity is the responsibility of the label. That is to say the certain that when a promoter or venue owner is taking time or manpower to set up accounts with these vari - Best advice from indie labels publicity related to the artist’s album and not the artist’s money at the door, YOU GET PART OF IT! ous service providers, this is a pretty good option. If live performance, unless the artist is performing to a very No one will work as hard for your music as you will. Do You also need to attract strangers, not just friends, to budget is your main concern, you can leave the frills large audience in which case they might in certain circum - your very best and at the end of the day, don’t take yourself your shows. So any way that you can beg, borrow, or steal and shop a little more as there are many manufacturers stances take out an ad with a local retailer (such as Tower, too seriously. Working the beat is hard, but it is the only print, radio, or TV attention, you take a big leap from being offering excellent deals in this competitive market. Borders, etc.). another flyer/MySpace band. way to learn what it takes to succeed. Having a balanced If you’re in a rush, consider manufacturing locally. — A.J. Croce — Big Fellas You won’t have to wait for shipping and you’ll save and reasonable attitude toward the pace of your success money if you can pick up your product yourself. This will make you more attractive to labels, venues, and every - The question, “What is a record label?” is becoming one in between. What can an artist or band realistically just might offset the difference in the replication and increasingly hard to answer. Record labels used to be the — Will Edwards expect when working with a promoter? printing charges. interface between bringing a worthy product to market (the Either way, always ask the manufacturer for refer - Ask yourself the question, “What am I doing this for?” There artist’s music) and the technology available to do that (the To match your own effort in fostering a better scene. ences and, if possible, samples of their work. Now that are many artists out there who should have started their recording process, sending copies to deejays, interfacing — Beach Music Mafia you’ve got a bona fide product in your hot little hands, own label and sold their own product. Before I started with the press). Nowadays, an individual can go out and it’s time to move onto the next step: distribution. buy a full digital recording interface for $500, record an If the club doesn’t sell drinks when you play, your odds of TatarBoy Records, I thought of pitching my album to a label, album, call up a duplication service and have it duplicated, being booked for future shows changes. That’s the cardinal — Beach Music Mafia and, indeed, had one definitive offer. But it just didn’t make then search the Internet and get contact info for every radio rule of live music, especially at bars. Make sure you know financial sense to go with the offer unless I could sell station playing your style of music. So it is possible to do it what’s expected of you — if you get 20 people to come to 50,000 or more copies of my record. In addition, I had the all yourself. However, as an artist, all this effort takes time your show at a small bar, you’re doing fine. If 20 people ability to do my own art with my own label, which would away from other aspects of your career that need attention show up at Canes, good luck getting asked back. only be limited by the amount of funds spent, and it was a no brainer. I asked myself, “What am I doing this for?” and and are equally important in building and maintaining your — Big Fellas Online the answer was, “Everything else is not expedient.” career. Reputation is key. Before working with anyone, ask other — Mike Tatar Jr., Tatarboy Records — Mike Tatar Jr. bands who have played a particular venue or worked with particular promoter what their experience was like. Did the Distribution Where should you spend your money? show start on time? Were the bands paid? Was there a Nothing can compare with the word-of-mouth enthusiasm crowd? Were the fans treated well? of your fans. Nevertheless, here are several lessons I’ve continued on next page. — Listen Local

Packaging and Graphics

Independent musicians have extremely powerful distribu - tion channels available to them. When the time comes to sell a CD, artists can use the Internet to pawn their wares on very well-reputed online storefronts like Amazon.com and CDBaby.com. All the artist needs to do is make a CD and setup an account. On the other hand, if an artist has a MySpace page or a website, they can start a PayPal account and get busy selling their CDs online for free!

Pros Online distribution through vendors like iTunes and Amazon After your CD has been professionally mastered, you’ll comes with a certain reputation for reliability. Some still feel want your hard work manufactured. Here are a few uncomfortable typing their credit card number onto a web - things to consider going into the process. site. Sites like Amazon and iTunes carry corporate assur - ance that the online transactions are secure and reliable. Replication vs. duplication: BIG difference These online stores also have significant audiences Even if you can’t afford to have your CDs made in an ISO- and, in the game of numbers, the numbers don’t get any 9002 certified facility, at the very least make sure they’re bigger. Amazon and iTunes have literally tens of millions of manufactured using a true replication process, as opposed visitors, which gives you a better chance of being noticed. www.sandiegotroubadour.com 11 OCTOBER 2006 SAN DIEGO TROUBADOUR parlor showcase

continued from page 11. Alicia Champion & Danielle LoPresti, Durga Sound Chuck and Joanna Schiele, Beach Music Mafia in Texas, where he spent two years studying bluegrass Alicia Champion and Chuck and Joanna Schiele own and performance. He grew up playing music with his parents, Danielle LoPresti have been operate Beach Music Mafia, an Mike Sr. and Yvonne, who remain active in the San Diego active in the local music organization whose sole mission is to bluegrass scene. He has also played with Lost Highway, scene and have many years foster the betterment of the San the Laurel Canyon Ramblers, and the David Grisman Contributing of experience playing and Diego Music Scene. Bluegrass Experience. producing music. As mem - J Turtle Professionals bers of Danielle LoPresti and the Masses and promoters Sven-Erik Seaholm, Kitsch & Sync Production of the San Diego Indie Music Fest, they bring their exten - Sven-Erik Seahom is owner of Kitsch & With a degree in music from SDSU, J Turtle has applied his extensive knowl - Paul Abbott, Zen Mastering sive expertise to their new studio, Durga Sound. Sync Production, a full-service compa - ny, specializing in all facets of music edge of compositional and arrangement Paul Abbott is owner and chief mastering A.J. Croce, Seedling Records recording and production, graphic techniques to help independent artists engineer at Zen Mastering. A former Seedling Records was founded in design, CD replication, and website produce full, lush, professional record - columnist for the San Diego Troubadour December of 2003 to promote eclectic design and maintenance. Seaholm has ings in his home-based studio since and a musician himself, Abbott found that music of all genres. Because major record more than 20 years’ experience writing, recording, and 2003. As a writer and touring artist, Turtle has developed when recording his music, he was never labels rarely take a chance outside the arranging original music and is a contributing columnist a reputation up and down the California coast and is very satisfied with the results he got on a limit - mainstream market, many great musicians to the San Diego Troubadour . His production work has familiar with the needs and concerns of local artists. He ed budget. Determined to make a difference, he founded and composers have no outlet for their art. earned him recognition from both the San Diego and L.A. has produced records for local talents such as Saba and Zen Mastering in 2000 for independent artists. With Seedling Records aims to give these artists International Music Awards with best producer and best recording for Kyle Phelan. more than 10 years’ experience as an engineer, Abbott is distribution and a chance to be heard. several albums in the past five years. able to keep his fees down by running the operation in a zen-like manner: simple and efficient. His long list of Will Edwards, Tangled Records Mike Tatar Jr., TatarBoy Records past clients includes Chuck Schiele, Steve Denyes, Mark Will Edwards is a singer-songwriter who, Mike Tatar Jr. established TatarBoy Records Jackson, and the 7th Day Buskers. motivated by a fascination and frustration in early 2006 to support his self-titled solo Cathryn Beeks, Listen Local while recording his first two studio albums, CD, which was released in April 2006. His began studying sound. After completing a CD is currently receiving national and Listen Local was formed in 2004 by degree in electronics he established international airplay on radio and webcasts singer/songwriter/entertainment coordi - Tangled Records in 2003 to help independent musicians across the globe. Tatar has been active in nator Cathryn Beeks in order to get realize their professional goals through promotion, tour - the bluegrass scene since attending South Plains College music lovers out and listening to the ing, and recording. Operating as a cooperative organiza - amazing music being created in San tion, Tangled Records believes that the traditional record - Diego. The mission is to promote interest ing industry model is no longer effective in today’s mar - from the public as well as offer exposure and networking ket. Tangled Records begins by supporting artists with opportunities for artists and to help perpetuate the music such resources as a recording studio, touring contacts, scene. Points to Ponder professional design services, and next-generation web - A dozen things to consider on your rise through Jeff Berkley, Miracle Recording site analytics and strategies. Tangled Records believes the music business Jeff Berkley has been involved in the that music begins and ends with the heart. process of recording for nearly 20 years. Christopher Hoffee, CHAOS Recording by Bart Mendoza His studio, Miracle Recording, established Christopher Hoffee is engineer, pro - in 2003, has produced many local artists, ducer, and owner of CHAOS 1. Go for it. Why not you? including Lisa Sanders, the Grams, Tim Recording. He fell into recording Everybody has a chance to get their music heard. Definitely take a look at the second part of that Flannery, Eve Selis, the Shambles, and A.J. simply by being an artist himself equation though. Croce. As half of the popular duo Berkley Hart, Berkley produced their third album, Twelve , which was awarded and producing his own albums. 2. Set your sights realistically and in increments Best Americana Album at the 2003 San Diego Music Other artists began asking him to record their albums as Dream big, aim high. But be prepared to pay your dues. Sure, it’s possible to hit it big right off the start and Awards. well. Years later, he is fortunate that so many talented play stadiums, but that’s harder to do than getting hit by lightning. Most artists will have to settle for the artists have wanted to record with him, including Cindy tried and true parties/clubs/halls route. Setting goals, i.e. an album within eight months, out-of-state tour - Aaron Bowen Lee Berryhill, Matt Curreri and the ExFriends, Frank Lee ing within six months, whatever, can help keep a good focus. Having grown up around music. Aaron Drennen, Robin Henkel, LOAM, Steph Johnson, and the 3. Thank everyone who helps you. Bowen was introduced to the recording Truckee Brothers. There’s an old saying that you’ll meet the same people on the way down as you met on the way up. studio at a very young age. As a result, he It’s true. has an unusually sensitive ear for tone Chuck Schiele, StudiOB quality and has had a great deal of experi - Chuck Schiele, member of the award-winning band the 4. Don’t pander. ence working with musicians throughout Grams, founder of Beach Music Mafia and Charles If you have ideals, stick to them. The lowest common denominator in popular cultur is not having some - the recording process. Bowen uses a wide range of Schiele Creative, also owns and operates StudiOB thing to aspire to. recording techniques by utilizing analog and digital Recording Studio. He has been active in the local music 5. You ALWAYS need a spare. recording equipment in his approach. He has produced scene since 1984. Here’s a story. A guitarist once told me in all seriousness at a showcase gig that he never brought a spare independent releases for local artists, including Jane Lui instrument because it didn’t look cool to have extra guitars up there with him. He relied on a fresh set of and Tim Mudd. strings each night. Of course, then he went up to play his opening song and broke a string on the first strum. You’ll also want to check that the gear/strings/sticks/whatever are in the van before you leave the driveway. Anybody else ever have a drummer who forgot to bring his cymbals on a tour? 6. Yes, you do need a back up. It doesn’t matter how long it takes to run off an extra copy of an important tape or recording, it needs to be done. The stories are plentiful about computer crashes that have forced a group to start over again from scratch. Also consider where you keep things. One local artist left her masters in a locked car, but the vehi - cle was stolen. I recommend making two copies and keeping them in different locations. Several artists lost their entire archives during the Cedar fires. The two-location premise helps take care of any situation short of a meteor strike. 7. Be prepared. Do your homework. Seems simple, but you’d be surprised how many people don’t fully investigate projects, labels, directions, or the like before they dive into situations. Ask questions, look things up. It’s your career. Pay attention. 8. Know your market. It’s no secret that most indie artists don’t sell a lot of CDs. There’s a reason why the industry term for self- released CDs is “landfill.” How many artists do you know with boxes of unsold product? If you’re only drawing 10 people to your gigs, that order of 5,000 copies of your new rock opera may be a bit premature. True, you’ll save money by ordering in bulk, but remember it’s your money. Smaller pressings of more fre - quent titles get the best results, and you can always repress. And then there’s the storage… . 9. Send notices out to the media and allow plenty of time. You’d be surprised how many bands and promoters send out important press releases a day or two before the event. For best results, send stuff in a couple of weeks (at least) before your performance and take into account whether your target publishes daily, weekly, or monthly. 10. Don’t argue with your girlfriend/boyfriend before you go on tour. It’s not worth it. It will make everyone miserable at home and on the road if there’s a drama going on. Whatever the problem is, it’ll keep till you get home. You can argue then. 11. Major label industry people are not your friends. That great guy who thinks you’re the greatest whatever in the world, is the same guy who won’t take your calls in a few months if things don’t pan out. If you have to pay to play, pay to have your music reviewed online or in print, or pay to have industry people see your band, there is a problem. 12. The fine print ALWAYS matters later on. Spend a little time investigating any fine print or clauses in contracts. You can rest assured that should anything ever end up in court, that is where the problem will be found.

