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

January 2008 www.sandiegotroubadour.com Vol. 7, No. 4

what’s inside

Welcome Mat ………3 Contributors Earl Thomas Remembers Ike Turner Full Circle.. …………4 Richard and Sandy Beesley Recordially, Lou Curtiss Front Porch... ………6 Jon Moore & the San Diego Concert Archive Dan Papaila Parlor Showcase …8 Jason Mraz Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Stages Highway’s Song. …12 String Planet Of Note. ……………13 West of Memphis Sheila Sondergä rd String Planet Jenn Grinels The Hi-Lites ‘Round About ...... …14 January Music Calendar The Local Seen ……15 Photo Page

JANUARY 2008 SAN DIEGO TROUBADOUR welcome mat

Earl Thomas Remembers RSAN ODUIEGBO ADOUR Alternative country, Americana, roots, folk, Ike Turner (1931 - 2007) Tblues, gospel, jazz, and bluegrass music news

he first time I ever hear the name Ike and bought the single, which featured their MISSION CONTRIBUTORS Turner was in 1970. My family was liv - version of “Come Together” on the B side. To promote, encourage, and provide an FOUNDERS ing on the island of Guam where my dad In 1971 my dad took me to see the movie Ike Turner alternative voice for the great local music that

T r Ellen and Lyle Duplessie was station in the U.S. Navy. I was on a ban - Soul to Soul , which featured Ike and Tina, e

is generally overlooked by the mass media; p Liz Abbott tam bowling league and would, every Wilson Pickett, the Staple Singers, and many p namely the genres of alternative country, o Kent Johnson H Saturday morning, go to the base’s bowling other top artists of that period. Ike and Tina s Americana, roots, folk, blues, gospel, jazz, and i n

PUBLISHERS alley to practice. In the soda fountain there did the theme song and performed in the n

bluegrass. To entertain, educate, and bring e

Liz Abbott D

was a juke box with the song “Honky Tonk opening segment of the movie. That was the together players, writers, and lovers of these : o

Kent Johnson t

forms; to explore their foundations; and to Woman” by Ike and Tina Turner. I knew the first time I’d ever actually seen them and it o h expand the audience for these types of music. EDITORIAL/GRAPHICS Rolling Stones tune, so I decided to see what was also the moment I knew what I would do P Liz Abbott this one was like. When I first heard that with my life. I turned to my dad and said, SAN DIEGO TROUBADOUR, the local source for Chuck Schiele drum beat leading into the guitar riff and then “That’s what I’m gonna be when I grow up, alternative country, Americana, roots, folk, ADVERTISING blues, gospel, jazz, and bluegrass music news, Tina’s voice singing, “I mehta gin soaked bar - daddy. I’m gonna be a singer in a band!” And Kent Johnson is published monthly and is free of charge. roooom maaaan in Memphaaass. . .,” time from that moment on I visualized, imagined, Ike and Tina Turner in the late 1960s Letters to the editor must be signed and may be BUSINESS CONSULTANT literally stood still. Everything about the song pretended, and thought about nothing else. I every recording they ever did. My personal edited for content. It is not, however, guaranteed Joanna Schiele was great! It spoke to me in a way no other was going to be a singer in a band! And I that they will appear. favorites are Live at Carnegie Hall , In Person DISTRIBUTION music ever had. The rhythm, the singing, the did! This also began a lifelong relationship Live at Basin Street West , Come Together , All opinions expressed in SAN DIEGO Kent Johnson groove, everything. I would play that song at with Ike Turner’s music. I studied it like peo - TROUBADOUR are solely the opinion of the Working Together , and Nutbush City Limits . I Dave Sawyer least three times every time I went to the ple study Bach and Beethoven. For Christmas, writer and do not represent the opinions of the Mark Jackson laugh now at how my mom would use this staff or management. All rights reserved. Indian Joe Stewart bowling alley. I played it so much that the my mom gave me Ike and Tina Live at innocent idol worship to coerce me into doing Dan Long lady who worked behind the counter would Carnegie Hall , which featured a live version ADVERTISING INFORMATION my chores or homework. She’d say, “If you Peter Bolland For advertising rates, call 619/298-8488, e-mail see me come in and say, “Uh oh, here comes of “Honky Tonk Woman.” Years later I would don’t clean your room, I’ll take all of those Ike [email protected], or visit www.sandiegotrou - STAFF PHOTOGRAPHER that ‘Honky Tonk Woman’ boy!” tell my mother that if ever I were to fall into a and Tina Turner records to the trash!” It was badour.com Steve Covault Looking back, I think what I liked about coma, she should have them play that version a powerful bluff. SUBSCRIPTIONS are available for $30/yr. WEB MASTER the song was that it was a mixture of all the of the song and I would wake up. The first time I actually met Ike Turner Send check payable to S.D. Troubadour to: Will Edwards music I had heard up to that point in my life. I got so into Ike and Tina Turner that the was in 1998 . . . at an Etta James concert at San Diego Troubadour In our house, my mom loved gospel, my dad kids at school would tease me because when P.O. Box 164 WRITERS the Belly Up Tavern. I noticed an impeccably La Jolla, CA 92037 Mike Alvarez played blues, and I listened to rock ‘n’ roll. they would bring Jackson Five or Kool and dressed man standing right in front of me and Peter Bolland Ike Turner had found a perfect blend of these the Gang records to dances and parties, I’d WHERE TO FIND US Can’t find a copy of the I admired his camel hair suit. Etta asked the Lou Curtiss San Diego Troubadour? Go to three styles. I saved my allowance money bring Ike and Tina. To this day I have almost crowd to sing along and so I did. The man in Will Edwards www.sandiegotroubadour.com and click the cool suit turned around and looked right Paul Hormick on FIND AN ISSUE for a complete list of at me and said, “You have a voice! What is locations we deliver to. Jim McInnes Raul Sandelin your name?” I said, “Earl Thomas.” He said, SUBMITTING YOUR CD FOR REVIEW “Hi, I’m Ike Turner. Pleased to meet you!” I If you have a CD you’d like to be considered for Chuck Schiele review, please send two copies to: San Diego Sven-Erik Seaholm almost fainted. Here, right in front of me, in a Troubadour, P.O. Box 164, La Jolla, CA 92037. Derek Shaw crowd of 600 people, 28 years later, was my José Sinatra SUBMITTING A CALENDAR LISTING musical mentor! Imagine that! Email your gig date, including location, address, Earl Thomas Ike and I were formally introduced in 2004 and time to [email protected] by D. Dwight Worden in Hollywood at the premier of the DVD the 23rd of the month prior to publication. Craig Yerkes release of Soul to Soul on which I sing the ©2008 San Diego Troubadour. Cover photo: Will Edwards updated version of the theme song that I had Cover design: Chuck Schiele heard Ike and Tina do in 1971. Oprah would call this a full circle moment. I was able to The San Diego Troubadour is dedicated to the memory of Ellen and Lyle Duplessie , tell him what his music had meant to me in whose vision inspired the creation of this newspaper. my life and how much he had influenced my own artistry. We sat in his car and he played me some new music and we jammed on his song “Sexy Ida.” I’ll never forget that night. Then, in 2004, I recorded my Intersection CD on which Ike wrote the liner notes and I sang “Working Together” from the 1971 Ike and Tina album of the same name. I opened for him at Humphrey’s Backstage Lounge and got his autograph on one of my old records. We met again in 2005 at the Russian River Blues Festival and hung out back stage and talked and laughed. I feel so incredibly blessed and honored to have met Ike Turner and that I had the opportunity to tell him what his music has meant to me. He was a true master and I shamelessly copy his style in much of my own music. Ike Turner was my musical mentor and I honor his memory. — Earl Thomas www.earlthomasmusic.com

www.sandiegotroubadour.com 3 JANUARY 2008 SAN DIEGO TROUBADOUR full circle RichaRD anD SanDy BeeSley Tireless Supporters of San Diego’s Bluegrass community by Dwight Worden resolution skills in that capacity, valuable junction with the Julian Lions Club, ran the traits indeed for dealing with temperamen - Julian Festival for four years from 1999- tal musicians and in organizing large events. 2002, with attendance and prominence ver been to the Julian Bluegrass In 1977 the Beesleys moved to Vista to be increasing each year under Sandy’s steward - Festival? To Summergrass? To a North near Sandy’s mom, and that’s when the ship. Sandy and her team brought in out - County Bluegrass and Folk Club event? E bluegrass started. Sandy and Richard attend - standing bands and added new events and To Bluegrass Day at the San Diego County ed a Bluegrass Etc. concert on the fourth of charm to the festival that brought it success. Fair or at the Flower Fields in Carlsbad? If July in Brengle Terrace Park in Vista, where Sandy then moved on to become one of you have, you owe a big “thank you” to they met John Deckard and several other the founders of the Summergrass Festival, Sandy and Richard Beesley who have been bluegrass locals who encouraged the San Diego’s premiere three-day bluegrass fes - key figures in all of these activities and who Beesleys to come to That Pizza Place in San tival, co-produced by the San Diego are now leaving us to move to Oklahoma. Marcos where regular bluegrass was happen - Bluegrass Society and the North County For Sandy and Richard, it all began in ing, and the Beesleys became regular weekly Club. At the suggestion of banjo player and Inglewood, California, where they both attendees. They loved the music and got to North County Club activist Corky Shelton, worked in the post office. They met, played know some of the regular players, including Sandy worked with a handful of others and “post office” on three dates, got married in John Moore and Dennis Caplinger of secured the Antique Gas and Steam Engine Richard and Sandy Beesley 1970, and have been together ever since. Bluegrass Etc., Byron Berline (who was liv - Museum in Vista as a venue for Richard was a speed roller skater and at one ing in Los Angeles at the time and who has Summergrass and, with her fellow founders, time ranked fifth fastest in the U.S. Sandy but Summergrass does it.” and featured some great players who played with everyone from Emmy Lou made all the other arrangements to start a was a farm girl from “Green Giant Country” Sandy’s success as music promoter was demonstrated different styles and periods in Harris, the Rolling Stones, and most of the brand new three-day festival. Thanks in in northern Illinois whose family would lis - not limited to festivals. Sandy’s skill and the colorful history of the guitar. The show top bluegrass players), and two young kids large measure to the Beesleys’ and this small ten to the “Grand Ole Opry” on the radio. enthusiasm at these activities also led her to was a smashing success over its four-day run named Sean and Sara Watkins who went on group of founders’ hard work, Summergrass Each pay day, newlyweds Sandy and Richard a part-time career as a successful music and was filmed for DVD release. to Nickel Creek fame. The Beesleys also finished in the black its very first year and spent their leftover post office pay buying agent, representing guitarist Dan Crary for Sandy and Richard are now moving to fondly remember seeing Rose Maddox per - has finished in the black every year since, records and forming a strong marriage and many years. Dan, who had appeared at Guthrie, Oklahoma to enjoy their retire - form at That Pizza Place. Not a bad crew of having just completed its fifth annual event music bond, although neither of them Sandy’s concerts, knew a good organizer ment years. They say “no more festivals,” musicians for a pizza parlor! It was from the in August of 2007 on a budget exceeding thought they would end up promoting when he saw one, and he approached Sandy but it seems that, somehow, they are already regular attendees at That Pizza Place, includ - $50,000. music. But, hey, who among us has accu - and asked her to be his agent. Sandy replied, committed to helping out next year at ing the Beesleys, that the core group of Sandy and Richard have shared too many rately predicted our own future? “I don’t know how to do that,” but she Byron Berline’s festival in Guthrie, so don’t activists pulled together to form the North interesting stories to repeat here that came When he wasn’t speed skating, Richard learned. She and Richard also promoted a expect these two to knit away their County Bluegrass and Folk Club. out of their Julian and Summergrass experi - was a serious street rod car addict, who successful concert at Mira Costa College in Oklahoma retirement. Sandy expresses an Given their talents and enthusiasm both ences, but here are a few to sample. There is founded and ran a countrywide car club for Oceanside, featuring Dan Crary and Beppe interest in becoming involved in a literacy Sandy and, to a lesser extent, Richard were the time a volunteer at Julian, in great three 17 years, specializing in sedan delivery vehi - Gambetta, and they produced a successful project and in learning the guitar and dul - soon contributing in a variety of capacities stooges fashion, knocked over a whole table cles. Sandy figured she better get interested concert called “Men of Steel,” featuring cimer, and both Richard and Sandy talk of with Sandy eventually becoming the presi - and related paraphernalia right during a key too if she wanted to spend time with some of the top guitar players in the busi - travel. Whatever the future holds for this dent of the North County Club. While on-stage performance. There were many Richard, so she also became active. Both ness at the Carlsbad Village Theater. dynamic duo, you can bet they will have Sandy and Richard were key leaders and times they watched little Sara Watkins fall Beesleys learned the skills they needed to Well, soon Sandy was a successful agent their hands on the throttle and doing a contributors in so much that is bluegrass in asleep right in front of the blasting speaker run a large car club, such as how to co-ordi - for Dan Crary, with her phone ringing with great job. We wish them well. San Diego, when interviewed, they mainly at That Pizza Place when she was well shy of nate and run events, which would later calls from other artists seeking her services, wanted to point out that there were many, 10 years old. In Julian there was the year serve them well in running music festivals, all of whom she politely declined. She did, many others who contributed, including all that the festival went out on a limb to pro - concerts, and the North County Bluegrass however, work successfully as part of the of the officers, volunteers, and organizers of vide a shuttle service and carefully placed and Folk Club. In addition, both of them, inner team with Dan Crary, Anthony and the club and of the concerts, campouts, and signs all over town, only to have them all particularly Sandy, became active in the Christina Adams (film producers), and other events that have been held over the removed the night before the festival start - postal union where they worked and Dennis Caplinger (musical director) to pro - years. Sandy emphasizes that nothing would ed. At Summergrass, there was that magical learned organizational, people, and dispute duce “Primal Twang: The Legacy of the have happened without the help of these night during Summergrass’ first year when Guitar” at the restored North Park Theater. many other good folks who became, and Mark O’Connor showed up unannounced, That show was a guitar spectacular that fea - remain, life ong friends of the Beesleys. bought a ticket, and played triple fiddles on tureed many greats including Doc and The Beesleys’ leadership in the North stage with Byron Berline and Dennis Richard Watson, Dan Crary, Mason County Club led them and the club to the Caplinger, creating one of the greatest triple Williams, Albert Lee, Eric Johnson, Peter Julian Bluegrass Festival, which had a long fiddle displays ever. And, there was the satis - Sprague, Doyle Dikes, Beppe Gambetta, Jon Dennis Caplinger, Byron Berline, and Mark and storied history but which in the 1990s faction of hearing Alan O’Bryant of the Walmsley, John Doan, and more. The show O’Connor perform at the first annual had fallen on hard times and poor atten - Nashville Bluegrass Band report, presented the history of the guitar in music Summergrass. dance. It was time for a Julian “rescue and “Summergrass treats us the best. Others try, revitalization” effort and the North County Club, led by Sandy, was perfect for the job. Carl Lambert, who preceded Sandy as North County Bluegrass and Folk Club pres - ident, hooked the club up with the Julian Bluegrass Festival and promised to try and revitalize it. Then, Carl moved out of the area and it fell to Sandy and the other club officers and volunteers to take the lead on breathing new life into the Julian Festival. Beesleys’ wedding day, 1970 Sandy and her North County Club, in con -