12 www.myspace.com/sandiegotroubadour OCTOBER 2006 SAN DIEGO TROUBADOUR front porch

Coming Into Her Own Marie Haddad Finds her Future Between the Piano Keys t l u a v o C

e v e t S

: o t o h P

Marie Haddad

by Kate Kowsh however due to her self-proclaimed “short attention span” she ditched classi - n the three years since San Diego cal training at 11 and hasn’t looked back. singer-songwriter Marie Haddad first Although she first took a crack at wrestled stage fright to debut at songwriting on her Casio keyboard in I high school, it wasn’t until about eight Lestat’s, she’s had the chance to scratch a few things off her musical to-do list. years ago that she upgraded to a real Having recently released her first full- piano and became serious. length album, A Beautiful Road , Haddad While Haddad had always dreamed of couldn’t be happier about the fruition of attending music school after high school a musical dream, long held in the shad - — and was even accepted to one in ows of her mind. Full of soft piano arpeg - Seattle — she said that, on the advice of gios, minor chords, and Haddad’s crystal her parents, she acquiesced to teaching clear voice, the album suggests the same instead. clarity that artists like Tori Amos and It wasn’t until she sold her piano Kate Bush have, but with a voice and while in college that she realized how big lyrical landscape all Haddad’s own. a part of her life music really was. As she sits, nestled in her vibrant red, As the culmination of a dream, which voluptuously comfy couch in her South had been years in the making, Haddad Park apartment, Haddad reflects on the celebrated her CD release at Humphrey’s state of her present surroundings — both Backstage Lounge last June. “The show musically and physically — as they cur - represented so much for me: overcoming rently seem to share similar attributes. fears, growing musically, setting a goal, Her apartment, like her music, is welcom - and getting there,” she reflected. “It was ing and comfortable, sporting interesting like I had waited my whole life for that little trinkets everywhere. Hand-designed one night.” music posters, constructed during bouts A big part of what fuels her is the of insomnia, hang from the walls, and feedback she receives from fans who have instruments are strategically scattered connected with her songs. “Getting e- throughout. Along the perimeter, shelves mails from people in other parts of the are stocked with neatly alphabetized 78 country and around the world, or having albums — a habit she still harbors from someone come up to me after a show to her days as a record store clerk — and let me know that they think a certain photo albums, each tabbed with sticky song is beautiful or meaningful to them notes to remind her where the snapshots makes all of the work and effort even were created. more beautiful.” A bright spirit, Haddad has welcoming Haddad will appear at Borders Books eyes and shows a true concern for the and Music, 159 Fletcher Pkwy. in El well-being of those around her, even if Cajon, Friday, October 6 at 7 p.m. For she doesn’t know them very well. more information, go to www.mariehad - A widely self-taught pianist, she first dad.com . began taking lessons at the age of five, www.sandiegotroubadour.com 13 OCTOBER 2006 SAN DIEGO TROUBADOUR ramblin’