4 www.myspace.com/sandiegotroubadour JANUARY 2008 SAN DIEGO TROUBADOUR full circle n o s d r a h c i R

l l i

Recordially, Lou Curtiss B

: o t o h

LOU’S WOES P

his is one that I’ve been putting off writ - ing, hoping that things would change. TIt’s about the Roots Festival (I just can’t call it the Roots & Folk Festival) and my involve - ment with it. Let me give you some background. I started doing the old Folk Festivals out at San Diego State in 1967. After the third festival Gary Solbue who was then student advisor came to me with the proposal that I do all the booking and Lou Curtiss programming for future festivals. I did that for the entire run of the festival at SDSU (through together to get a bigger budget (possibly through year 16). Over the next four years I managed to grants) for Roots. Now, I don’t know for sure if I put on four more festivals with the help of a com - could have found a place that was suitable, or one mittee that never worked well. After 1987 I gave that I could have afforded, in any of those neigh - up and the original San Diego Folk Festival came borhoods, or if we could have moved the festival. to an end. In 1994 the director of the Adams At any rate, I stayed on Adams Avenue. So now Avenue Business Association came to me with the they’ve got a thing they subscribe to called Sonic idea of starting a new series of spring festivals on Bids, which requires musicians to pay to send in Adams Avenue and I came up with the Adams their audition material. Most of the people who Avenue Roots Festival concept. From that day to send in stuff I wouldn’t have on a bet (not that the present I have been involved with this festi - some of them aren’t good; they just don’t fit into val. We even took the numbering system from the my concept of what roots music is). old SDSU series so the first Roots Festival was So, what does all this come down to? I could number 21 (only because of my association with work with a committee if it had people on it who it). Over the years we’ve put on some mighty fine knew something about roots music – local people music festivals. Like the previous festivals, they like Chris Clarke, Curt Bouterse, Martin Henry, featured a group of quality regulars from through - Allen Singer, or Patti Hall, but I can’t work with out the western region, adding to that unique old the people I’ve been forced to work with these time musicians with a wide range of musical past two years. and I’m not going to. I’m not styles. That business director and his successor going to run for reelection to the Adams Ave. stayed out of my hair about who should come or Business Association Board of Directors when my what the program should be as long as they could term is up in January. Now, I’m not so naive as to have a say about how much things cost (and think that I couldn’t be replaced, but I seriously while their was never enough money that was doubt that these people know enough about this something I could live with). So things went music to find someone. I hope they do. I’ve had a smoothly until two years ago when the director pretty good run with the festivals and I’d really died and a new regime came in at the Adams like to do another one. Avenue Business Association and there I was sud - I was really impressed with “The Crooked denly working with a committee to pick the Road” concert of traditional Virginia music held music & even worse it was a committee of people at UCSD a few months ago. The crowd there indi - that knew next to nothing about Roots music. cated to me that there is still an audience for pro - The first thing they wanted to do was cut grams like this. We need a San Diego Folklife out the regulars – people like Hank Bradley, pos - Musical Festival that is an educational experience sibly the finest old timey fiddler and all around as well as an entertainment. As I’m listening to musician living on the West Coast and who first those early festivals courtesy of our Grammy played at the second festival at SDSU (in 1968) grant, I’m hearing so much good information and Mary McCaslin, whose unique guitar tunings along with all the good music. It would sure be and original songs with a touch of tradition was nice to have fes tivals like those again. The prob - one of the founders of the Americana movement lem is that San Diego State University and the in songwriting, influencing singers ranging from Adams Avenue Business Association never knew Nancy Griffith to Lacey J. Dalton (Mary first came what they had and how important it was. To the in 1969). They refused to book Kenny Hall, who University it was something to entertain the stu - is considered a national treasure and influenced a dents where outside people did the work. With generation of old-timey revivalists. They didn’t the Business Association, I’ve actually heard want Ray Bierl, Larry Hanks, or Jody Stecher and members of the board complain because I was Kate Brislin. I actually heard people say that we getting too much attention. So there I’ve had my didn’t need to bring a cajun band from Louisiana, say. These people can make things right and I because there were people in San Diego who play hope they do. that kind of music, same with old-timey string bands, country blues, or celtic music. Four years ago when I had to move my record shop, I had offers from people in North Park, Ocean Beach, and even the Gaslamp Quarter to move my shop to their neighborhood and bring the Roots Festival with me. The former AABA director assured me that staying on Adams Avenue was a good idea and that we’d work

www.sandiegotroubadour.com 5 JANUARY 2008 SAN DIEGO TROUBADOUR front porch Jon Moore: For the Record

Jon Moore

organizing shows became big business.” Throughout the gritty ’80s and ’90s, Tim Mays brought bands like Social D, REM, and Bad Religion here. The Back Door at SDSU as well as the Wabash Hall in North Park were hot spots for young punkers. The original by Derek Shaw bands. always been on the cutting edge of modern it’s an Italian restaurant, but superstars like Casbah even hosted Nirvana and Smashing Some of the concert listings even include graphic art. Moore was never old enough to Johnny Cash, Carl Perkins, Hank Williams, Pumpkins. he walls are alive with trippy concert set lists, attendance figures, and anecdotal tid - know when KISS was coming to town, so he and Patsy Cline rocked the honkytonk saloon Moore, himself, has evolved over the posters boasting psychedelic images, bits. The archive encapsulates every era and relied on posters to find out. during the late ’50s. course of compiling data for the archive. He vivid colors, and flowery, often illegi - genre imaginable, from big band and country “A long time ago, it was the only means of The subsequent decades were a true test T grew up on classic rock and hair metal, but as ble font —- the treasured artifacts of a proud dating back to the ’30s to the new wave and advertising for concerts,” Moore recalls. for San Diego, long known as a politically and he learned more about roots music and the Dead Head. San Diego Zoo employee Jon punk rock of the ’80s and ’90s. On virtual dis - “People would slap posters on socially conservative city. “Love-ins” and “hap - influence of Americana on rock ‘n’ roll, he Moore also happens to be an amateur histori - play are Moore’s mementos of music memora - telephone polls; otherwise, penings” were glorified hippie grew to appreciate folk and country music too. an, the city’s authority on live music. bilia, including concert posters, flyers, and kids were unaware that their fests of nakedness, live music, “I didn’t really start out with a goal except Moore is a normal guy with a stable tickets. favorite band was even play - and free love. The premiere of to share this information with others,” con - career. He warns of a mess in his Golden Hills “Before barcodes and holograms, promot - ing.” Elvis was nearly thwarted by the fesses Moore, who doesn’t profit from the web - residence, but the single apartment is practi - ers often spent as much time decorat - Moore began research - police chief who threatened him site. “Along the way I’ve met some great peo - cally spotless. A stained glass ing their tickets as they did with their ing at the local library and with arrest. ple who’ve lived through monumental events window and hippie Santa posters and handbills,” Moore com - music stores, combing The Rolling Stones first appeared and put music into a historical context.…It’s Claus welcome visitors ments. “Even with their minimal through microfilm files for here in 1964 at the Starlight Bowl. not about taking, it’s about giving.” inside. amount of information, tickets pro - hours on end. His then girlfriend offered to The following year, the Beatles made Visit www.sandiegoconcertarchive.com. Born and raised in El vide an important part in the docu - catalog the concert listings by typing it up, their first and only appearance in San Diego at Centro, far from a music mentation of the San Diego music something that Moore wasn’t tech savvy Balboa Stadium, now a City College parking mecca, Moore decided to scene.” enough to consider. Fortunately, friend and lot. Jimi Hendrix played the stadium a week move here in 1991. San Online resources can be web designer Joe Garcia constructed and after the Who’s debut in San Diego. Diego is where he first wit - sketchy and unpredictable, but maintained the website free of charge. In 1966 the Sports Arena opened with a nessed the rock bands he still Moore’s thoroughness ensures Moore provides an invaluable look into bang. James Brown played the first concert, idolizes, evident in stacks of that his website is up to date San Diego’s cultural history. Among the classic and Led Zeppelin made a second home there vinyls and thousands of heavy and accurate. He is a humble, memories include the West Coast debut of throughout the ’70s. Psychedelic light shows metal songs in his iPod. His private person who tends to Elvis and Bob Dylan finding Jesus on stage at accompanied the extravagant performances of favorite band of all time is Led shy from the spotlight. A self- the Sports Arena. But Moore also uncovered this era. Although the Hippodrome lasted less Zeppelin, but AC/DC isn’t far described “day person,” Moore spends some hidden gems of San Diego’s music histo - than six months downtown, it hosted two behind. most of his time working and listening to ry, ensuring that the legends and legacies are Velvet Underground shows. His website, sandiegoconcertarchive.com, music, and that’s how he likes it. not soon forgotten. San Diego has also had its fair share of chronicles the local performances that took The San Diego Concert Archive stemmed “When I’m dead and gone, this stuff will homegrown heroes. Writers Lester Bangs and place during the twentieth century. It is a com - from his hobby of collecting of concert live on,” Moore recognizes. “I plan on donat - Cameron Crowe have impacted music journal - prehensive account of over 3,500 concerts that posters, which he’s always valued like Picassos. ing my collectibles someday.” ism tremendously. Not only was San Diego came through town over the past 70 years. His The notices chronicle the transition from the One of the places he’s most fascinated was the birthplace of the Brain Police and Iron purpose is to recognize this city’s contribution liberating ’60s and the self-indulgent ’70s to with is the Bostonia Ballroom in El Cajon, Butterfly, but it also spawned Tom Waits and to the national music scene and showcase San the self-destructive ’80s. From hand-screened which hosted some of the biggest country the Stone Temple Pilots. Diego as a viable destination for touring cardboard to digital masterpieces, posters have western shows in Southern California. Today Over the years, a myriad of performance venues have fallen by the wayside in San Diego. During the ’60s and ’70s, concert pro - moters rented out city-owned venues like the Community Concourse, Civic Theater, and the Orpheum. Unfortunately, strict laws and bureaucracy sabotaged shows when police started shutting down concerts for lack of security or permits. “Today, concert promotion is a major industry,” Moore admits. “Once corporations realized how lucrative live music could be,