Bluegrass CORNER by Dwight Worden

sing bluegrass per se, but rather tending SINGING DUOS by Sven-Erik Seaholm takes and tracks to use until the mix more toward rock and roll and country, their Bluegrass music is a highly vocal art form, stage, at which point you have poten - popularity and top notch duet singing was so characterized by its “high lonesome” sound, tially thousands of little decisions to Sven-Erik Seaholm superior that it influenced all who followed. . . . AND FURTHERMORE : which is often produced by three-part harmo - make, and that can bring a project to a other producer/engineers like Malcolm ny singing. Another highly regarded aspect of There are other great bluegrass duets of his month’s cover story focuses crawl. Burn (Lisa Germano) and Mark bluegrass singing throughout the years is the the past, of course, including the Stanley on the local music industry. In How can I save time in the studio Howard (Lucinda Williams). duet, the most illustrious of which have been Brothers and others, but let’s turn to some of preparation for this story, sever - T without compromising my record? sung by some of the pioneers of the art form the current greats. al promoters, booking agents, produc - What is your philosophy on using as well as by some of today’s standout Tim and Mollie ers, and other folks “in the trenches” Be prepared. Know every chord, pitch correction for instruments singing duos. Let’s take a look at some of O’Brien are a were sent a few questions from the every lyric, and every melodic inflec - and/or voice? these notable duos — who they were, what brother and sister story’s authors in an effort to glean a tion in your songs. If each time you’re I always say “It’s not the plow, it’s they did, and how they did it. duo of remark - variety of insights and opinions. As I’m asked what a particular chord or note the farmer.” All the plug-ins and effects Bill and Charlie able breadth and sure they could only use a fraction of is, a quick, concise, correct answer currently available are just tools. If you Monroe. Bill skill. Tim, a the wealth of information they saves time. If you know what you’re rely on them to make music for you, Monroe and his Colorado boy who received, I decided to dedicate this col - looking for in a take and you don’t feel it’s going to sound like it. If you always older brother made good playing with Hotrise, a great umn’s space to further alliterate my that you got it, don’t listen to the play - remember that you’re making music Charlie Monroe band from the 1970s and 1980s, and going personal answers. back yet. Just do it again. You can lis - and you apply these tools judiciously on to a stellar solo career, grew up singing in pioneered early Thanks go to the editors and the ten to the different takes all in one sit - in service of that, then whatever helps church with his sister Mollie, a collaboration duet singing in the authors, as well as my fellow producers ting. you to attain the most musical result is 1930s and early that continued through the years. Mollie has for their kind indulgence. Playing to a click while recording the right thing. To wildly paraphrase 1940s. Although Bill and Charlie only record - one of the purest, most beautiful voices you can also be helpful, provided you can Malcom X, I make records by any will ever hear, and when she and Tim sing What should I know about digital ed together for two years (1936-1938), their groove with it, and your tempos don’t together, the magic chills the spine. vs. analog studios? Pros and means necessary. work continues to be a major influence vary with the structure. This can make today. The Monroe boys were raised on a Cons? The Gibson compiling multiple takes much easier, How do you help nervous artists family farm in Kentucky and, as was typical get over their nerves? Brothers are Traditionally, the differences which in turn saves valuable time. of the time and place, they learned to sing another out - between analog and digital have been Band meetings and/or infighting are The best thing to do is show them a and appreciate music in church. After playing standing sound, feel, speed, and track count. not things one should do in the studio, great result quickly. The sooner they in a family band in the 1920s and performing brother duo Sound-wise, analog used to be a nor is this a good time to start writing hear something that sounds like you as a trio with brother Birch in the 1930s, Bill currently pro - consistent “blind taste test” winner the bridge or engaging in a total lyrical know what the hell you’re doing, the and Charlie garnered some radio success. In ducing great bluegrass music. Eric and Leigh over digital, due to the characteristic rewrite. These are things that can be sooner they’ll relax and fall into the February of 1936 they made their first record - Gibson recorded three great albums in just things that each format can impart to addressed in pre-production. flow. ing in North Carolina for the Bluebird label. three years, two of which were recent chart the signal. Magnetic tape can smear It’s also essential to remember that This and the recording to follow set the stan - toppers — Bona Fide and Long Way Back What is pre-production and what transients and slightly compress this is a service industry. Your number dard for bluegrass music, characterized by Home . These two brothers are so “in sync” it should I know before I get started? things, resulting in a smother, silkier one job is to make the artist comfort - high harmony vocals, strong bass guitar runs, is uncanny; the power of their music is remi - sound. With digital, the ideal is that it Like production, pre-production can able, whether it’s getting their head - and fast mandolin work. niscent of the great duos of the past. In 1938, however, the brothers went their reproduces things exactly as they went mean different things to each project, phones to sound right or getting them own ways as Bill became more and more Okay, so now you know who some of the in, but there are a lot of variables — as each one is unique. Mostly, it’s a bottle of water. Everyone deserves to frustrated with Charlie’s desire to sing lead greats were and are, and you know what to things like analog-to-digital conversion knowing the band has taken the song be treated like a welcome guest in your listen to so you can appreciate this great on every song. Charlie, after a short hiatus, hardware, sample rate, bit depth, etc. and its arrangement as far as they can studio, period. Your needs should music. But, how do they do it? Well, here are went on to a solo career, and, as we all At this point, technological advances without a producer. This often involves always be secondary to theirs. know, Bill went on to become the Father of some clues. have made the sonic differences some - some rudimentary demos or live First, while there are some distinguished What single most important piece Bluegrass in the 1940s with his seminal Bill what negligible, but one more thing to recordings of the material involved, unrelated duos singing bluegrass style music of advise would you give a record - Monroe and his Bluegrass Boys band, featur - keep in mind is the repeatability of but can include a producer’s involve - (Chris Hillman and Herb Pedersen come to ing artist with regard to produc - ing Earl Scruggs, Lester Flatt, Bill Monroe, your mix. In the computer environ - ment in tightening up the song struc - mind), the greats are overwhelmingly sib - tion and choice of studio? Chubby Wise, and Cedric Rainwater. ment, every time you open a song tures, making subtle lyrical changes, or lings. So, clue number one is it sure helps to picking which songs will be recorded. Pick someone you trust. Nothing Jim and Jesse grow up together and know each other in the you’ve been working on in your pro - McReynolds. Jim gram, all of your settings will be exact - speaks more about a producer’s ability way only siblings do. Talking and singing Historically, who has been influ - to fulfill your needs than the work and Jesse, born together from the get go means that each ly the way you they were when you ential in the producer/engineer they’ve done and whether you feel and raised in sibling learns the subtleties of the other sib - last saved them. role? comfortable with them. Carfax, Virginia, ling and can use that to advantage when The speed of one’s workflow, as well Assuming you’re asking for one who Talk with some of their past clients. were another influ - singing duets. as the feel, are sort of inter-related. If does both at the same time, there are How was their experience? Why? ential duet team of Second, the greats have all been masters you’re tracking to tape with a band, a surprisingly few high-profil examples. brothers. Growing at singing interesting and powerful harmony difficult punch-in may force you to Meet with the producer and listen to Mostly due to the constructs of the up in a family lines. One sibling takes a strong lead, while keep re-tracking the entire perform - his/her work. Listen to a lot of things recording business. There are a great steeped in the mountain music of the area, the other blends a perfect high tenor, high ance, as opposed to the infinitely more they’ve done, not just the stuff that’s these siblings produced some of the greatest many producers who started out as baritone, or regular baritone. Often the har - edit-friendly digital domain. This can closest to your genre or their most bluegrass duets ever heard. Jim’s high tenor engineers. Phil Ramone was the engi - mony singing sibling will vary the harmony really drag a session out, resulting in a recent recordings. Does it all sound the voice combined with Jesse’s deep lead voice neer for a great many Sinatra and big “stack” during the song for effect, jumping loss of vibe. One might also find that same? Maybe that’s what you want. If and a unique mandolin style set them apart band records and later produced many from high tenor to high baritone. Taking this they like an earlier take a lot more you hear that they’ve recorded every - right from the beginning. Because the broth - of Paul Simon and Billy Joel’s albums. liberty gives the harmony singer a great than the twentieth, but at that point thing from jazz to country, is an over - ers produced such beautiful duet blends, The same can be said for Alan Parsons, degree of freedom not allowed in three-part you may have already erased over it. all musicality evident? How many many say, probably correctly, that only broth - singing where each singer must stick to his whose engineering credits include the recordings have they done? What does ers can achieve this level of harmony great - Digital editing is a powerful weapon or her part. In addition, it is in creating and Beatles, Pink Floyd, and the Hollies, their studio smell like? Are they a good ness as a result of having grown up together. in the modern recording era, but many varying this duet “stack” and in delivering eventually leading him to produce Al communicator? What is the price and Jim and Jesse made their debut in 1952 people feel that they’re somehow emphasis, intonation, and phrasing that the Stewart, Pilot, and a string of solo proj - why? What does their price include? on Capitol Records and have recorded for “cheating” if they compile multiple special sibling knowledge seems to make a ect records. Tom Dowd is a great exam - How long will it take? If it’s very many other labels since that time. Backed by takes into one brilliant performance. difference — they know what their partner ple of someone who did both. His an outstanding band, the Virginia Boys, Jim Purist views aside, it isn’t cheating if affordable but will take four months or will do before it’s done and can anticipate discography includes Ray Charles, more, is that worth the savings? If it’s and Jesse have had success on radio and and react appropriately. your record kicks ass in the end. Aretha Franklin, the Allman Brothers, more expensive, is that extra cost jus - television as well as in record sales. Sadly, Third, it sure doesn’t hurt to have a lot of Conversely, it is easy to over-correct Otis Redding and Eric Clapton. More tifiable? both brothers were diagnosed with cancer in natural talent! All of the individuals who sing things to the point that they don’t feel recently, you’ve got someone like The bottom line is that you need to 2002. Jesse’s battle with the disease in a duo have good voices, even great solo as good as a “live” take, especially in Daniel Lanois, who produced and engi - make the best recording you can. appears to have been successful; Jim’s was voices like Mollie O’Brien. But, without the rock and folk genres. This is where neered for U2, Bob Dylan, and not and he passed away December 31, 2002. exception, there is something special added a person’s experience and musicality Doesn’t that sound simple? If only it Emmylou Harris. He’s also mentored were . . . The Everly when they sing with their sibling. The two come into play, i.e., knowing when not Brothers family are greater and better than the sum of their to touch something is equally as came from from parts individually and this is what makes lis - important as any other editing skills the coal mining tening to great duos so special. Don’t get me someone may possess. area of wrong, there are many bothers and sisters Track count comes into play when Muhlenberg who can’t sing worth a darn together — ever you have a lot of different, little parts County, Tennessee. been to a family reunion? However, the over - to add in. Conventionally speaking, In 1945 the family whelming number of notable duos through - having more than 40 parts with only(!) out the years seem to have that sibling moved to Shenandoah, Iowa, and father 24 tracks to commit them to means Isaac, a musician himself, introduced “little magic. doing a great deal of sub-mixing, even Donnie and Phil” on radio station KMA, high - I hope you have learned something about if many of them aren’t played simulta - lighted by their unique blood harmonies. In duet singing in bluegrass music and that neously. Now, you can give each part 1957 the Everly Brothers released their first maybe that you’ll have the courage to give it independent EQ and effects and they’ll single, garnering a lifelong fan in Chet a try yourself. Get that brother or sister off remain editable. The flipside is a prob - Atkins, who greatly admired the talent of the couch, and let her fly! these brothers. While the Everlys did not lem known as “option-itis,” where you hold off making decisions about which 14 www.myspace.com/sandiegotroubadour OCTOBER 2006 SAN DIEGO TROUBADOUR ramblin’ Hosing Down Radio y

by José Sinatra a d a

r Daze a F

n o l l a F

:

COMMERCIAL KISSES o t o h

The wicked wad of summer is shot; fall’s P arms open expectantly, but there’s something important that I’ve neglected. So, please — one actual product endorsement (my first?) before I dive headfirst into the autumnal embrace. I could kick myself for not mentioning this singular treasure earlier. But being no masochist, I’d rather kick back and settle for a tongue-lashing from the first female reader who purchases this item, falls in love with it, The gently twisted Mr. Sinatra and becomes angry that it wasn’t a part of her life sooner. Okay, I’ll accept the same along with silicone and close shaves.) The by Jim McInnes from the second, third, even a few more as less natural, the more c***. Disgusting. How well, until my guilt is thoroughly spent. c*** would Madonna and Britney have been D.J. Jazzy Jim Beyond the Valley of the Dolls finally if the brainless masses knew the truth: that came out on DVD this summer. Now all of the two divas were merely exchanging fur he 25th of October marks the first humanity and huwomanity has access to an balls that they’d simulaneously coughed up. anniversary of my last full time radio inexpensive audio/visual textbook on the Now I don’t know about you, but feeding oth - Tjob (meaning one year without nature of celebrity and the music business. ers with the contents of one’s own stomach enough dough to pay the mortgage) with This movie has it all: the highs at the bottom, is, to me, for the birds. the CBS-owned KPLN, 1037 The Planet, the lows at the top. All the possibilities, The girl/girl thing has, of course, infiltrat - now known as KSCF, 1037 Free FM. truths, anguish, and exaltations that confront ed the clubs too, and it can be dangerous in Nevertheless, I’m growing a “jazz beard” the modern artist are addressed, and with an its power. because I’m really enjoying my new part- exaggerated candor that is breathtaking. A nephew of mine, who turned 21 a few time gig on KSDS Jazz 88.3. Russ Meyer (rest his soul) directed this months ago, noticed that the girls in bars Many of my friends in commercial radio for 20th Century Fox in 1970 from a story he who seemed to score most successfully cite KSDS Jazz 88.3 as their favorite radio and Roger Ebert concocted, primarily, right came in pairs and deliberately flirted with station. That’s because Jazz 88.3 is one of here in town at the Mission Bay Hilton. I each other on the dance floor (touching, the few remaining radio stations where the caught it on opening night at the Aspen HIll caressing, kissing). This seemed to immedi - deejay gets to put his or her own show Twin in Maryland, two days before outraged ately steal the focus, attention, and intent of together, a concept that was pretty much citizens ran it out of town, and two days every available male within view. So the ever abandoned by commercial radio at least 30 years ago. That allows each jock to develop after I had fallen in love with it. resourceful Keanu Sinatra (not his real name) a personal style (I am into the blues, old We reunited again in 1974 at the Cabrillo took a buddy one Friday evening to one of big bands, guitarists, vibraphonists, here at Horton Plaza (RIP) when I was accom - downtown’s many “happening” night spots. Hammond B3 organists, and Latin pianists, panied by a Troubadour publisher who will What’s good for the goose, he thought . . . but it changes weekly) and prevents the remain anonymous and who had previously While on the dance floor with his buddy station from becoming like most commer - enjoyed Beyond overseas. Spike, no sooner had they started making out cial stations: sonic oatmeal. The toughest In 1975 I gathered a group of under - with each other (to entice the chicks, of thing for me is the daunting task of famil - ground comic artists to pool some money, course) than they were on their behinds, get - iarizing myself with each of the estimated rent a print of the film ourselves, and run it ting pummeled by a number of energetic 23,000 CDs and LPs in the station’s library! at the Comic Con. And so we did. Later that dudes. Most of the KSDS air staff are well ahead of year on my birthday, two dear friends each When Keanu told me about this, he still me in that respect, having been there for presented me with a copy of the elusive assumed that they were attacked because of years and, in many cases, decades. Most soundtrack album. Years later a well-known seething jealousy. “I mean, we had the are true aficionados of the art form. L.A. music critic talked me out of one of moves , man! Another minute and the chicks Fortunately, I wasn’t jazz-ignorant when them during an evening spent with Russ would’ve mobbed us. Dudes in Dago can’t I signed on at 88.3. I grew up in the 1960s, Meyer himself in Westwood. Even in 1982, stand competition, man,” he said to me with an era when any style of music could pro - Meyer knew it was his best work, and that serious regret, then left town before I had duce a Top 40 radio hit. Many giants of no one (himself included) would ever top it. the chance to introduce him to reality. jazz, like Dave Brubeck, Frank Sinatra, Vince (By the way, the soundtrack CD, now avail - Then yesterday I received a letter from Guaraldi, Mongo Santamaria, and Stan able, is missing a remarkable song — a him. He had discovered a movie that had Getz and Astrud Gilberto, to name a few, had big commercial radio hit singles that vocal one even — that was on the original changed his life. It was called Beyond the have been stuck in my memory bank for album.) Valley of the Dolls , and I should buy it and years. Although I hadn’t listened to the One particular portion of the DVD’s com - see it immediately. He would never again be music very much in 25 years, I had been mentary track rather inflamed a great part of an idiot, he assured me, as long as he kept in reading about jazz. I even had a long term my geezer side. Still makes me cranky now. his heart the following words that Roger subscription to Downbeat . Two of the lead actresses recall the shooting Ebert had written for the film’s closing The Jazz 88.3 airstaff is home to many of their girl/girl scenes with a sort of studied, narration: characters with names like Vince Outlaw embarassed distaste — quite a contrast to “You must each decide what your life will (yes, it’s his real name), Miff Mole (not his the nervous, near disgust they related in con - be . You must realize that a hand out - real name, but pretty cool,) Dhanifu (his temporary interviews so long ago. But, of stretched to your fellow man is a gesture of African name, meaning wisdom . I call him course, today the “two chicks” stuff has a love — love that asks nothing, expects noth - “Fu,” he calls me “Big Jim McInnes,” as if I criminally easy c*** factor. Neither actress ing, yet is simply there . And if love is in you, were a Chicago mob boss in the 1930s), T. needed to be disingenuous, having pioneered then gentle will be all your steps as you walk (the blues guru,) Q. (apparently on leave some of it; each already had more than from the James Bond films), and J. Otis beyond this valley.” enough, naturally, in spades. Williams, whom I call “O” in keeping with The “girl/girl” enticement thing just That Keanu, what a freaking moron. I’m the alphabet theme. Leo Cates has proba - seems to be getting bigger and increasingly beginning to get choked up, and there’s not a bly forgotten more about jazz than I’ll ever clichéd as time passes; I can’t be the only fur ball in sight. know. The Troubadour’ s own Lou Curtiss one, can I, to see it for what is is now? Little It’s fall again, all right. does a show called “Jazz Roots,” where he’s more than transparent idiocy, knowmsayne? been known to play recordings from as far In the film, both physically stunning back as 1909. Lou, I didn’t know you could actresses are unable to hide their awkward - still find an Edison cylinder player in 2006! ness — their kisses come off like some kind Check out Chris Springer’s “Latin Grooves,” Ida Garcia’s “Rug Cutter’s Swing,” and all of mandatory artificial resuscitation exercis - the other terrific specialty programming. es that they’re compelled to complete before The KSDS staff also includes fine musicians they’re allowed to go after something else. like David Mosby, who has a singing and Like a paycheck, maybe. speaking voice to live for, and drummer These days it’s groovy even when you Barry Farrar, Jr., of Blue Rockit and the Jazz don’t need the money. More than titillation, 88 Allstars, who hosts “Percussive ool it’s a manipulative means to an end. Consider *** . Profiles.”(Note to my fellow staffers: if I the additional c***ness that Madonna and This completes a word Jose refuses to haven’t mentioned you, don’t take it per - Britney assumed with their conjoined pie utter or write. Its consideration here is sonally. I have only so much space here in holes on television a while back. (It’s what necessarily related to the modern mind - the Troubadour .) the modern male seems to want these days, set. San Diego is lucky to have one of the best authentic jazz radio stations in the U.S.. Support Jazz 88.3! www.sandiegotroubadour.com 15 SEPTEMBER 2006 SAN DIEGO TROUBADOUR highway’s song Tossing the Voice Salad — The Bobs Keep It Tongue and Cheek