6 www.myspace.com/sandiegotroubadour JANUARY 2008 SAN DIEGO TROUBADOUR front porch Jazz Guitar’s Hidden Gem Dan Papaila

by Paul Hormick traveling all that much,” he says. Tuesday tion and crunched it down to fewer than 50 through Saturday 5pm ’til 9pm, you’ll find him pages of an instruction book. here. Every so often Papaila plays in a band, Millions of kids take up playing the gui - he Lodge at Torrey Pines is a pretty which, with drums and bass behind him, is a tar. For me, my first instrument was probably high-class place, one of the most posh welcome break. “After doing this solo, then built during the Spanish Inquisition as an establishments we have in San Diego. T I’m playing with a band. Boy, that makes it instrument of torture, with string action that In the bar the bartenders wear prim vests, and easy,” he says. was about half an inch inch off the finger - you won’t find a neon sign advertising A southpaw, Papaila started picking up board. A better guitar that cost my parents 12 Budweiser anywhere around. It’s also one of Dan Papaila his friend’s guitar when he was 15 years old, a books of S&H Green Stamps soon followed. the coziest libationariums this town has, seem - guitar that was strung for a right-handed per - With our noses stuck into some sort or other ing less like a bar and more like a den at son. By the time Papaila bought a guitar of his Mel Bay Big Note book, we learned the chords grandma’s — that is if grandma had great taste, about the terminology and rather concentrate the San Diego Music Awards. As to Papaila’s own, he didn’t want to relearn; he continued C, G, D7, and plucked out chestnuts like was more than fairly well off, and could mix a on the shapes of the chords, how the fingers newer CD, Full Circle , my wife, who under - to play right handed. He played in rock bands “Comin’ Round the Mountain.” And later damn good Manhattan. Off in the corner of rest on the freeboard, and the sounds that stands music perhaps better than anybody I in his later teen years. “Then the horn bands when we tried to play some jazz, we bought the bar, next to nothing in particular, sits Dan these configurations make; after all, playing know, was surprised that it was a newer came in — Chicago, Blood, Sweat and Tears — one of those Every Jazz Chord Ever Conceived Papaila, strumming and plucking a nylon guitar is not about names but about music. He recording. “I thought it was one of your jazz that was my introduction to jazz playing,” says in the History of Western Civilization books that string guitar that is plugged into a small also wanted to give the student a musical map records form the fifties,” she said. To her it Papaila. went on for 400 pages of charts and graphs. By amplifier. of the instrument, what he calls the “regions had that certain sound that we both associate He listened to and tried to learn from Wes the time I reached the tenth page, which intro - Papaila plays jazz, mostly the standards, of the neck” and help the student understand with Miles, Coltrane, Desmond, and the other Montgomery, the guitarist famous for his duced the B flat minor augmented 11th with in the Lodge’s bar. As he performs, you can see how to connect those regions as he or she bop and cool jazz giants. Papaila chose some octave style of playing. “I wasn’t very fast with an adjustable mortgage, I was daunted and dis - how he concentrates on his guitar and music, plays. top-notch musicians for this recording. the single note lines. So doing the octave style, couraged. There was no way I was going to head bowed and looking like he’s weighing a For each chord, Papaila provides both a Larance Marable, who has worked with what Wes Montgomery was doing, suited me,” learn all of these finger stretching, knuckle thorny question. But he also glances around diagram of the fingering as well as a photo - Charlie Hayden, Chet Baker, and Charlie Says Papaila. Getting the octave style under his bending patterns and configurations. My the room, keeping an eye on how people come graph that lets the student see how the hand Parker, is on drums; the late Andy Simpkins belt, he also worked at the styles of other gui - career as a jazz guitarist ended there. and go, what the mood of the room is, and should look when making the chord. Utilizing plays the bass; and San Diego’s treasure of a tar giants such as Grant Green, Kenny Burrell, Papaila’s new instruction book is a ray of how the music fits the scene. “It’s always the key of C, he also explains the basic chord jazz pianist, Mike Wofford rounds out the and George Benson. He hit Los Angeles in sunshine for the guitarist who is starting out changing,” he says. “Some nights it’s real mel - progression of jazz, from the minor, to the sev - quartet. With Full Circle it’s as though Papaila 1974 and played R&B, mostly in the bars and in jazz. “You’ve got these books of 10,000 low. Other nights it turns into a crowd that enth, to the major, or home, chord. From the has stripped away much of the hackneyed, clubs of south central L.A. and Watts. By 1976 chords. It’s all unorganized. No one is going to wants to sit and really listen to the music.” key of C the student can then move on to the tiresome, and overeducated cacophony of the he was performing in a trio with Johnny understand that. On the other hand, there are Papaila forgoes the rhythm boxes, devices other keys. past 50 years to get back to the soul that made “Hammond” Smith, touring what was called five distinct shapes to making chords. If you that make the sounds of drums, bass, and Twenty or 30 years ago Papaila would those Bluenote releases so exciting. the Chitlin’ Circuit, the inner city jazz and understand those shapes, you’ve got it,” he other instruments, that are used by almost have had to go to a musical publishing house Papaila has no plans for tours or other R&B clubs across the country. says. Five shapes? That’s manageable for just every solo guitarist nowadays. He provides his and settle for a fee or small royalty, but today club dates besides his gig at the Torrey Pines Papaila’s instruction came from the about everyone. own accompaniment behind his jazz soloing. music publishing has gone from Mel Bay to Lodge. So if you’re interested in checking him Onstage Conservatory of Music, playing gigs No one has ever sat down to clarify musi - “You know, a piano player can chord and then eBay. Papaila’s self-published book is now out, don’t let the trappings intimidate you. and listening to the band and his contribution. cal terminology. It’s simply grown from differ - do melody. I can’t do that. But I mix it up. I do available through Amazon.com, as well as Wear some of your better duds and stop by the Tunes would often start without anyone cluing ent musicians and composers setting things a bass line, a little melody, and then a few Borders, Alibris.com, and several other outlets. Lodge to hear Dan Papaila. him in on which tune was being played, the down as time went by. The result can seem chords,” he says. Papaila also has a great sense He released his first CD, Timeless , in tempo, or even which key had been chosen. like a hodgepodge based on a mishmash of of rhythm that he credits to the years that he’s 1993, which received a fair amount of national Flying by the seat of his pants, Papaila picked knowledge and names. It can get confusing spent playing with blues musicians, including success and a great deal of critical acclaim. up what he could on the spot, crediting his trying to distinguish minor seventh, major stints with Big Joe Turner, and the classic Several reviews compared his playing to that of good musical ear with his ability to pick up seventh, and double-o seventh chords. Papaila organ blues trios. Wes Montgomery and George Benson, and the and jam with the band. emphasizes that the student should think less When he’s not deep in concentration, a recording won Best Mainstream Jazz Album at He has recently published jazz guitar big smile, I mean a really big smile, is almost a instructional book that has received acclaim constant fixture on Papaila’s face. It’s as though throughout the jazz guitar world, from Just his cheeks have to spread extra wide to accom - Jazz Guitar magazine, to Mundell Lowe. He modate it. He’s also enviously fit. Both he and was working a day job in sales when he his wife, Dawn, are avid cyclists. They recently stopped in El Rayo Guitarworks on Adams completed a century ride, which is peddling a Avenue. “I stopped in and was talking to Tom bicycle 100 miles in a day. and Andy when Tom said to me that I ought to “I’ve been here going on two years now,” teach,” he says. Papaila took on a few students Papaila says about his gig at the Torrey Pines and found that he was repeating the same Lodge. And he’s happy staying put. “I tried the material over and over. He took this informa - national tour scene. I really didn’t enjoy the

www.sandiegotroubadour.com 7 JANUARY 2008 SAN DIEGO TROUBADOUR parlor showcase

Story and photos by Will Edwards there are a lot of great songs on the second

n September 2006 Jason Mraz came album, but a lot of it was me against the craft, home to San Diego after three years of me against the company, me against my own extensively touring the world in support head.” of his first two major-label records. When After another year of relentless touring, hIe got home, he discovered that his music and Jason Mraz decided that he’d had enough – no identity were confused. “On that tour I lost all more touring and no more band. “I became a sense of who I was.” He had released two major resident of San Diego again.” He finished the hit records and survived the 2004 merger remaining tour dates and flew home in search of between Atlantic Records and Elektra, his origi - friends and a familiar way of life. “I got to peel nal alma mater. “I had a collapse, a breakdown – [away] all those layers of the business and all done with the band, done with the album that stuff that I’d gotten confused [about]. It [2005’s Mr. A-Z ].[ We decided] to set an end took me about two months [and then] I had this date.” Feeling pressure to keep up his creative amazing sort of awakening and my whole health pace as he struggled to make sense of the new and attitude about life just shifted.” Mraz world in which he found himself, Jason Mraz became a homebody, splitting his time between came home to San Diego to heal and reflect. friends, gardening, and surfing. After a year of living a normal life What happened over the next year brought again, reconnecting with good Mraz closer to his music and friends and everyday pleasures, “A lot of it, honestly, helped him rediscover his local roots. “[I started] playing such as raising his cat Holmes, for me is guesswork. I Mraz is poised to release his shows with Bushwalla, work - third full-length album We build it up and build it ing with Carlos Olmeda and Sing, We Dance, We Steal Gregory Page [and] surfing Thingsin spring 2008. He up and then if I feel like every morning.” Mraz recon - seems ready to start all over I’ve built too much of nected with friends that he again. “This time feels like the knew from his days perform - first time again.” it, I just take it away.” ing at Java Joes, in Ocean The first time was back on Beach, in the early 2000s. October 15, 2002, when Mraz released his debut During much of 2006, playing as a member of major-label record Waiting for My Rocket to Come . It Bushwalla’s band, under the name “MC Raz,” was a glossy compilation of the songs that he’d gave Mraz the opportunity to get out and per - written as an upstart singer-songwriter working form locally without infringing upon the multi - in San Diego and Los Angeles. Rocketper - tude of promotional contracts and business formed well, ultimately peaking at #55 on the agreements that define where and when he is Billboard 200 albums chart and selling a million allowed to perform under his true moniker. He copies. Radio hits like “Remedy” and “You and I also co-produced Gregory Page’s most recent Both” led to comprehensive touring in most record Knife in My Chest , which won the 2007 San parts of the world, starting with small venues in Diego Music Award for Best Local Recording. 2003 and quickly gathering momentum, forcing Mraz was getting time to himself and, slowly, he much larger venues by 2004. Just when it began to reengage his own future musical career seemed like Rocket had made Mraz a success, he once again. was faced with a bigger challenge: could he do it again? In January of 2004, Mraz began work on his sophomore effort. His label wanted another hit record from an artist who was in transition. But his label was in transition, too. In February, Warner Music Group (the owners of Elektra Records) decided to merge Elektra with its more financially stable corporate sibling Atlantic Records. Elektra’s future became ambiguous, but that wasn’t Mraz’s biggest problem. He was tired and disconnected as a result of too much tour - ing, and he didn’t have the same creative inclina - tions that had given shape to his first record. Nonetheless, one year later Atlantic was master - ing Mr. A-Z for release in the summer of 2005. This record was, for Mraz, a different artistic expression in important ways. “[ Mr. A-Z ] was like a homework assignment,” Mraz says. “[Atlantic said] it’s something you need to do and we need it by this date. And we need another hit … something a lot like the first hit that’s going to Mraz, recording with his gospel group go.” Mr. A-Z was released in July 2005 and opened at a commanding #5 with 81,000 sales in the first week! After witnessing Jason’s collapse of interest, Before he knew what was happening, the his manager and the record executives loosened tour started without ever stopping. Performing their grip on the business angle and instead the new songs felt different and Mraz began los - invested in letting Mraz reconnect with his ing focus. Touring took even more of a toll on nature and the inspirations that had conspired him, and the business side of things became to affect his original success. Having been grant - heavily distracting. “To me, the second record ed more creative freedom and the chance to [represents] this confused character challenging record his next album at home in his own pri - his own ego. [I asked] how do I recreate these vate studio, Mraz began putting pen to paper songs of a lost person?” Mr. A-Z captured a spe - once again, crafting the next expression of his cific moment in time, challenging him during its experience. conception and after its completion. “I think He started off recording stripped-down acoustic tracks. He recalls the tepid reaction 8 www.myspace.com/sandiegotroubadour JANUARY 2008 SAN DIEGO TROUBADOUR parlor showcase