by Raul Sandelin mainstream. There have been others to my mug with new-and-improved be sure. Just listen to Peter, Paul, and Maxwell House European Blended, dmit it! There was that time, Mary’s horn-honking on their rendi - Crystalized Columbian, Fresh Brewed, alone in your room, boombox tion of Woody Guthrie’s “Riding in my Instant-But-Just-like-Slow-Brewed- Ablaring, when you sucked in Car.” Coffee-House Coffee, let me continue . some air, wetted your lips, and pro - However, it’d be a stretch to say that . . . ceeded to lay down the grooviest of air anybody’s taken a cappella , or voice These last advertising credits testify drum tracks: paboomp-boomp- slammin’ , or jugular jumping jacks , or that despite being extremely avant Paboomp-boomp-boomp. As the whatever you wish to call this art form, garde on one hand, on the other, the groove came together, you felt the to the plateaus that the Bobs have. Bobs are very commercially appealing. moment right to add some high hat: Formed some 25 years ago in the Bay (Those singing telegrams and jingles pafiss-ta-ta-fiss. But, you’re not a drum Area, the Bobs were “refugees from a must have served them well.) As I monkey, you say? Then, what about market collapse in the singing telegram inferred in the beginning, this a cappel - that time, replete with Pete Townsend industry” after corporate powerhouse la cum air band stuff seems to harness arm windmills, you wadded up those Western Onion had gone belly up. those Ur-winds, which fill the sails of aforementioned lips to let fly the With no jingles to jingle nor birthday our souls and psyches. Instead of being improvised “Wa-wa-wa-wow” of some revelers to revel, Matthew Stull slowly brand new, the Bobs actually lean their 1970’s solo riff while bending the fan - forged, over a six-month period, the nods back to Vaudeville and the tastical strings of pure air guitar? original core of the Bobs, featuring Golden Age of American If cornered, isn’t it the truth? Richard Bob Greene, who along with Entertainment. If they’re part The Bobs Haven’t we all pushed some air around Stull is still with the group. After that, Broadway, there also part Borsht Belt. If a room from time to time? Or, let me it was the open mic circuit for a while they’re part Beatles, they’re part Borsht rephrase that: Haven’t we all placed as the Bobs gained a San Francisco fan Belt. If they’re part Bon Jovi, they’re Zeppelin classic “Whole Lotta Love,” dubbed over a quartet of music indus - ourselves on some invisible stage, and, base with their more traditional covers still part Borsht Belt. Their material is which appears on the album The Bobs try pros with a real wicked sense of with invisible instruments in hand, of such songs as the teeny bopper clas - often contemporary. Their delivery is Sing the Songs of. . . and finds the Bobs humor. The obligatory Zeppelin inter - proceeded to mouth the ridiculous yet sic “A White Sport Coat” juxtaposed impeccable. Yet, sometimes we get the at their heavy metalmouth best. lude is handled with its own surprises, charming noises that those invisible alongside definitively quirky renditions idea that this has to be a gag and Now, think back to your own pri - including an a cappella version of instruments would produce . . . if they of “Purple Haze” and “Ring of Fire” somebody has to get hit upside the mordial air band debut alone, or with a Jimmy Page’s quintessential guitar solo. were real of course? (yes, that “Purple Haze” and that “Ring head by a rubber chicken before the small coterie of buds. You’re in your It is said that listeners of music Making music with only the voice, of Fire”). night is over, just like Milton and Red room, listening to some jams. Now, all always see something while listening. and without what we’d think of as tra - In 1984, the Bobs hit tonsilec - and Harpo and Jerry did in the good you need is some parental figure to yell It’s not enough to simply have sound ditional instrumentation, must be an tomized pay dirt when they were nom - ol’ days. from downstairs, “Beavis! Butthead!” waves bounce through the ears and ancient art since we still use the Italian inated for a Grammy for their techno- The Bobs have done more than Someone in the room puckers up and into the brain. The human mind is term a cappella . (If it were a newer art version of the Beatles’ (or was that the quirky covers of rock songs. Over the plows into the staccato: da-Da-da-Da- compelled to form those sound waves we’d probably call it something more Manson Family’s) “Helter Skelter.” course of 15 albums since 1981, they Dunt-da-da-Dunt-da-da-Dunt. (The into physical shapes, shapes with contemporary like voice slammin’ .) Since then, the group or its music has have written their own material as well Bobs do this in three-part harmony angles and edges and even colors. From barbershop quartets to the Mills appeared in illustrious company: on as explored more serious territory such while a fourth voice mimics muted Many times, what we see is a collage of Brothers, American music has held the Tonight Show , with Jason Alexander as Gershwin’s “Rhapsody in Blue,” cymbal taps à la John Bonham.) Then, images that we’ve seen before. What I open a place for voice-only perform - at the 1995 Emmy Awards, in the which lushly appears on their latest the second guitar riff enters. The see, when I close my eyes and listen to ance. Ushered in with the rest of the movie Man in the Moon featuring Jim CD, Rhapsody in Bob (See? I told you effects-laden slide guitar part— the Bobs are vegetables. Yes, it couldn’t innovations bebop brought, Lambert, Carey, and Dick Cavett’s syndicated they can’t quite follow through with a NAAAaaoow—is emitted from some - get any simpler: one voice is shredded Hendricks, and Ross might be consid - radio show, not to mention TV and straight face.), while writing a musical one’s nasal cavatity while the three- lettuce, one voice is diced cucumber, ered the first modernist a cappella radio spots for Levi’s, the Gap, Apple score called “The Laundry Cycle” for part continues to carry the chugging one voice is sliced tomatoes, and so on. group, although they actually used computer, and CBS-TV. Their portfolio the Oberlin Dance Collective. main riff forward. Then, the vocals The best metaphor, or vision, I can backup bands to lay down a rhythm reads like a who’s who of not just Yet, they certainly have a knack for come in. It’s part Robert Plant, part place on this music is that of a tossed section behind their vocal near- Hollywood but Fortune 500. I’ve sim - taking contemporary pop music, espe - androgynous doo-wop, part Annie Ross salad. And, given the fact that I love cacophonies. Later, by adding pop ply included an abbreviated list to save cially music an audience would never of the ancestors of all things oral and salads, that’s a good thing. finesse the Manhattan Transfer brought space and avoid accusations of product suspect could be performed a cappella , modernist Lambert, Hendricks, and The art of vocalese (come to think of the art of vocal gymnastics into the placement in my articles. But, as I refill and feeding that music through no Ross. it, Jon Hendricks did coin a term for other filter than the group’s four sets of It’s three stoners with a scratched this sort of thing) will always have a vocal chords. A perfect example of this Zep II album dubbed over the Four tinge of comedy no matter how serious is their interpretation of the Led Seasons on a Jersey street corner the performer or the piece. And, it’s a shame really, since the mouth is arguably one of the more beautiful of human orifices. If the eyes are the win - dows to the soul, I expect the mouth to be listed as at least the electric garage door to our alter egos and, therefore, part of the human house’s if not regality, then at least its “curb appeal.” The Bobs, 25 years and 15 albums later, would probably agree even if they don’t quite understand what I’m trying to say. Their current lineup, including original members Matthew Bob Stull and Richard Bob Greene, also features Amy Bob Engelhardt and Dan Bob Schumacher. But, please don’t ask who is the G-string, who is the bass guitar, or who is the high hat. Just close your eyes and let your mind form its own images. Don’t miss the Bobs performing live at Dizzy’s on October 12, 8pm. Their latest CD, Rhapsody in Bob , is reviewed on the next page.