from Atlantic Records. “It was working for a sec - ond, but then the label began to think we would shock our listeners.” They wanted to shift gears slowly and make sure that loyal fans would remain loyal. In the quest for some more upbeat numbers, Mraz started working out ideas with producer Martin Terefe, eventually blazing an entirely different trail that resulted in a dance record they lovingly called San Disco, CA . They were excited, but the label wasn’t. “The label hated it and pulled the plug on us… no more Bushwalla in the studio money.” Regrouping and left to their own resources, Martin and Mraz kept at it, deter - Mraz is a poet and a commodity, a home - mined to find the creative middle ground that body and a tour junkie. He is an entertainer Lost would satisfy both the executives’ and the artists’ Lost whose voice would make a canary feel self-con - aspirations. “We told all the musicians and man - scious, but his approachable nature disarms the agers not to worry – that these new recordings mythic proportions of his celebrity. would prove worthy and we’d be back on track.” Unexpectedly, he becomes more impressive as he They took the best material from both records, becomes less mythic. Performing locally has added some all-new compositions and found the made him more accessible to his fans and helped && sweet spot, winning back the label’s blessing. him reconnect with his original passion in music. One especially strong track from the new The demo for “I’m Yours,” a left-over track from album miraculously became a hit, before even his Mr. A-Z sessions, became as big a hit as any being released. Mraz originally recorded the of his radio-ready productions, proving that his FFoouunndd:: song, titled “I’m Yours,” as a demo before it was craft stands on its own, even before the studio leaked on the Internet. The song became a huge wizards do their hit-making magic. Furthermore, hit without ever getting a single radio rotation. as the recording industry struggles to make “‘I’m Yours’ was actually cut on Mr. A-Z a few sense of the rapidly changing retail market, Mraz years ago,” Mraz explains. The song was removed is grounding his success with solid, old-fashioned from the final master prior to release because live performances that keep audiences engaged. the powers that be couldn’t agree on the final Over the past seven years, he has grown in version. Now, with the pending “re-release” of multiple dimensions – personally, musically, and “I’m Yours,” consensus still seems to occupationally. The new album be hard to achieve. “I was in New “I want to feed the represents Mraz’s experience of York and [we were] listening to cat, I want to surf in coming home and getting back JJaassoonn two different versions of ‘I’m to basics. “It has to do with hav - Yours.’ They’re the exact same ver - the sea, and I want to ing had a year off to live again sion, but there are two different eat a burrito. I just like a normal person in San drum takes. So, we’re listening to Diego. Shopping at Henry’s, tend - one [then] we’re listening to the want to see the stars ing a garden, building a deck, Mraz other [and] people are comment - and smell the air.” [and] raising a cat.” With tour Mraz ing. This has been going on for rehearsals starting as soon as this months. In the meantime, [that] little demo of month, Mraz is facing another busy year. “I’ve mine just got out and did more wonders for us tried to make a deal with the powers that be. I than any recording I’ve ever done.” told them when we start touring again, every Mraz left the final decision on “I’m Yours” sixth week I [need to] come back to San Diego. I GGeettss up to the finicky executives and flew home. On want to feed the cat, I want to surf in the sea, December 8, 2007, Mraz recorded the final takes [and] I want to eat a burrito. I just want to see for We Sing, We Dance, We Steal Things here at home the stars [and] smell the air.” Provided that his in San Diego. Mere hours since his return from wishes are received, Jason Mraz may finally London (by way of New York), where he spent achieve a balance between the demands of his HHoommee most of the fall recording with Terefe, Mraz was prosperous career and his personal need to live leading a spirited gospel choir in a pop-spiritual in the moment. For now, he appears ready and recording of one of the new album’s songs. “Live willing to swing the pendulum in the other High” is an uplifting track that mirrored the direction. “I’m anxious to put the band back mood of the songwriter – buoyant and purpose - together and go out and sing these new songs. I ful. Mraz has chosen to use varied vocal ensem - feel like I’ve had a year off and I don’t think I bles on his new record in order to create a want a holiday ever again. I’m ready to do this.” broader sound palette, ranging from a chorus of children (playing the part of a pack of coyotes) to local “Girl MC” MC Flow (on his pre-release Internet hit “I’m Yours”) and even his own moth - er! She was ushered into the studio along with Mraz ’s other Thanksgiving guests to add their piece to the musical puzzle that will become his third album. “I’ve never recorded with my mom and that was a pretty cool thing,” he says, laugh - ing. Mraz also looked to his personal collection of oldies but goodies for creative direction. “I’d just keep going back to [Bill Withers’] ‘Lovely Day.’ A lot of it, honestly, for me is guesswork. I build it up and build it up and then if I feel like I’ve built too much of it, I just take it away.” Keeping with his original stripped-down approach, Mraz wanted these new songs to fol - low a less-is-more philosophy. “I’ve gotten lost in the past. I’ve tried to get a little too crazy with the melodies and the words. This time I’m just going to let things breathe.” www.sandiegotroubadour.com 9 JANUARY 2008 SAN DIEGO TROUBADOUR ramblin’

Bluegrass CORNER and more than 2 GB of drum loops and sam - by Dwight Worden ples.” In short, it’s what lies between your by Sven-Erik Seaholm hands and your computer hard drive with regard to digital recording. There are a couple of different ways to PEACE AND QUIET see this scenario: one is that you may wish KSON’S BLUEGRASS SPECIAL be its featured band at the SDBS fourth to have as invisible and intuitive an inter - Sven-Erik Seaholm Did you know that San Diego has the longest Tuesday event at the Boll Weevil makes an face as possible, so that you spend less time running bluegrass radio show in the country, appearance on Wayne’s show the Sunday worrying about what plugs into where and sion of safeguards like the previously men - running continuously for 31 years? Well, we before that performance. This way, those comes out how, etc., and more time just tioned flash memory and the unit’s ability San Diegans are indeed fortunate that we do who hear the band on the air and like what making music. Other times, one may be to passively pass audio through even when have such a show. It is called the “Bluegrass they hear can come out to the Boll Weevil looking to dig deep into the guts of things the firewire connection is broken. Special” and it’s hosted by Wayne Rice every and hear the band live. The program has in an effort to find solutions that are a bit That’s the “peace” part. The “quiet” Sunday night from 10pm to midnight on received great reviews as a nice local touch more complex in nature. comes via another well thought-out piece of KSON at FM 97.3 and 92.1 in North County. and as a good way to let the listening public The FireStudio Project cleverly addresses hardware, the HP60 - 6 Channel Wayne does a great job playing not only the know about some of our outstanding local these needs by way of their FireControl Headphone Mixing System ($399, $299.95 top current bluegrass hits and broadcasting bands. It’s also an easy way to get the word ncreasingly rare are those moments of mixer/router, a 18x10 DSP mixer/router for street) . The reference to the unit as a “sys - flexible mixing and direct routing of any the IBMA annual awards show, but he also out about upcoming concerts and other Irespite between sessions, gigs, and ven - tem” rather than simply a headphone tures out into the “real world,” wherein input to any output (including the head - plays a nice selection of classics along with SDBS-sponsored events and for listeners to amplifier is appropriate one, considering even a nice, enjoyable restaurant breakfast phone output!), with zero latency . The a sampling of music from local bands and learn more about the various programs and that there are several features available that can be reduced to little more than one more FireControl software application is how you seasonal material. Wayne also enlightens activities supported by the nonprofit San are not usually included on other units, unsettling episode by a well placed crash of address not only your audio inputs and out - comparably priced or not. you with his tremendous depth of knowledge Diego Bluegrass Society. In addition, the a bus tray. I know it seems bizarre to hear puts like a lot of other interfaces, but it also Chief among them is the inclusion of about bluegrass and its prominent musicians bands and Wayne report that it is great fun. someone who spends most of their life kick - has options for providing up to five differ - not only two separate stereo mix inputs, but and bands. If you have not listened in, give You will be impressed how good our local ing up some sort of racket making reference ent monitor mixes. This way, you can give an additional stereo external in for each of Wayne’s show a try. He welcomes call-ins bands are and how great they sound on the to a quest for quiet, but there it is. the drummer more bass and click, take the the six channels! This allows for such con - and requests, so give him a ring at (619) 570- air. Sometimes, I feel myself needing to, if I may drums out of the vocalist’s phones entirely, figurations as an overall monitor mix, a 1973. If you are not within reach of the radio As we enter 2008, look for the “San quote the late Mr. Lennon, “give peace a or any such combination, without dealing click track-only mix that can be balanced to signal, you can log on to the KSON web page Diego Bluegrass Society Live” on KSON’s chance.” with a lot of hardware headaches. taste or omitted from each entirely, along and stream the show live from anywhere in “Bluegrass Special” with Wayne Rice to con - It’s not just the kind of peace that Additionally, these settings are saved into with a “more me” factor by feeding the the world. Simply go to: tinue. This month, on January 20, Super involves physical quiet, either. Just as the FireStudio’s flash memory, so they’re player’s individual signal to just their http://www.kson.com/bluegrass/ and click Strings will be in the studio on the air with important is a quiet mind. These are the just the way you left them at the last ses - phones. These are all mixable by each player on “Listen Live.” Wayne, with Needle in a Haystack coming moments when we unravel our knotted sion! to taste. up in February. The Shirthouse Band will thoughts in an effort to solve problems or These features alone, along with the ease- Additional mixing scenarios are possible make its first appearance in March, the address specific challenges, to reflect and of-use and straightforward manual, would by using this unit in tandem with the Virtual Strangers will be back in April, and hopefully gain the perspective required to be more than a bargain, but when you fac - FireStudio, as each of the five different mon - there will be more bands to follow. You’ll see a conundrum from every possible angle. tor in the eight amazing, clear, and punchy itor mixes it provides can be sent to differ - sounding XMAX microphone hear some of your favorites and some new It is from this treasured place that we ent channels of the HP 60. Oh, and let’s not return, refreshed and revived, ready to preamps…your small investment really bands as well. So be sure to listen in. forget the thoughtful inclusion of a talkback rejoin the fray with elbows flying and face starts working overtime. Let’s put it another mic section! ROB ICKES AND JOE CRAVEN ON full of resolve. way: five or six hundred bucks for a killer In practice, the combination of the FRIDAY, JANUARY 4 Two products from PreSonus have recent - pair of microphone preamps is a bargain, FireStudio and HP60 was a winning one, ly brought both types of tranquility into my eight of them, plus headphone monitoring, with an incredible amount of flexibility life as of late, and I’m confident that if per channel LED metering, MIDI in/out, with regard to routing that equated to more Wayne Rice on the air with Second Delivery (l. to r.: you’re in the market for higher fidelity, S/PDIF in/out, plus the JetPLL™ jitter elimi - musical comfort and subsequently higher Wayne Rice, Ramona Ault, Beth Moskow, Mark lower hassle, and a just plain easier time nation technology that ensures greater Foxworthy levels of performance. Add to that recording, you will as well. stereo separation and sonic depth, along PreSonus’s peerless build quality and excel - Wayne Rice and the San Diego Bluegrass The San Diego Bluegrass Society and the Del The FireStudio Project ($699.95 list, with the addition of the virtual mixer…well, lent customer support and you’ve got what I Society have collaborated over the past year Mar Foundation are co-sponsoring a special $499.95 Street) is, to quote the company’s that’s a straight-up steal . absolutely love to pass along to folks: big to bring bluegrass fans and radio listeners a concert on Friday evening, January 4, at the literature, “a complete 24-bit/96K professional I must confess that I had my reservations studio performance at home studio prices! about hearing my audio “virtually,” as great new on-air program called “The San Powerhouse in Del Mar, featuring Rob Ickes recording system combining eight Class A XMAX microphone preamplifiers, 24-bit/96k opposed to “concretely,” but in practice the Diego Bluegrass Society Live,” which brings and Joe Craven. Rob Ickes is a member of Sven-Erik Seaholm is an award-winning inde - sample rate conversion, zero-latency matrix FireStudio’s monitoring was indeed latency- pendent record producer (kaspro.com) and a local band into the radio studio once a the bluegrass supergroup Blue Highway and router mixer, and the PreSonus ProPak Software free and the recorded performances retained recording artist (svensongs.com). His extensive month for some live music and chat with is the nine-time winner of the IBMA Dobro Wayne. The band is usually on for about 30 Suite featuring Steinberg’s Cubase LE 4 48-track their intended “feel,” which is of paramount song catalogue will be honored this month via a Player of the Year award, and the current special show titled “Sven Songs: A Tribute to the minutes starting about 10:15, playing three recording and production software, over 25 real- importance in my productions. PreSonus holder of that honor for 2007-08. [Note to time plug-in effects (EQ’s, compressors, reverbs), provides further repose by way of its inclu - Man and His Music.” Please contact to four tunes, and talking about their activi - those keeping score: Rob has now surpassed [email protected] for more details. ties and the various SDBS programs. So far, Jerry Douglas who has eight awards]. Joe the program has presented the Virtual Craven, who will be playing fiddle, is a past Strangers, Super Strings, the Grateful member of the David Grissman Quintet and a Hooligans, Second Delivery, the Full Deck, musician extraordinaire, so be sure to get the Bluegrass Ramblers, Gone Tomorrow, your tickets and enjoy this beautiful venue Needle in a Haystack, Soledad Mountain, right on the beach in Del Mar and hear some Eric Uglum and Sons, Emma’s Gut Bucket hot music. For tickets and info, contact Betty Band in a special Christmas show, and Tim Wheeler at (858) 205-3834. Flannery. Keep on pickin’! The way it works, with some exceptions, is that whichever band the SDBS chooses to