16 www.myspace.com/sandiegotroubadour OCTOBER 2006 SAN DIEGO TROUBADOUR of note

Kim The Bobs Nathan Welden Paper Moon The Cat Mary DiVincenzo Rhapsody in Bob One Step Closer to Miniatures Postbellum You Neighborhood Hummingbird by Raul Sandelin by Craig Yerkes The sublime is not only about Miniatures , the new CD from gui - by Dave Sawyer by Sven-Erik Seaholm by Craig Yerkes genius and mastery, it’s about propor - tar duo Paper Moon, is a sly and tion and context. For example, a sin - One Step Closer to You is San utterly entertaining piece of work. This latest release from the Cat Upon heearing “Home,” the first gle anchovy emulsified, disguised, and Diego native Nathan Welden’s first The approach is delightfully eclectic Mary begins with the sound of a toy track on Kim DiVincenzo’s (now folded into a Caesar salad dressing is, full-length CD. Produced by local with nods to such diverse influences or music box being wound up and Divine) new CD, Hummingbird , my well, sublime. An entire tube of legend, John Katchur, it features top as Al DiMeola and the Helecasters let go. It is in many ways an appro - first reaction was that this is the anchovy paste slathered upon the tar - local talents Jeff Berkley, Ron Franklin, with some Django, Metheny, Paco priate metaphor, with regard to the most radio ready tune I have heard geted leaves of Romaine is not recom - Christiane Lucas, and Katchur himself DeLucia, and Wes Montgomery unleashing of virtuosity that ensues. come out of San Diego since, mended until at least 20 dates into on bass and lead guitar. thrown in along the way. Paper Moon Singer/songwriter/guitarist well….maybe ever. DiVincenzo and the relationship. This is a beautiful collection of has managed to merge these differ - Andrew Markham and company take her producer Keith Orfanides have With this in mind, I’ve been trying easy-on-the-ears acoustic-pop/folk ent styles into a truly original sound us on a rollicking, careening excur - managed to produce an album that to figure out in which context and in music with Welden ’s smooth, honey- and approach all their own. sion through a multitude of lyrical sounds as if it was done on a major what proportions the Bobs peak on sweet vocals and laid-back, Southern Track one, “Rayuela,” (a straight images and musical influences, ulti - label budget. To be more accurate, the ol’ “sublime index.” I think I’ve California sun, surf, and sand style. ahead, up-tempo, acoustic/Spanish- mately arriving at a singularly origi - they have managed to create a six- found the quotient: their ironic use of John Katchur’s deft work on guitar style crowd pleaser) is actually the nal, if faintly familiar, destination. song disc on which most tracks rise a cappella to re-interpret almost and bass — and recording — along weakest offering on the disc due to Markham (on record at least) to that level. everything under the musical sun with Christiane Lucas’ unique style of how little it does to forecast how seems not unlike the character Jim “Home” is pure, ethereal pop works best at the level of the 60-sec - harmony vocals, provides beautiful fresh the rest of the recording will be. Williams from John Berendt’s magic with soaring vocals (layered to ond commercial. support without overshadowing Paper Moon’s two players, Scot Taber Midnight in the Garden of Good and biblical proportions), evocative lyrics, Do you have a dish soap to which Welden ’s finest instrument, his voice. and Daniel Dever, move seamlessly Evil – earthy, educated, cultured, and an astounding instrumental back - you wish to ascribe human qualities? As fine a songwriter as Welden is, between acoustic and electric on the funny, and smarter than you. This is drop, which incorporates a bewilder - The Bobs could take a quartet of he chose to use only three of his following tracks, bringing all kinds of perhaps best evidenced by the ingre - ing mix of vintage sounds (love the singing soap bubbles and let those own compositions in this collection funky surprises along the way. There dients of his latest offering, in which guitar and organ tones!) and master - bubbles harmonize until they’re clean. for some reason. I’ve always believed is an almost giddy approach dripping we find various elements of moun - fully applied effects. This is home run How about an anthropomorphized that, when recording your own off this music, as if they just couldn’t tain music (fiddle, slide dobro, stuff here. “Trouble,” another tune car motor? Who better to give voice album (especially a first full-length wait to add that next guitar part to upright bass) wrapped in light gos - that sounds ready for radio play, also to the pistons and carburetor than album), you should avoid covering see what it would sound like. Much samer jazz shadings, courtesy of the falls squarely into the category of those lovable San Franciscans who other songwriters. to duo’s credit, though, it never Stephen “Hoops” Snyder’s alternate - “pop music for the discriminating lis - have been vocalizing walls of sound To his credit, Welden chose very becomes a guitar orgy thanks to an ly nimble and dynamic piano and tener.” Its vocals and instrumental for 25 years? good songwriters to cover, including over-riding sense of doing what’s organ playing, as well as percussion - tracks crackle with just the right The Bobs are the greatest jingle David Wilcox, John Denver, and one right for the song. Track three, the ist Kevin Dow’s intricately creative, at amount of angst to complement the and sound-effects band ever. With fine and under-appreciated local 7/8 offering called “The Freneticist,” times Keltner-esqe approach. Bassist romantic tension and aggression in sheer virtuosity, they can stretch a gentleman by the name of Ron reminded me of DiMeola’s early stuff Ken Dow displays an especially light the lyrics, plus the chorus delivers an sound bite into an equally worthy Franklin, who also plays guitar on with a great mix of muted electric touch for such a big sounding instru - enormous, can’t miss hook. The other three-minute-long operetta. It’s a those covers, bringing an interesting licks driving the rhythm and ment, like a dainty sumo wrestler or tracks veer off the pop highway, but great concept but how long can this and effective twist to them. Spanish/nylon-string lead lines adding a ballet dancing elephant. Violinist are all solid offerings that fall more gimmick sustain itself? Overall, this is a very satisfying a Latin fire. “While She Sleeps” fea - Melissa Hartley once again exhibits into the indie/ singer-songwriter Rhapsody in Bob asks this question and even touching collection of tures a wonderful waltz melody and huge strides in her playing, taking world. Jane Lui lends her formidable again (despite a new lineup, every music. Listeners will fall in love with should bring a smile to fans of the on an even larger, more central role piano skills to the pleasingly melan - member’s middle name is coincident - Welden ’s voice, which has an honest, super-smooth, octave- in the band’s arrangements, some - choly “Far Away,” and “Broken” is an ly “Bob”) — are we disproportionately sincere, maybe even naive quality style/Montgomery-esque electric jazz times resulting in too much of a intriguingly dark and aggressive track mixing our guffaws with serious art? that one can’t help but accept as sound. This disc really launches into good thing. How can we miss the that reminded me a bit of Kate Bush. Are we slathering on the comedio-a true, without question. the stratosphere starting with track fiddle if it won’t go away? “A Noble Prince” provides some nice cappella schtick a little too rich, leav - The final cut, “Living on Love,” five, “Swing Sets.” Its intro features This is largely a nitpicking obser - depth to the disc with its poetic ing us unsure as to how to categorize seems a little weak in the harmony an effect that makes it sound like it’s vation from a listener spoiled by the lyrics, complex melodic structure their music, even when the “uncate - area for me. I can’t tell if it’s the being played through some kind of rich and fertile loam of Markham’s (nicely complimented with Tori gorizable” is certainly a legitimate cat - recording of the vocal or simply cheap record player in a café some - songwriting. Titles like “A River, A Amos-esque background vocals), and egory in its own right? Lucas’ style. I might be a bit nit- where in Europe. To me, this clever Dead Mule, A Train…,” “Old lead vocals that show Divine’s impres - The Bobs hit the ground running picky, but that’s my job! Regardless, intro signals that the rest of the disc is Slewfoot,” “The Fleshpots of the sive range. “What’s It Gonna Be,” a as they tackle a difficult set of tunes. the song still meets the high stan - designed to take the listener on a trip Orient,” and “Anniperversary” longing, yet cleverly playful love From Tin Pan Alley we get “Ain’t dard set by the rest of the album. through the limitless musical world of invoke an anticipation of excellence song, wisely strips the format down Nobody Here But Us Chickens” and From performance, recording, and these artists. From the super tasty that is ultimately delivered in spades to just vocal and guitar, somehow Gershwin’s “Rhapsody in Blue.” From mastering to cover and case design gypsy solos on “Swing Set” and the far more often than not. avoiding sounding flat compared to the Woodstock/MTV generations, we and packaging, this is a quality pro - funky backwards guitar intro on “Café What is most evident beyond the the more “produced” tracks. are dosed with Cream’s “White fessional effort. It is well thought out Antiguo” to the delightful handling of wonderful musicality of the playing While the engine that drives this Room” and Tom Petty’s “Free and implemented, with beautiful the melody on “Vals – Tema De and the arrangements is just how music is the artist’s songwriting and Falling.” Such nuggets as Spike Jones’ photos and just the right amount of Strauss” and the beautifully breezy wonderful a singer Markham really is, performing skills, I can’t say enough “Teenage Brain Surgeon” and Bertold liner notes and thank yous. leads on “Emily,” this is music that especially on the sweet and deliber - about the amazing production of Brecht’s “Alabama Song” get the I don’t know whether Welden is keeps bringing smiles. My favorite is ate “The Big, Dumb Way,” where his this recording. Listening through usual Bob treatment while de-con - set-up to sell CDs from his website track ten, “Epilogue,” which features voice and the song’s melody become headphones, it becomes even more structing 20th century pop music his - or any of the popular online meth - a stunningly beautiful, almost other - one lonely, longing sound, like the impressive as you hear all the added tory. Every song here is indelibly ods as of this writing. However, you worldly melody and an equally amaz - distant whistle of a midnight train subtle touches, all at the right times transformed into the Bobs’ own post- can visit his MySpace and find out ing counterpart of fretless bass, bound for nowhere in particular. and in the right doses. For instance, vocal dreamscape. where he’s playing next. I’m sure strings, and perfectly complementary Engineer Peter Sprague shows on “Broken” and “Trouble,” the With unrestrained irony, the he’ll have a few discs on hand. sound effects. that he’s more than just a guitar instruments and vocals build with album’s title suggests more clown Part of my goal here is to get you, This CD should appeal to a broad genius by capturing the beautiful such subtle intensity that you don’t juggling although their rendition of the reader, interested in going to spectrum of music lovers, especially essence of every instrument and its realize how high everything has “Rhapsody in Blue” is quite beautiful, hear the music, see the artist at a those with an ear toward world accompanying ambience with a notched up until the tracks suddenly almost solemn at times. The Bobs, show, and decide whether you like music. There is musical invention here open, crisp, and focused sound that switch to a single voice and guitar. along with pianist Bob Malone do an the music or not. I also want to offer to be sure, but everything is done allows the listener to hear every Brilliant! I loved how well recorded outstanding job of stretching George constructive feedback to the artist within the context of making music meticulously rendered layer, while and well played the violin tracks are and Ira’s whisperings out to a stun - and others who might be in the that is just plain fun to listen to. If retaining a unified band sound and if you can find a guitar track on ning 17 minutes! process of putting a CD together. some of this material doesn’t make it throughout. Kudos to him for making this disc that isn’t world class, you With more Bobs than an apple I’ll be posting this review, along into some kind of soundtrack, it will a purely amazing sounding record. have a better ear than I do. bobbing contest and a sense of with my other reviews, on my only be because the right people did - With a Tony-award winning The Divincenzo/Orfanides pairing humor that keeps it all fun, this group MySpace blog. This will allow you to n’t hear it. The Paper Moon guys rhythm section, a heartfelt collection has proved to be a musical match not only keeps it quirky, it rounds it respond and tell me if you agree or have pulled off quite a trick with of songs, and an all-around A-team made in heaven and my guess is that off with a spectacular rendering of disagree with me. All I ask is that you Miniatures , creating an artistically of supporting players, perhaps wind - this recording will successfully garner one of America’s finest pieces. keep it real and avoid “colorful” uncompromised musical kaleidoscope ing it all up and letting it run wild attention far beyond the local level. The Bobs will be at Dizzy’s on remarks. Thanks for reading and that is a blast for the rest of us to lis - was the exact right thing for October 12 at 8pm. happy listening! ten to. Bravo! Markham and the Cat Mary to do. www.sandiegotroubadour.com 17 OCTOBER 2006 SAN DIEGO TROUBADOUR ’round about

OCTOBER CALENDAR WEEKLY Tomcat Courtney , Turquoise Cafe Bar Europa, sunday • 1 Cecilio & Kapono , Humphrey’s, Shelter island, every sunday 873 Turquoise St., 8pm. 7:30pm. tuesday • 17 Shawn Rohlf & Friends , Farmers Market, Listen Local Acoustic Showcase , Peter Sprague Group , Coyote Bar & Grill, 300 David Greenberger & 3 Leg Torso , Artists Tomorrow the Gallows , O’Connell’s, 1310 DMV parking lot, Hillcrest, 10am. O’Connell’s, 1310 Morena Blvd., 8pm. Colony, 90 N. Coast Hwy 101, Encinitas, 8pm. Carlsbad Village Dr., Carlsbad, 5pm. Morena Blvd., 9pm. 7 Minete Jazz Duo , Kung Food, 2949 Fifth Stepping Feet , Whiskey Girl, 600 5th Ave., Grand Opening Party & Dinner , Hot Monkey Quincy Coleman/Renata Youngblood/Erin Ave., noon. 8:30pm. Love Cafe, 6875B El Cajon Blvd., 5:30pm. McCarley , Lestat’s, 9pm. Connie Allen , Old Town Trolley Stage, Twigg Open Mic Night , Twiggs, 8:30pm. Gretchen Parlato w/ Lionel Loueke , Dizzy’s, 344 wednesday • 18 St. & San Diego Ave., 12:30-4:30pm. 7th Ave., 7pm. Ocean Beach Open Mic w/ Jefferson Jay , Joan Baez , Humphrey’s, Shelter Island, 7:30pm. Celtic Ensemble , Twiggs, 4pm. Portugalia, 4839 Newport Ave., 8:30pm. Bruce Molsky & Marley’s Ghost , Acoustic monday • 9 Love-O-Rama/Firedog/Ciela , Lestat’s, 9pm. Music S.D., 4650 Mansfield St., 7:30pm. Traditional Irish Music & Dance , The Field, Open Mic Night , Dublin Square, 544 4th Ave., Bert Turetzky , Athenaeum, 1008 Wall St., La 544 5th Ave., 5:30pm. 9pm. Orquesta Primo , Belly Up, Solana Beach, 8pm. Jolla, noon. Derek Evans , Twiggs, 8:30pm. Blue Monday Pro Jam , Humphrey’s Backstage Open Mic Night , Milano Coffee Company, thursday • 19 8685 Rio San Diego Dr., Ste. B, 7pm. Dylan Donkin/Molly Jenson , Lestat’s, 9pm. Lounge, Shelter Island, 7pm. every thursday David Dahlsten Quintet , Dizzy’s, 344 7th Ave., Open Mic Night , Hot Java Cafe, 11738 Carmel John Lennon Tribute w/ Gregory Page/Berkley 8pm. Dan Papaila (solo jazz guitar), The Lodge at Hart/Dave Howard/Peter Bolland/Peggy Mtn. Rd., 7:30pm. Torrey Pines, 5pm. Watson/Joe Rathburn/Michael Tiernan/the Frank Marino & Mahogany Rush , Belly Up, tuesday • 3 Solana Beach, 8pm. Jazz Roots w/ Lou Curtiss , 8-10pm, KSDS Open Blues Jam , Downtown Cafe, 182 E. Wild Truth/the Shambles/Pete Thurston , (88.3 FM). Emmylou Harris , Humphrey’s, Shelter Island, Dizzy’s, 344 7th Ave., 7pm. Chris Carpenter/Shelton Viola , Twiggs, 8:30pm. Main, El Cajon, 6pm. 7:30pm. Hot Fudge Sunday Open Mic , O’Connell’s, Joe Rathburn , Folkey Monkey Thursdays, Hot Dave Scott Jazz Ensemble , Croce’s, 8pm. Liz Clark/Julie Loyd/Melineh Kurdian , Lestat’s, 1310 Morena Blvd., 9pm. Paul Simon , Viejas Concerts at Bayside, Breast Cancer Benefit w/ Jack the Original/ 9pm. Monkey Love Cafe, 6875 El Cajon Blvd., 7pm. Embarcadero Park South, 7:30pm. Justin James , Belly Up, Solana Beach, 8pm. José Sinatra’s OB-oke , Winston’s, 1921 Moonlight Serenade Orchestra , Lucky Star Bacon St., 9:30pm. Underground Garage a Go Go w/ Shadows of Bobby Bare Jr. , Casbah, 9pm. Restaurant, 3893 54th St., 7pm. Knight/the Romantics/London Quireboys/the friday • 20 The Bluegrass Special w/ Wayne Rice , 10- Wood ‘n’ Lips Open Mic , Borders Books & Charms , Belly Up, Solana Beach, 8pm. midnight, KSON (97.3 FM). Music, 159 Fletcher Pkwy, El Cajon, 7pm. Trece De La Suerte , Portugalia, 8pm. Wild Jammin’ Women Camp , Big Bear, thru tuesday • 10 Oct. 22. Info: 858/270-7922 or Open Mic Night , Hot Java Cafe, 11738 Carmel Down w/ Leo/Firethorn/Bedpost Buzzard/Def in [email protected]. Mtn. Rd., 7:30pm. one Eye , O’Connell’s, 1310 Morena Blvd., 9pm. Aloha with Style II , Acoustic Music S.D., 4650 every monday Mansfield St., 7:30pm. Open Mic w/ Mark Kinney , Wynola Pizza Thursday Club , Portugalia, 4839 Newport, OB, Express, 4355 Hwy 78, Julian, 6pm. Acoustic Guitar Ensemble (players wel - Tony Levin Band/Tom Griesgraber , Brick by come) , Mt. Soledad Presbyterian Church, 8pm. Brick, 1130 Buenos Ave., 8pm. Robin Henkel Band , Coyote Bar & Grill, 300 6551 Soledad Mtn. Rd., La Jolla, 7pm. Open Mic/Family Jam , Rebecca’s wednesday • 4 Carlsbad Village Dr., Carlsbad, 6:30pm. Viva in Stereo/Dawn , O’Connell’s, 1310 Morena Open Mic Night , Lestat’s, 7:30pm. Coffeehouse, 3015 Juniper St., 8pm. Tessa Souter Quartet/Peter Sprague w/ Lenard Blvd., 9pm. Marta Topferova , Acoustic Music S.D., 4650 Patton & Lisa Hightower , Museum of Art, Mansfield St., 7:30pm. Blues Jam w/ Mystery Train , O’Connell’s, Listen Local Acoustic Showcase , Tiki Bar, 1152 Garnet Ave., 8pm. Balboa Park, 5:30pm. Tribute to New Orleans Brass w/ David Mosby , 1310 Morena Blvd., 7:30pm. New Acoustic Generation w/ Michael Tiernan Dizzy’s, 344 7th Ave., 8pm. Tango Dancing , Tio Leo’s, 5302 Napa St., 8pm. Swing Thursdays , Tio Leo’s, 5302 Napa St., wednesday • 11 9pm. Trio/Cathryn Beeks Ordeal/Simeon Flick/Kim Aaron Bowen/Derek Evans/Stasia Conger , Divine/Lee Coulter , Belly Up, Solana Beach, Jazz 88 presents the Rebirth of Cool , Air Sue Palmer Quartet w/ Rand de Matei , Taylor Twiggs, 8:30pm. Conditioned Lounge, 4673 30th St., 9pm. 7:30pm. Branch Library, 4275 Cass St., 7pm. Peter Sprague Trio w/ Leonard Patton , Ki’s, every friday Sue Palmer/Blue Largo , Calypso Cafe, 576 N. Roberta Piket/Billy Mintz/Ratzo Harris , Dizzy’s, 2591 S. Coast Hwy 101, Cardiff, 8:30pm. Hwy 101, Encinitas, 7:30pm. 344 7th Ave., 8pm. every tuesday Sam Johnson Jazz Duo , Cosmos Cafe, 8278 Curtis Peoples/John-Mark/the Evening News , La Mesa Blvd., 3pm. S.D. Concert Jazz Band , Lafayette Hotel, 2223 Kai Brown/Jen Joyden/Todd Hannigan , Lestat’s, 9pm. Blues Jam , Blind Melons, 710 Garnet, 7pm. El Cajon Blvd., 8pm. Lestat’s, 9pm. California Rangers , McCabe’s, Oceanside, Celtic Frost , House of Blues, 1055 Fifth Ave., Zydeco Tuesdays , Tio Leo’s, 5302 Napa, 7pm. 4:30-9pm. Steve Smith’s Jazz Legacy w/ Andy Fusco/Walt saturday • 21 Open Mic Night , Cosmos Cafe, 8278 La Mesa Dan Papaila (solo jazz guitar), The Lodge at Weiskopf/Mark Soskin/Baron Browne , thursday • 12 Blvd., La Mesa, 7pm. Torrey Pines, 5pm. Mandeville Theater, UCSD Campus, La Jolla, Unknown Legend , Wynola Pizza Express, 4355 Irish Music Jam , The Ould Sod, 7pm. 8pm. Robin Henkel , Terra Restaurant, 3900 block of Hwy 78, Julian, 6pm. Jaime Valle-Bob Magnusson Jazz Duo , Vermont St., Hillcrest, 6pm. Listen Local Acoustic Showcase , Jumping Harry’s Bar & American Grill, 4370 La Jolla Stan Silver/Kev , Lestat’s, 9pm. Allison Lonsdale , Lestat’s, 6pm. The Bobs , Dizzy’s, 344 7th Ave., 8pm. Turtle,1660 Capalina Rd., San Marcos, 8pm. Village Dr., 6:30pm. Brian Holwerda/Lindsey Cook , O’Connell’s, Mike Keneally’s Circus of Values , Dizzy’s, 344 Hot Club of San Diego , Prado Restaurant, 1310 Morena Blvd., 9pm. Larry Carlton Blues Project , Humphrey’s, 7th Ave., 8pm. Amelia Browning , South Park Bar & Grill, Shelter Island, 7pm. Balboa Park, 8pm. 1946 Fern St., 7pm. Gregory Page , Canyonfolk House Concert, Marcia Ball/Billy Watson , Belly Up, Solana Harbison Canyon, 8pm. [email protected] Comedy Night , Lestat’s, 9pm. Basin Street Band , Lucky Star Restaurant, Beach, 8pm. Aramburo/Hargo/Jen Knight , Twiggs, 8:30pm. Mojoley Jazz Quartet , Taylors, 721 Grand 3893 54th St., 7pm. thursday • 5 Dawn Mitschele , Twiggs, 8:30pm. Latin Harp Night w/ Cesar Daniel/Jose Smith , Ave., 9:30pm. Open Mic Night , Egyptian Tea Room & Tokeli Quartet , Tapenade, 7612 Fay Ave., La Smoking Parlour, 4644 College Ave., 9pm. Jolla, 5:30pm. Silent Partner/Ithaca/Tiff Jimber , Lestat’s, 9pm. San dieguito United Methodist Church, 170 Calle Magdalena, Encinitas, 7:30pm. Caballero Latin Jam , Chicano Perk, 616 every wednesday Turiya Mareya & WorldBeat Jazz Ensemble , National City Blvd., 7pm. Project Warmth Benefit w/ Sue Palmer/Eve WorldBeat Cultural Center, 2100 Park Blvd., friday • 13 Selis/Randi Driscoll , Seaside Church, 1613 Music at Ocean Beach Farmer’s Market , 9pm. Abby , Twiggs, 8:30pm. Lake Dr., Encinitas, 7:30pm. Newport Ave., 4-7pm. Pete Thurston , Lestat’s, 9pm. Jim Earp , Borders, 159 Fletcher Pkwy., El Cajon, 7pm. Tom Rush/A.J. Croce , Poway Ctr. for Dan