10 www.myspace.com/sandiegotroubadour JANUARY 2008 SAN DIEGO TROUBADOUR ramblin’

Hosing Down Radio Phiillosophy,, Art,, Cullture,, & Musiic by José Sinatra STAGES “THE SINS OF YOU AND I” Take a look at the title above. Does it ring a bell? It’s been ringing mine for far too long, and Daze in a very grating way. It’s in the last line of a by Peter Bolland ward without even knowing if there’s going to repulsive ditty that makes up the musical part of be a path beneath your feet. But with the right a television commercial for some game called THE GATES OF JANUARY level of courage and trust the universe has no Guitar Hero and, so help me Rhonda, it’s sweep - choice but to respond. You create your own ing the country and won’t stop, it seems, ’til it’s anus is a Roman god with two faces – one path with the intentionality of your conscious - cleaned out the last gooey morsel of brain mat - looking forward and one looking back. ness. ter from our cranial buckets. JHe is the god of doorways and gates and If we only looked forward, our choices While mine is still half full (I think; perish the new beginnings. He carries a large ring of would lack wisdom. If we only look back, we’d idea of calling it half empty!), today I’m assum - keys. That’s why guys with lots of keys who choose nothing at all, instead drifting aimless - ing Attack Mode, and may God help us all. lock and unlock doors are called janitors. As a College-educated Jim Morrison did his bit ly into the next eddy in the stream, beached young kid I distinctly remember thinking that against our language in the song “Touch Me,” in and stagnant. Like Janus, we have to move janitors ran my elementary school. They were so which “…the stars fall from the sky for you and courageously into the future of our own mak - obviously important with all those keys. I.” Sting (once an English educator himself!) José Sinatra ing, yet all the while mindful of the past. In gave us “If you love someone, set them free.” the band Chicago; his only living sibling is “Et.” Principals, on the other hand, had no discernible wisdom we neither deny the past nor dwell on And I’ve never forgotten or forgiven the At any rate, the phrase itself never requires purpose. They were gray men with faces etched it. We keep it around like a map, looking at it Youngbloods for singing so sweetly about what triple iteration.) in worry. Janitors whistled while they worked only when we feel ourselves slipping into old can be held in one’s “trembolin haind,” for the In today’s zombified world, few people use and sang songs. It was clear to see who the mas - destructive patterns. But to move forward safe love of all decent extremities.…oh, mercy, my the phrase “tongue in cheek” anymore without by Jim McInnes ters were. Ah, the wisdom of children. Here in and sure, the map must be put away and both own haind is all a-trembolin as I write this the repulsive insertion of “firmly” into the mix. the new year we look back and look ahead, eyes set firmly on the road ahead. And even if down. I, too, am complicit in destroying the Likewise, “the rest is history” without that The Big Party wondering if we’ll get it right this time, and at our headlights only illuminate the next 200 sweet tongue of those wiser and more dead putridly folksy “as they say.” Sure enough, in least grateful for the chance. These next few yards, we know in our nameless wisdom that than myself. this morning’s L.A. Times , Kenneth Turan’s weeks stand before us like an open gate to an the road goes on forever. ’ve just returned from the In all of the above cases, the writers should review of Charlie Wilson’s War actually ends infinite garden. That’s why the first month of Janus represents new beginnings and times with “[t]he rest, as they say, is history.” That Troubadour’s annual holiday party at have known better. Or else some friend of nomi - the year is called January. of transition. What are you going to do differ - nal intelligence should have pointed out the one has been driving me nuts for about 30 years Kent Johnson and Liz Abbott’s I Looking back is tricky business – all those ently this year? What old habits are you going errors before the stuff went public. But apparent - and, in a recent civil suit, was judged liable for University Heights home. What a hoot! mistakes and missed opportunities. And there’s to let go? What new habits will take their ly no one did, and the poisons leeched into our the damage it has caused my mental health. I While I sampled the free beer from not a damn thing we can do about it. Maybe place? Our lives are simply the sum of our lives have been partying up a storm ever since. have yet to collect. Now, my attorneys are all around the world , I stood in wonder in that’s what makes dwelling in the past so choices. What choices are you going to make? Take the odd word that we grow up reading abuzz about local scribe Lee Grant, whose col - their living room as a group of musicians seductive. The set-in-stone permanence of the As Sartre reminds us, if you do not choose that but that is rarely used in our verbal intercourse, umn in this morning’s Union-Tribune ends, took to the dining room and re-invented past allows us to nurse our cherished delusion is still a choice. If you wait, afraid to live your at least by others. Carried through time in our “…what to do when a parent who took care of Cream’s 1968 hit, “Sunshine of Your of powerlessness. Looking forward, on the dreams, unsure if you really deserve to be hearts, its perfection at summoning up its own you can no longer take care of themselves.” Love.” Until tonight, it would have been No, no more litigation. Let’s get back to other hand, is daunting and sometimes terrify - happy (you do) and are unwilling to let go of meaning eventually becomes a casual emission difficult for anyone to imagine this classic from our lips in conversation. Until one day, per - words, just words, one more time, I’ll speak ing because the future is a field of infinite pos - the outdated life-script that stands between rock radio staple performed by Kent haps many years later, when a good friend just now to those among you who’ve never had sibility. There’s a lot we can do about it. And you and your bliss, then at least admit to your - Johnson on vocals, backed by an instru - as casually corrects our uninformed pronuncia - someone correct you in your recent adult life: that scares us. We don’t want that much self that you are choosing your own unhappi - mental trio of bass, drums and cello ! But tion of the word and unintentionally sets us don’t feel too damn smug. It may be that you power. ness, and that you are not a victim of fate or it rocked! I thought it was swell, even if it wallowing in the puddle of shame that had been don’t really mean as much to your “friends” as Which key to use? Which lock to turn? powerful others. If you want to swim across was ultimately Spinal Tap-ish, what with anxiously — and without our knowledge — you think. You’re not worth their effort and they The fact that we have to choose a door with - the pool, you have to let go of the side you’re it’s primarily low-end tonality...like “Big awaiting our step. actually laugh about you behind your back. Hell, out the benefit of seeing everything on the holding onto. Janus opens doors. But he closes Bottom.” It’s one of the ugliest moments in interper - I’m doing it now. Especially when you go on other side – everything we’re saying yes to – is them, too. You don’t have forever. January is The highlight of my evening, howev - sonal communication, one of the must hum - about weddings and “nuptuals,” while snicker - more than many of us can bear. So we never only a few weeks long. Reach for a key, unlock er, was the short set by blues belter bling, and certainly one of the most instructive. ing at Satan’s favorite minion and his warnings choose. We wait, never really living our lives, a door, and step through. It’s sort of like suddenly being told that for years about “nucular” catastrophe. Michele Lundeen. I knew Michele’s just telling ourselves that we are, and self- you’ve exuded a nauseating odor from behind Oh, I get it now. The reasons I’m going after name, but I’d never seen her perform. I medicating any way we can. Peter Bolland is a professor of philosophy and humani - your knees (yeah, I said “sort of,” didn’t I?). everyone and Kenneth Turan and Lee Grant are wasn’t prepared to have, as the saying Choosing a door and moving through it ties at Southwestern College and singer-songwriter-gui - tarist of The Coyote Problem. You can complain to him Thanks to one female friend on the northwest simply to take the focus away from my own goes, my socks blown off. requires an astonishing amount of courage. corner of Fourth and Robinson one day in 1985, pathetic deficiencies and the fact that I do so As I drove home, sockless, I thought, about what you read here at [email protected]. You have to choose to trust that the universe is www.thecoyoteproblem.com is the ethereal home of The I’ve not since mispronounced “myriad.” And, desperately want to be their friend. Maybe in “Hmmm, she kicked ass !” She did three conspiring for your good. You have to step for - Coyote Problem. thanks to Troy Danté on two occasions, two this new year we can reach an ecstatic point tunes, with most of her live band back - other words have foreverafter been able to when words won’t even be necessary. ing her on guitar, drums, bass, sax, and escape my lips with their dignity intact. Don’t count on it. congas. Since I was seated about five feet We’ll get through this new year together, Out of all the local TV weather people, I’ve away, I sang on several choruses when noticed only one who correctly handles the you and I, if we lose our fear, our hatred, our Lundeen shoved the microphone in my word “temperature.” To the others, it’s always disgust. Oh, I do love you so. Come along with face. “Gonna gleeb a boogie! Gotta “tempachir.” Everywhere there’s there’s talk me, please. Take my haind. gleeb a noogie,” I screamed. about “heighth” and (often, when it strangely concerns me) “lenth.” Good ol’ Judge Joe Hell, yeah, gleeb ! Brown, a presumably learned man who occa - The annual Troubadour holiday party sionally amuses himself with forays into unusu - is about the only time during the year I al dialects, can’t for the life of him get a grip on see I my fellow writers, and there are still “et cetera.” (Rule of thumb: there’s no “Eck” in many of them I haven’t met yet! More the Cetera family. There was a Pete who was in parties are definitely in order. MY PREDICTIONS FOR 2008 Rather than make resolutions I’ll never keep, I’ll predict some of the events of 2008: 1. Clear Channel will buy the Union Tribune . At Christmas, they will fire every employee who’s actually making a living . They will make one of their accountants the new Editor-in-Chief. 2. The Padres will sign Tim Flannery to play center field. They will go on to beat Tampa Bay in the World Series. 3. Dennis Kucinich will win the presiden - cy in a landslide over Mitt Romney. 4. The TV writers strike will continue all year. By May, every show on television will come from YouTube, even the news. 5. A radio genius (oxymoron!) will create a new format that appeals to baby boomers. The format will combine folk, jazz, blues, rock, and pop music. It will be called Top 40, because it will be like AM radio was in the ’60s and ’70s, only all grown-up. 6. The national debt will reach $27 tril - lion. That’s $45,000 owed by every liv - ing thing in the USA, including house plants. Happy New Year. www.sandiegotroubadour.com 11 JANUARY 2008 SAN DIEGO TROUBADOUR highway’s song String Planet’s Orbit Swings Into San Diego by Mike Alvarez ing array of inventive ideas to the songs. “She Michael Jackson, Madonna, Bonnie Raitt, Seal, won’t let anything dull or boring slip by. It all Frank Zappa, Gordon Lightfoot, Willie Nelson, t would be completely understandable if the gets the full Novi treatment and comes out Stanley Clarke, Randy Newman, and her very words “String Planet” made you think of a sounding like music on the other end.” For her own cousin Lauren Wood. And that’s just a Ibig ball of twine drifting through space. In part, Novog says that Tuttle’s songs “sound great small sample! reality it’s the name of an immensely talented already. They’re wonderfully creative, filled with Acoustic guitar and drums complemented husband and wife duo from Los Angeles who great voicings and fabulous ideas. What I do is the Stick and viola lineup in their previous band brought their brilliance to San Diego this past take his ideas and try to put a new spin on Freeway Philharmonic. It was similar in sound November. Larry Tuttle on Chapman Stick and them. I love orchestrating and arranging our but had a very important difference in approach. Novi Novog on viola conjured their melodic two instruments, kind of like a budget orches - A long-term project that lasted through four magic for a delighted audience at Across the tra”. She continues by saying that they both albums and many gigs, Tuttle says it was a band Street in University Heights. Both are seasoned enjoy giving the String Planet treatment to cover that “focused on arrangements. The arrange - veterans of the music business, each having an songs and classical pieces. “Since it’s been done ments were tricky, elaborate, and impressive, astonishing list of accomplishments to their so well by the original composer, it’s fun to twist and by necessity we played the songs pretty credit. While much of their effort has gone them a bit. We’ll put our own spin on a much the same way every night. String Planet toward taking other artists’ music to the next tune…take it and make it our own.” was built differently by design. The idea was to level, String Planet is their vehicle for express - Don Schiff, the Stick maestro who also daz - be more free —more room for improvisation, ing themselves through their own compositions zled at Across the Street that same evening has a more freedom to be spontaneous.” He expands as well as their interpretations of classic (and long history with the couple. He was Tuttle’s on this, saying that they wanted to “stretch out classical!) material. first Stick teacher who remembers him as being solos, expand on intros, have free dialogues According to Tuttle, String Planet’s sound “extraordinarily talented, even when he stopped between the Stick and viola. We also wanted to can be described as “instrumental pop with a by for a lesson 15 [or so] years ago. [His] com - have more of a groove; simpler songs with com - heavy classical influence. The classical influence ing from a bass background as I do made it easy pelling beats and a stripped-down minimal is so intense with both of us. Our whole child - for me to convey what my approach to the Stick vibe.” Although no longer an active recording or hoods were spent in various orchestras. It‘s what is. Larry opens up areas of the Stick both in performing entity, Tuttle regards Freeway String Planet’s Larry Tuttle and Novi Novog we have most in common.” He describes their arrangements and executions that are as unique Philharmonic with much fondness, summing up first album, simply titled String Planet , as “an as the instrument itself. It’s so new so he gets to the experience simply: “Much fun was had!” effort to have a lot of world music kinds of create it as he goes. There‘s no greater gift than On record String Planet is free to augment “Love for Three Oranges (March),” and the ers, their sound is unmistakable. Says Tuttle, rhythms, but on the new one coming up that’s to be able to put yourself that much into an their sound with percussion, synthesizer, string finale from Saint Saens’ “Carnival of the “We take a lot of liberties with the arrangements become less important. It’s more of a colorful instrument.” Schiff is equally generous with his quartet, and even an occasional vocalist on a Animals.” Much of the material they played will and try to put a seriously quirky spin on the and inventive pop music.” Having played an praise for Novog, calling her a “power house couple of tracks. On stage it’s often just the two be included on their new CD, Songs from the material.” Their fluency in the language of incredible variety of music throughout their viola performer. Her style and tone exude such of them, although a percussionist will some - Home Planet (reviewed in this issue). music almost guarantees that other musicians careers, their tastes are understandably eclectic. professionalism, vast experience, and top artist times accompany them to add an extra rhythmic Their stage presence is casual and friendly, will get what they‘re doing, but their hope is to While both are well-grounded in classical music quality that you’re floored at first bow stroke. edge. Their website, www.stringplanet.com, fea - notable for Tuttle’s witty banter and Novog’s build as broad an audience as possible. Their and technique — he, having started as an I’m thrilled every time I hear her.” Schiff is not tures videos of them playing with Christo exuberant presence. When the music starts, ability to write pleasing melodies and their upright bassist — they are also skilled improvis - alone in his appreciation for her talents. Her Pellanis on world percussion, showcasing the they’re all business. As one audience member selection of appealing cover songs are positive ers and composers in their own right. They both resume is studded with a mind-bending array of seamless integration of a third member into was heard to comment, “They make it look so steps toward that end. Yes, they’re serious about point to influences that span a wide spectrum of star power. She played the fiddle solo on the their lineup. However, at Across the Street they easy.” And indeed they do. They smile a lot and what they’re doing, but it’s of great importance music, including jazz, pop, and progressive Doobie Brothers’ hit single “Black Water” and demonstrated that the duo is more than suffi - let themselves unselfconsciously move and sway that the end result be enjoyable and fun. Thus rock. was a part of the string ensemble on the Prince cient to cover all the bases. They wowed the to the beat. Their joy is pure and their passion far, their favorite gigs have been in places like Tuttle gets songwriting credit on the albums, albums Purple Rain , Around the World in a Day , crowd with an amazingly eclectic selection of is contagious. One noteworthy moment was an arts centers, colleges, and community theatres but emphasizes that Novog brings “an incredi - and Under the Cherry Moon . She was pleasantly tunes, starting with a spirited instrumental impromptu performance of their song “Big Pig where the music is the center of attention. They ble amount of color” to the bare bones chords, surprised to find that Prince was “such a nice interpretation of the Beatles’ “Lady Madonna. Jig,” accompanied by percussionist Clive also have a lot of fun playing festivals, but as bass, and melody, “weaving between inner voic - man. And quite the workaholic!” Such is the This was followed by their originals “Gorilla Alexander. It is a wonderfully energetic piece Tuttle puts it, “we’ve never been much for es, colorful rhythm parts, melody doubles, demand for her talents that she and her beloved Walk,” “Boomerang,” and “Goodbye Goodluck”. that was greatly enhanced by Alexander’s uncan - clubs.” This is understandable, given that their octave doubles, etc.” A composition major as instrument, “Stinky,” have graced recordings Their choice of covers was very interesting, ny ability to instantly pick up a song’s vibe and music is designed to be listened to and appreci - well as a serious keyboardist, she brings a dizzy - and stage performances of such artists as including Kyu Sakamoto’s “Sukiyaki, Prokofiev’s create the perfect beat to drive it. After their ated rather than merely serving as background rousing closing number, the finale from Saint- music in a party atmosphere. Tuttle and Novog Saens’ “Carnival of the Animals,” the fortunate are also in the business of session work, compo - San Diegans in attendance gave String Planet a sition, arrangement, and music education, but well-deserved standing ovation. nowadays they are scaling back these activities String Planet is perhaps the most unique in favor of focusing on the band. As he puts it, musical act to hit the scene in a very long time. “performing and promoting the new music is Even when they play material composed by oth - job one for now.”

12 www.myspace.com/sandiegotroubadour JANUARY 2008 SAN DIEGO TROUBADOUR of note

West of Sheila String Planet Jenn Grinels The Hi-Lites Memphis Sondergärd Songs from the Little Words Hi-Altitude! Honey Pie Spoke Too Loud Home Planet by Chuck Schiele by Craig Yerkes If you ask me, Jenn Grinels is at the On their new CD, Hi-Altitude! , the by Raul Sandelin by Mike Alvarez by Mike Alvarez forefront of San Diego’s singing elite. Hi-Lites successfully churn out a seriously When it comes to chops and the balance enjoyable mix of ska, gospel, and New There’s good reason to be excited According to David Allan Coe, every Sheila Sondergärd has a lot to say and of command, control, and freedom that Orleans-style jazz/swing. The approach is about String Planet’s new release. It’s a good country and western song has to her new CD, the aptly titled Spoke Too go into exceptional singing, this lady very raw on this disc and the energy of rollicking good time that also puts a lot mention mama, trains, trucks, prison, Loud , is the perfect soapbox from which stands alone. Her new CD, Little Words, this very large band sounds a lot like a on the table for the musical sophisticate. and getting drunk. While this profundity she can air her thoughts. One of the first focuses on Grinels’ songwriting, live performance. That raw approach Unlike their first album, String Planet , this may have been pronounced tongue-and- things I noticed is that there are a lot of expressed for the most part on acoustic does have its drawbacks, but we’ll get to CD boldly includes unique interpretations cheek, it does beg a certain truth: should lyrics. And I mean lots of them. It’s evi - guitar and voice with the now-and-then that later. The arrangements are harmon - of famous music as well as their own a music borne of a specific epoch and dent that she puts as much emphasis on support of accompaniment. ically and rhythmically interesting with a infectious original tunes. With this collec - region deal with subject matter that’s them as she does the music. Expertly There’s a darker tone in the thematic good mix of structure and playful tion, Chapman Stick virtuoso Larry Tuttle true to that time and place? Those listen - produced by Sven-Erik Seaholm, the aspect of the CD as evidenced in song improvisation/jamming. and top session violist Novi Novog ing to the country charts know that album gets off to a strong start with titles such as “Misery,” “Treason,” “Can’t My favorite track is “Love,” with its (joined by drummer/percussionist Jo country doesn’t really sing about rural “Angel I Know,” a song that is propelled Stay Here,” “No Better,” and “Crutch.” somewhat dissonant horn lines, killer Pusateri) continue to create music that is life anymore but tries to appeal to a by a pulsing bass line and muscular per - It’s a different thing than, say, Fiona melody, and infectious Mardi Gras both accessible and interesting. decidedly suburbanized, metro-sexual cussion. Sondergärd is a mixture of Apple, but the mood is similar in that it’s rhythm. “Love,” however, brings me to The centerpiece of Songs from the America. The same dilemma strikes the toughness and sweetness as she sings of elegantly melancholic. She sings about what I mentioned earlier about the raw Home Planet will undoubtedly be the blues: should a music borne of field a dangerous attraction (a theme that respect vs. disrespect, loyalty vs. betrayal, approach having its drawbacks. The cover tunes. There are six: three pop hollers and hard traveling, of smoky juke recurs throughout the album). The fol - and disappointments in general – written vocals (particularly the female vocals) songs and three arrangements of classical joints and bad whiskey alter itself now low-up, “Same Ol’ Bend,” is a tune that usually in a matter-of-fact context – from don’t really cut through the massive wall pieces. The album opens with a bang — that its home-nation has passed into the raises the intensity a few notches, calling those moments in which reality sets in of instruments. It sounds like there were their enthusiastic take on the Beatles’ third millennium and onto a gestalt to mind the Bob Dylan classic “All Along and lucidity translates to let-down by a couple of mics set up in the middle of “Lady Madonna” turns it upside down markedly, if not completely, distant from the Watchtower” as it ramps up to a way of its own clarity. Yet, while there is the room and the vocals weren’t front and inside out. In typical fashion they the harsh, post-Reconstruction South? fiery climax. despair in her lyric, there is hope in her and center like you would expect. Still, take the major themes and find clever Fortunately, when listening to West of A clever wordsmith, Sondergärd is voice. And that makes for an interesting “Love” is a great track, which I feel ways to re-state them to give the song a Memphis, one doesn’t have to endeavor not afraid to raise eyebrows as she cele - situation. showcases what is best about this very fresh new sound. The same approach is in the above-philosophic quagmire brates her own exotic sensuality in the One of the things this record is not – talented band. The horn section is very taken with “Stranger on the Shore” and because WoM stays sonically and topical - coy and bubbly “Rosewood.” Her voice is “dreamy.” I think that’s important to tight and the soloing they do is always “Sukiyaki.” Their choices of classical ly true to its inspiration: the blaring blues takes on a pixie-like quality as she croons state, because of the confidence going nicely suited to the music, very tasteful. music are inspired: Prokofiev’s “Love for bars of Chicago’s post-war South Side, a tale of seduction that includes a into this effort. There is no question as to Whoever writes the horn parts really Three Oranges (March)” is an wild work - where freight trains rumbled past and healthy fascination for guitars. The lyrics what she wants to sing or what she knows how to give the horn players out that “rocks the classics” as skillfully as third-class passenger cars carried the likes are, shall we say, rather bold in their self- wants to sing about. Every last note she something fun to play without overpow - anything from the Emerson, Lake and of McKinley Morganfield and his kin up revelatory nature. As the album unfolds, sings is hit with a confidence that tells ering the music. And man, what a Palmer songbook. “Anitra’s Dance” from from the Delta to their new home where one can hear explorations into country- me A) she really lived her lyrics, B) has a rhythm section this band has! The bass Grieg’s “Peer Gynt” loses none of its southern black hardship suddenly pop (“Clues,” Rhythms of Silence“), command of her vocal instrument, C) playing anchors everything and this guy original mystery and power under their crashed with new-found electric instru - smooth jazz (“Spoke Too Loud,” has an exceptional understanding of (James Trent) drives the music so solidly deft hands. Their arrangement of Saint- mentation and hot rodded harmonica. “Tracks“), reggae (“One More”), and music – obviously stemming from her that I sometimes found myself focusing Saens’ “Carnival of the Animals (Finale)” West of Memphis, despite its name, has Americana (“Change”). Rather than healthy background in theater. Even her on the bass line for an entire song and is a welcome reminder that classical nailed the Chicago Blues! Honey Pie is a coming across as a dabbler in these gen - softest, most subtle lyrical licks are as marveling at the musicianship. Check out music has its fun side. live CD that captures the band at the res, she infuses them with her own style gripping as the powerfully belted lines tracks 12 and 13 (“Black Joe” and “Sugar The original compositions are no less Griffintown Café in Montreal. I say band, and sound, making them her own. There that are emblematic of her art. and Spice”) if tasty jazz guitar solos are appealing, creating moods that run the but, in fact, WoM is a duo, featuring is a strength and confidence in her voice Given that the tone and the focus of your thing ’cause guitarist James Ritz lays gamut from pastoral to boisterous and transplant San Diegans Karl Cabbage out and songwriting. I sensed influences the CD provide all the threads necessary down a couple of doozies (although I never losing sight of the importance of front on harp and Tom Walpole on gui - from artists as diverse as Chrissy Hynde for cohesion in the work, that doesn’t wish, like the vocals, that he cut through melody. As you might expect from its tar. The two share center stage with a and Rickie Lee Jones. mean this album goes with out variety. just a little more). title, “The Whizzer” is an energetic jaunt tight combo backing them up from the The album is professional and pol - There is plenty of it as Grinels covers a One thing some might find a bit with a bouncy rhythm. “Goodbye shadows. The sound is gritty. Think Little ished. It has a commercial sound that still larger musical terrain than most. And she puzzling is how the driving ska rhythm is Goodluck” has a laid back feel that is Walter with Otis Rush or the earlier allows the music’s edginess to show does it in a way that makes it seem easy, sometimes paired with vocals, which evocative of the emotions one might Junior Wells/Buddy Guy collaborations. through. There is a wonderful balance natural, and fluid – never exceeding the sound almost like something you would experience when wishing somebody Unlike the later Blues influenced by between the instruments and her voice, context and messages in her songs, mes - hear on a kind of old time swing or good-bye and good luck. “Big Pig Jig” British guitar heroes, the WoM sound is and the arrangements really showcase sages that would qualify as introspective gospel radio hour, but I found that mix and “Pepe the Circus Dog” are fun that of an ensemble, all of the instru - the interplay among all of these ele - in their point of view. very appealing. The un-credited bonus romps that continue the animal theme ments including vocals melding together ments. Her musicians are all accom - And while this remains a solid artful track is pure musical joy and ends it all that runs through their first album as into one, sonic locomotive. Those plished players as well. Drummer Bill Ray, work on its own terms, I am left with the quite beautifully. This is flat out feel- well as their previous work (when asked inducted into the blues club via Clapton, bassist Jason Littlefield, and percussionist impression that the work itself is witness good, dance-til’-you-drop, uplifting about the significance of the recurring SRV, Walter Trout, and the greats of the Chuck Prada are a tight rhythm section to an artist in an accelerated growth music, and this disc made me want to animal motif in their song titles, they past 30 years are in for a treat. Before that expertly navigates through many motion. She has the “triple threat” thing see this band live. Good stuff for sure! replied that it meant “absolutely nothing guitar pyrotechnics, band members interesting rhythmic and textural going – with momentum. She sings way — how about that?”). “Big George” is a found the groove together and held changes. Guitarist Sean Martin is a versa - above the din of mediocrity, plays smart, slow number with bluesy jazz chords and onto each other to form one, cohesive tile player who can go from crisp groovy guitar, and her songs are good. melodies that have a “Porgy and Bess” mass of rumbling glory. And, WoM does rhythms to blazing solos and all points in Maybe we should coin the term feel in many instances, leading one to an an authentic job of that. The song list between. Jeremy Miller’s touch on the “quadruple threat” because she looks educated guess as to the identity of the combines standards such as “I’m ready” keyboards complements the arrange - good doing it, too. And with that, it is titular George. The album finishes with with a number of originals. One of the ments perfectly. In addition to singing, my bet that this CD is at the beginning “East Is West,” an oriental-style melody latter — “Cell Phone Blues”— caused me Sondergärd plays a mean acoustic guitar. of a long line of ever improving works that brings to mind imagery of Chinese to rethink my earlier comment about I found this album to be instantly lik - from Jenn Grinels. sticking to period subject matter. able. The great care taken in the song - junks sailing across exotic seascapes. Perhaps, country and western and the writing, arrangements, and performances Both Tuttle and Novog have instru - blues (but never Bluegrass) can be about ensures that you’ll keep discovering mental chops to spare, but they never mama, trains, trucks, prison, getting nuances to appreciate with each new display them just for the sake of showing faced and cyber-space. These days West spin. off. They are seasoned performers who of Memphis can be heard burning coal know how to use their skills to great at the House of Blues downtown during effect. Their approach when making this Friday night happy hour. With their album was to use fewer overdubs or authentic Chicago sound, they’re sure to additional instruments so that the sound put the blues back into that venue’s soul. more closely matches their live shows. Tuttle reports that it was “a joy to record, and with any luck at all, a joy to listen to.” Luck seems to be with String Planet because that’s exactly how it turned out. Visit www.stringplanet.com and see page 12 for more about String Planet. www.sandiegotroubadour.com 13 JANUARY 2008 SAN DIEGO TROUBADOUR ’round about