Papaila (solo jazz guitar), The Lodge at Torrey Pines, 5pm. every saturday O’ Berkley, Where Hart Thou? w/ Berkley Performing Arts, 15498 Espola Rd., Poway, 8pm. Hart/7th Day Buskers/Eve selis & Mark Twang/ Radio Memphis/Derrin Raser , Lestat’s, 9pm. Jaime Valle Quartet w/ Bob Magnusson , Tuto Connie Allen , Old Town Trolley Stage, Twigg friday • 6 Cindy Lee Berryhill/Gregory Page/Lisa Colporter/Forsaken Truth/Slewfoot , Mare, 4365 Executive Dr., La Jolla, 6pm. St. & San Diego Ave., 12:30-4:30pm. Marie Haddad , Borders, 159 Fletcher Pkwy., El Sanders/Robin Adler/Randi Driscoll , Seaside O’Connell’s, 1310 Morena Blvd., 9pm. Old Timey Night , Folk Arts Rare Records, Dan Papaila (solo jazz guitar), The Lodge at Cajon, 7pm. Church, 1613 Lake Dr., Encinitas, 7:30pm. 2881 Adams Ave., 7pm. Torrey Pines, 5pm. James Lee Stanley & Peter Tork , Acoustic Randy Phillips & Friends , Rebecca’s Christian/Gospel Open Mic , El Cajon. Info: Coffeehouse, 3015 Juniper St., 7:30pm. High Society Jazz Band , Tio Leo’s, 5302 Napa Music S.D., 4650 Mansfield St., 7:30pm. sunday • 22 St., 7pm. J.D., 619/246-7060. Sue Palmer Trio , L’Auberge, 1540 Camino Del Sue Palmer Trio , L’Auberge, 1540 Camino Del Mar, 7:30pm. Guitar Extravaganza w/ Petter Pupping/Fred Mar, 7:30pm. Benedetti/Peter Sprague/William Wilson , Bobby Caldwell , Humphrey’s, Shelter Island, Keltic Kharma CD Release , Dizzy’s, 344 7th Belly Up, Solana Beach, 1:30pm. 8pm. Ave., 8pm. Benefit for Becky’s House II (safe house for thursday • 26 Robin Henkel Blues & Jazz Concert Band , Downbeat Big Band w/ Clare Delto & Paul Lee Tyler Post , Borders, 11160 Rancho Carmel battered women & children) w/ Sara Petite/ Robin Henkel , Terra Restaurant, 3900 block of Lestat’s, 9pm. Seaforth , Dizzy’s, 344 7th Ave., 8pm. Dr., 8pm. Cindy Lee Berryhill/Arabella Harrison/Steph Vermont St., Hillcrest, 6pm. Johnson/Joanie Mendenhall/Evan Bethany/ SweetTooth/New Day Mile , O’Connell’s, 1310 Jane Lui , Borders, 1072 Camino del Rio N., 8pm. Aaron Bowen , Borders, 668 6th Ave., 8pm. Susan Werner , Acoustic Music S.D., 4650 Morena Blvd., 9pm. Hargo , Borders, 1072 Camino del Rio N., 8pm. Annie Dru/REgina Dawn/Molly Jensen/Saba , Andrea Reschke , Borders, 1905 Calle Ould Sod, 3373 Adams Ave., 3pm. Mansfield St., 7:30pm. Barcelona, Ste. 120, Carlsbad, 8pm. Duff Ferguson/Enter Telescope/Kelly Jones/ Dave Boodakian , Twiggs, 8:30pm. Kirsten Proffit/Vision of a Dying World , Twiggs, Blues Jam , Coo Coo Club, 8203 Winter Gardens Winterhawk , Borders, 11160 Rancho Carmel Blvd., Lakeside, 4pm. sunday • 29 Dr., 8pm. 8:30pm. Los Straightjackets , Belly Up, Solana Beach, Bob Dylan/Kings of Leon , Cox Arena, SDSU Blues Jam , Etta’s Place, 6179 University Ave., North County Cowboys , Del Dios Country Store, Campus, 7:30pm. friday • 27 5pm. (call first) 20154 Lake Dr., Escondido, 8pm. 9pm. John Ellis w/ Aaron Goldberg/Mike Moreno/ Mountain Tribal Gypsies , Wynola Pizza Karen Blixt w/ Frank Martin/Abraham Joshua Damigo , Borders, 668 6th Ave., 8pm. Two Sheds/Joanie Mendenhall/the Chapin Express, 4355 Hwy 78, Julian, 6pm. Sisters , Lestat’s, 9pm. Rueben Rogers/Terreon Gully , Dizzy’s, 344 7th Laboriel , Dizzy’s, 344 7th Ave., 7pm. Amy Ayres/Victoria Vox/Jason Webely/ Ave., 8pm. 2006 Jazz Cruise Bon Voyage Live Jazz Night , Annie Bethancourt/Paige Aufhammer , Michael Robert Cook , Twiggs, 8:30pm. People/Roman Spring/Distance , O’Connell’s, Dizzy’s, 344 7th Ave., 7:30pm. 1310 Morena Blvd., 9pm. M. Khalife (oud player), Neurosciences LifePoint Cafe, 4698 Alvarado Canyon, Ste. A, Anthony Smith w/ Peter Sprague , Clay’s at Institute, 10640 Hopkins Dr., 8pm. Jay Leonhart , Acoustic Music S.D., 4650 7pm. Hotel La Jolla, 7955 La Jolla Shores Dr., 8:30pm. Lindsey Yung/Tristan Prettyman , Twiggs, Mansfield St., 7:30pm. April Verch Band , Acoustic Music S.D., 4650 Young Dubliners/the Fenians , Belly Up, Solana 8:30pm. Dave Boodakian/Leviticus , Twiggs, 8:30pm. Mansfield St., 7:30pm. Beach, 9pm. saturday • 14 Kate Gaffney , Lestat’s, 9pm. English Beat , Belly Up, Solana Beach, 9pm. J. Turtle , Lestat’s, 9pm. Manouk/Neonthief , Lestat’s, 9pm. Amy Obenski , Tower Two Beach Cafe, 5083 Robin Henkel , Golden Acorn Casino, 1800 Hot Like a Robot/Zechs Marquise/Char Star/ Santa Monica Ave., 2pm. Golden Acorn Way, Campo, 9pm. Valentine Fist , O’Connell’s, 1310 Morena Blvd., Robin Henkel Blues Trio , Miramonte Winery, Anya Marina , Lestat’s, 9pm. monday • 30 9pm. 33410 Rancho California Rd., Temecula, 5:30pm. tuesday • 24 iVoted w/ Gregory Page/Robin Henkel/Steve Worth Every Scar/The Mass , O’Connell’s, 1310 Duke Ellington Tribute w/ Stefon Harris , Sara Petite & the Sugardaddies , Ould Sod, Kev , Wynola Pizza Express, 4355 Hwy 78, Morena Blvd., 9pm. Julian, 6pm. Kowit/Danny Cambell/Steve Garber/Dave Neurosciences Inst., 10460 Hopkins Dr., 8pm. 3373 Adams Ave., 9pm. Curtis , Dizzy’s, 344 7th Ave., 6pm. Joe Mersch & Dwayne McCobb , Borders, 159 Chet Cannon & the Committee/Smedley B. , Fletcher Pkwy., El Cajon, 7pm. saturday • 28 Patrick’s II, 428 F St., 9pm. saturday • 7 Tripp Sprague CD Release w/ Rob Whitlock/ Bob Magnusson/Duncan Moore/ , Dizzy’s, 344 wednesday • 25 Bill Divila , Wynola Pizza Express, 4355 Hwy 78, Annual Train Song Festival w/ Alan James/ Julian, 6pm. tuesday • 31 Allen Singer/Baja Blues Boys/Trails & Rails/ 7th Ave., 8pm. Shawn Colvin/Brandi Carlile , Belly Up, Solana Walt Richards/Connie Allen/Judy Taylor , Old Hargo , Borders, 668 6th Ave., 8pm. Beach, 8pm. High Hills , Templar’s Hall, Old Poway Park, CDM/The Experiments/Noise Gods , Poway Park, 14134 Midland Rd., 10am. 858/566- Andrea Reschke , Borders, 11160 Rancho 14134 Midland Rd., 7pm. 858/566-4040. O’Connell’s, 1310 Morena Blvd., 9pm. 4040. Carmel Dr., 8pm. Robin Henkel Band , Tio Leo’s North, 10787 Wynton Marsalis , California Ctr. for the Arts, Howling Coyotes , Wynola Pizza Express, 4355 Skibereen , Borders, 1905 Calle Barcelona, Ste. Camino Ruiz, Mira Mesa, 8pm. Escondido, 8pm. Hwy 78, Julian, 6pm. 120, Carlsbad, 8pm. Mike Fann Quartet , Dizzy’s, 344 7th Ave., 8pm. Michelle Rosewoman Quintet , Dizzy’s, 344 7th Ave., 8pm. Chet Cannon , Downtown Cafe, 182 E. Main St., Dino/Rory Stitt , Twiggs, 8:30pm. Dukes of Haggard/Cash Kings , Lestat’s, 9pm. El Cajon, 6:30pm. Rachel Kae/Northstar Session w/ Chris Torres/ Gregory Page , Lestat’s, 9pm. Steve Carson Band , Twiggs, 8:30pm. Patty Hall , Borders, 159 Fletcher Pkwy., El Elijah Emanuel & the Revelations , Belly Up, Cajon, 7pm. Solana Beach, 9pm. Peter Sprague Trio w/ Kevyn Lettau , L’Auberge, 1540 Camino Del Mar, 7:30pm. Country Joe McDonald , Acoustic Music S.D., 4650 Mansfield St., 7:30pm. sunday • 15. Government Mule , Cox Arena, SDSU Campus, Peter Sprague Group , Coyote Bar & Grill, 300 7:30pm. Carlsbad Village Dr., 5pm. Phil Harmonic Sez: Steven Ybarra , Borders, 1905 Calle Barcelona, Ken Song w/ Llew Matthews/Luther Hughes/ Ste. 120, Carlsbad, 8pm. Paul Kreibich , Dizzy’s, 344 7th Ave., 7pm. Alonzo Arambu/Leviticus/Taran Gray , Twiggs, Gerry O’Beirne & Rosie Shipley , Holy Trinity 8:30pm. Church, 2083 Sunset Cliffs Blvd., 7:30pm. Gilbert Castellanos Quintet , Dizzy’s, 344 7th Edie Brickell & the New Bohemians/Joe “There is no greater Ave., 8:30pm. Purdy , Belly Up, Solana Beach, 8pm. Trevor Davis/Indigo Art, Fashion, Jewelry Sale , Ernie Halter/Matthew Kaner/Tony Lucca , Lestat’s, 9pm. Twiggs, 8:30pm. power than that of an Bigfellas , O’Connell’s, 1310 Morena Blvd., 9pm. Carlos Olmeda & Supermice , Lestat’s, 9pm. Chet Cannon & the Committee , Patrick’s II, 428 F St., 9pm. idea whose time has sunday • 8 South Bay Ramblers Jazz Band , Inn Suites Hotel, 2223 El, Cajon Blvd., 1pm. come.” S.D. Folk Song Society Meeting , Acoustic monday • 16 Expressions, 2852 University Ave., 2pm. Coral MacFarland Thuet , Lyceum Theatre, Fred Benedetti Tribute to John Lennon , Dizzy’s, Horton Plaza, noon. — Victor Hugo 344 7th Ave., 7pm. Dan Papaila w/ John Guilino/Russell Bizzett , Portugalia, 4835 Newport Ave., 7pm. 18 www.myspace.com/sandiegotroubadour

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