JANUARY CALENDAR WEEKLY Open Mic , Joe & Andy’s, 8344 La Mesa Blvd., wednesday • 2 tuesday • 8 sunday • 13 every sunday 8pm. Shawn Rohlf & Friends , Farmers Market, Open Mic , Dublin Square, 544 4th Ave., 9pm. Kevin Green’s Músikah Negro , Volz Alta, 1544 Bill Magee Blues Band , Humphrey’s Backstage Bushwalla & Friends , Across the Street @ DMV parking lot, Hillcrest, 10am. Broadway, 7:30pm. Lounge, 2241 Shelter Island Dr., 7pm. Mueller College, 4603 Park Blvd., 8pm. Bluegrass Brunch , Urban Solace, 3823 30th every thursday Sue Palmer Quintet , Croce’s, 802 5th Ave., 8pm. New Acoustic Generation w/ Veronica May/ St., 10:30am. Allied Gardens/Trevor Davis , Belly Up, 143 S. Celtic Ensemble , Twiggs, 4590 Park Blvd., Dan Papaila , The Lodge @ Torrey Pines, Chip Conrad & the Concrete Feat , O’Connell’s, 11480 N. Torrey Pines Rd., 5pm. 1310 Morena Blvd., 9pm. wednesday • 9 Cedros, Solana Beach, 8pm. 4pm. Formerly Brothers/Jamie Michaels/Miles Clachan Boys , R.O. Sullivan’s Irish Pub, 118 E. Open Mic , Turquoise Coffee, 841 Turquoise David Lindley/Jack Tempchin , Belly Up, 143 S. Mosph , Lestat’s, 3343 Adams Ave., 9pm. St., P.B., 6pm. Cedros, Solana Beach, 8pm. Grand Ave., Escondido, 5pm. thursday • 3 Open Mic , Hot Java Cafe, 11738 Carmel Mtn. Open Blues Jam , Downtown Cafe, 182 E. Sue Palmer & the Hayriders , Martini Ranch, Main, El Cajon, 6pm. 528 F St., 9pm. Rd., 7:30pm. Joe Rathburn/John Foltz , Milano Coffee Co., monday • 14 Troubadour Open Mic w/ Phil Harmonic , Z-BOP! , Epazote, 1555 Camino Del Mar, 7pm. 8685 Rio San Diego Dr., 7pm. O’Connell’s, 1310 Morena Blvd., 7:30pm. Open Mic , Hot Monkey Love Cafe, 6875 El Peter Sprague , Roxy Restaurant, 517 First Ave., Michele Lundeen & Blues Streak , Humphrey’s Cajon Blvd., 7pm. thursday • 10 Backstage Lounge, 2241 Shelter Island Dr., 7pm. Jazz Roots w/ Lou Curtiss , 8-10pm, KSDS Encinitas, 7pm. (88.3 FM). Joe Rathburn’s Folkey Monkey , Milano Sin City Revue II/Gram Parsons Tribute , Belly Joe Rathburn/Jerry Gontang , Milano Coffee José Sinatra’s OB-oke , Winston’s, 1921 Coffee Co., 8685 Rio San Diego Dr., 7pm. Up, 143 S. Cedros, Solana Beach, 8pm. Co., 8685 Rio San Diego Dr., 7pm. wednesday • 16 Bacon St., 9:30pm. Moonlight Serenade Orchestra , Lucky Star Annie Bthancourt/Whitton , Lestat’s, 3343 Peter Sprague , Roxy Restaurant, 517 First Ave., The Bluegrass Special w/ Wayne Rice , Restaurant, 3893 54th St., 7pm. Adams Ave., 9pm. Encinitas, 7pm. Sue Palmer Quintet , Croce’s, 802 5th Ave., 8pm. 10pm-midnight, KSON (97.3 FM). Open Mic , Hot Java Cafe, 11738 Carmel Mtn. Piano Summitt w/ Sue Palmer/Danny Green/ Rd., 7:30pm. Rick Helzer/John Opferkuch/Richard Open Mic/Family Jam , Rebecca’s, 3015 friday • 4 Thompson/Bryan Verhoye/Irving Flores/Lynn thursday • 17 every monday Juniper St., 8pm. Willard/Ramon Araiza , Dizzy’s @ SD Wine & Blue44 , Turquoise Cafe Bar Europa, 873 Wood ‘n’ Lips Open Mic , Anna’s Family Johnson, Bosley & Morin , Borders, 159 Culinary Ctr., 200 Harbor Dr., 8pm. Joe Rathburn/Rob Mehl , Milano Coffee Co., Fletcher Pkwy., El Cajon, 7pm. Turquoise St., 7pm. Restaurant, 8099 Broadway, Lemon Grove, 8pm. Nathan James/Ben Hernandez/Robin Henkel , 8685 Rio San Diego Dr., 7pm. Mojave/Smart Brothers/Tempo no Tempo , Open Mic , Lestat’s, 3343 Adams Ave., 7:30pm. Jazz Jam , South Park Bar & Grill, 1946 Fern Beachfire, 204 Avenida del Mar, San Clemente, Robin Henkel Band , Tio Leo’s Mira Mesa, 10787 St., 9:30pm. Lestat’s, 3343 Adams Ave., 9pm. 8:30pm. Camino Ruiz, 7:30pm. Tango Dancing , Hot Monkey Love Cafe, 6875 El Cajon Blvd., 8pm. Elijah Emanuel & the Revelations/The Hi- Delancy/Evan Bethany/Leila Lopez , Lestat’s, John Jorgenson , Hornbacher House Concert, Lites/Blackheart Warriors Hi-Fi , Belly Up, 143 3343 Adams Ave., 9pm. Vista, 8pm. [email protected] Pro-Invitational Blues Jam , O’Connell’s Pub, S. Cedros, Solana Beach, 9pm. 1310 Morena Blvd., 8pm. every friday The Exfriends/Mayweather/The Midwinters , Mario Escovedo/Rob Deez , Lestat’s, 3343 California Rangers , McCabe’s, Oceanside, Band in Black , Ocean House, 300 Carlsbad Belly Up, 143 S. Cedros, Solana Beach, 9pm. Adams Ave., 9pm. Vilage Dr., 9pm. 4:30-9pm. every tuesday Dan Papaila , The Lodge @ Torrey Pines, friday • 11 friday • 18 Open Mic , Cosmos Coffee Cafe, 8278 La 11480 N. Torrey Pines Rd., 5pm. saturday • 5 Mesa Blvd., La Mesa, 7pm. Jason Ott , Gallagher’s Pub, 5046 Newport Robin Henkel , Chateau Orleans, 926 Turquoise Ben Owens & the Cattywampus Boys , 8836 Patrick Berrogain’s Hot Club Combo , Prado Ave., 6pm. Chet & the Committee , Downtown Cafe, 182 E. St., P.B., 6:30pm. Prospect Ave., Santee, 6:30pm. Restaurant, Balboa Park, 8pm. Tomcat Courtney/Jazzilla , Turquoise Cafe Bar Main St., El Cajon, 6:30pm. Harvey Reid , Old Time Music, 2852 University The Motels/Cathryn Beeks Ordeal , Brick by Shep Meyers , Croce’s, 802 5th Ave., 8pm. Europa, 873 Turquoise St., 7pm. Sharon Hazel Township/Jaime Michaels , Hot Ave., 7:30 & 9:30pm. Brick, 1130 Buenos Ave., 8pm. Amelia Browning , South Park Bar & Grill, Java Cafe, 11738 Carmel Mtn. Rd., 7pm. Will Knox (8:30pm) /Modern Day Moonshine , Xavier Rudd , House of Blues, 1055 5th Ave., 8pm. Danny Green Trio , Dizzy’s @ SD Wine & Martini Ranch, 528 F St., 10:30pm. 1946 Fern St., 7pm. The Smart Brothers , E Street Cafe, 130 E St., Culinary Ctr., 200 Harbor Dr., 8pm. Jazz Night , Rebecca’s, 3015 Juniper St., 7pm. Encinitas, 8pm. Johnson, Bosley & Morin , Borders, 878 Eastlake Pkwy. #710, Chula Vista, 8pm. Johnson, Bosley & Morin , Borders, 11160 Open Mic , Bella Roma Pizza, 6830 La Jolla The Coyote Problem , Hooley’s, 2955 Jamacha Rancho Carmel Dr., 8pm. every wednesday Blvd., 8pm. Rd., Rancho San diego, 8:30pm. Miggs/Thomas Ian Nicholas , Lestat’s, 3343 Adams Ave., 9pm. Martin Storrow , BookWorks, Flower Hhill Mall, Music at Ocean Beach Farmer’s Market , Open Mic , Egyptian Tea Room & Smoking Gilbert Castellanos Quartet , Dizzy’s @ SD Wine Del Mar, 8pm. Newport Ave., 4-7pm. Parlour, 4644 College Ave., 9pm. & Culinary Ctr., 200 Harbor Dr., 8:30pm. Jordan Reimer/Quiet the Moon/Young Dan Papaila , The Lodge @ Torrey Pines, Brehon Law , Tom Giblin’s Irish Pub, 640 Rickie Lee Jones , Belly Up, 143 S. Cedros, saturday • 12 Goodman , Lestat’s, 3343 Adams Ave., 9pm. 11480 N. Torrey Pines Rd., 5pm. Grand Ave., Carlsbad, 9pm. Solana Beach, 9pm. Joey Harris & the Mentals/Taylor Harvey Folk Arts Rare Records Singers Circle , Gregory Page , Lestat’s, 3343 Adams Ave., 9pm. Chet & the Committee , Harley Davidson, 5600 Band , Tio Leo’s, 5302 Napa St., 9pm. Kadan, 4696 30th St., 6pm. Kearny Mesa Rd., noon. Sam Bybee/Joe Corso Band/Kurt Vatland , Tio Writer/The Fling/Joel P. West , O’Connell’s, 1310 Tomcat Courtney , Turquoise Cafe Bar Europa, every saturday Leo’s, 5302 Napa St., 9pm. Sue Palmer , Martini’s Above Fourth, 3940 4th Morena Blvd., 9pm. 873 Turquoise St., 7pm. Dan Papaila , The Lodge @ Torrey Pines, Ave., 7pm. Elliott Lawrence Quartet , J Six Restaurant, 11480 N. Torrey Pines Rd., 5pm. Cathryn Beeks , Hot Java Cafe, 11738 Carmel 435 6th Ave., 7pm. Tomcat Courtney/Jazzilla , Turquoise Cafe Bar sunday • 6 Mtn. Rd., 7pm. saturday • 19 Open Mic , Across the Street (Mueller Europa, 873 Turquoise St., 7pm. Browne Sisters & George Cavanaugh , San College), 4605 Park Blvd., 8pm. Jeannie Cheatham: My Life in Music , Geisel Dieguito United Methodist Church, 170 Calle Robin Henkel Blues Quartet , Miramonte Library, UCSD Campus, 4pm. Magdalena, Encinitas, 7:30pm. Winery, 33410 Rancho California Rd., Temecula, Michele Lundeen & Blues Streak , V-Lounge, Stevie Wonder Tribute w/ the Peter Sprague 5:30pm. Viejas Casino, 5000 Willows Rd., Alpine, 7:30pm. Group , Dizzy’s @ SD Wine & Culinary Ctr., 200 Patty Zlaket , Humphrey’s Backstage Lounge, Casino, 5000 Willows Rd., Alpine, 8pm. Sven Songs; A Tribute to Sven-Erik Seaholm , Harbor Dr., 8pm. 2241 Shelter Island Dr., 6pm. saturday • 26 Mission Bay Boat & Ski Club, 8pm. Robin Henkel Band , Lestat’s, 3343 Adams Ave., Patty Hall , Borders, 11160 Rancho Carmel Dr., Sue Palmer’s Sophisticated Ladies Revue , 9pm. Bushwalla & Friends , Across the Street @ 8pm. Dizzy’s @ SD Wine & Culinary Ctr., 200 Harbor Robin Henkel/Kellie Rucker , Iva Lee’s, 555 N. Chet & the Committee , Patrick’s II, 428 F St., 9pm. El Camino Real, San Clemente, 7pm. Mueller College, 4603 Park Blvd., 8pm. Sterling Witvvvp/Isaac Cheon/The Wrong Dr., 8pm. Anna Troy/Johnny Nicholson/Nathan Reich , Trousers/Katy Wong , Across the Street @ Mueller Aaron Bowen/Simeon Flick/Carlos Olmeda/Will Jay Ungar & Molly Mason , San Dieguito United Lestat’s, 3343 Adams Ave., 9pm. College, 4603 Park Blvd., 8pm. Edwards/Rory Corbin , Across the Street @ Methodist Church, 170 Calle Magdalena, monday • 21 Encinitas, 7:30pm. Chet & the Committee , Patrick’s II, 428 F St., 9pm. Lisa Sanders & Dave Howard , Rock Valley Mueller College, 4603 Park Blvd., 8pm. House Concert, University City, 8pm. wonder - Ryan Adams , Spreckels Theatre, 121 B St., 8pm. Gene Perry Latin Jazz Ensemble , Dizzy’s @ SD Blue Monday Pro Jam , Humphrey’s Backstage Wine & Culinary Ctr., 200 Harbor Dr., 8pm. [email protected]/858/452-1539. Lisa Sanders & Friends (Allison Lonsdale, Lounge, 2241 Shelter Island Dr., 7pm. monday • 7 Lavay Smith & her Red Hot Skillet Lickers , 6pm), Lestat’s, 3343 Adams Ave., 9pm. Saba CD Release , Lestat’s, 3343 Adams Ave., 9pm. California Ctr. for the Arts, 340 N. Escondido Sue Palmer & her Motel Swing Orchestra , Tio Blue Monday Pro Jam , Humphrey’s Backstage Blvd., 8pm. tuesday • 22 Leo’s, 5302 Napa St., 9pm. Lounge, 2241 Shelter Island Dr., 7pm. Brett Bixby/Chris Vlan/Slater Sisters , Lestat’s, sunday • 20 Astra Kelly/Pete Stewart/Lessons from Zeke , 3343 Adams Ave., 9pm. Todd Snider , Belly Up, 143 S. Cedros, Solana O’Connell’s, 1310 Morena Blvd., 9pm. Band in Black , Hennessey’s, 4650 Mission Sharon Hazel Township , It’s a Grind, 631 S. Beach, 8pm. Blvd., 10pm. Rancho Santa Fe, San Marcos, 2pm. Tower of Power , Dreamcatcher Lounge, Viejas sunday • 27 wednesday • 23 Jazz Camp Instructor’s Jazz Band , Lafayette David Jacobs-Strain/Chris Ayer , Acoustic Hotel, 2223 El Cajon Blvd., 1pm. Music SD, 4950 Mansfield St., 7:30pm. Kelly McGrath/Nathan Welden/Regina Leonard , Lestat’s, 3343 Adams Ave., 9pm. thursday • 24 monday • 28 Joe Rathburn/Michael Tiernan , Milano Coffee Co., 8685 Rio San Diego Dr., 7pm. Nathan James & Ben Hernandez , Humphrey’s Steve Poltz CD Release/Tim Blum , Belly Up, Backstage Lounge, 2241 Shelter Island Dr., 7pm. 143 S. Cedros, Solana Beach, 8pm. 50th Anniversary Monterey Jazz Festival , California Ctr. for the Arts, 340 N. Escondido wednesday • 30 Blvd., 8pm. Mary Gauthier/Mark Olson , Acoustic Miusic SD, 4950 Mansfield St., 7:30pm. friday • 25 Sue Palmer Quintet , Croce’s, 802 5th Ave., 8pm. Wrong Trousers CD Release , Lestat’s, 3343 Robin Henkel , Chateau Orleans, 926 Turquoise Adams Ave., 9pm. St., P.B., 6:30pm. Sharon Hazel Township , Java Jones, 631 9th Ave., 7pm. thursday • 31 Fred Eaglesmith , Acoustic Miusic SD, 4950 Mansfield St., 7:30pm. Little Windows , Old Time Music, 2852 University Aaron Bowen/Derek Evans/Jon Jones , Ave., 6pm (workshop) & 8pm (concert). Lestat’s, 3343 Adams Ave., 9pm. Joe Rathburn/Carlos Olmeda , Milano Coffee Michele Lundeen & Blues Streak , Patrick’s II, Co., 8685 Rio San Diego Dr., 7pm. 428 F St., 9pm. Chris Robley/Kenny Eng/Melissa Vaughn , Sara Petite/Joey Harris , Whistlestop, 2236 Lestat’s, 3343 Adams Ave., 9pm. Fern St., 9pm. A Scribe Amidst the Lions/The Holy Rolling Empire , O’Connell’s, 1310 Morena Blvd., 9pm.

PPHHIILL HHAARRMMOONNIICC SSEEZZ::

“The older I get, the more I admire and crave competence, just simple competence, in any field, from adultery to zoology.” —H.L. Mencken 14 www.myspace.com/sandiegotroubadour JANUARY 2008 SAN DIEGO TROUBADOUR R HOLIDAtYhe local seen OU PART

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Tom Paxton & Fred Sokolow @ SD Folk Heritage Steph Johnson @ Becky’s House Benefit www.sandiegotroubadour.com 15