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

February 2004 Vol. 3, No. 5 ssoonn ooff aa pprreeaacchheerr mmaann what’s inside TTiimm FFllaanneerryy

Welcome Mat ………3 Mail Box Mission Statement Contributors Full Circle.. …………4 Listen/Mark Intravaia Lou Curtiss Front Porch …………6 Tim Flannery Parlor Showcase... …8 Granger Music Hall Don Gibson Saba Louie and Morin Ramblin’... …………10 Bluegrass Corner Zen of Recording José Sinatra Radio Daze Highway’s Song... …12 Men of Steel Of Note. ……………13 Tom Freund Tubby Joel Rafael Band Chris Stuart & Backcountry Mark O’Connor ‘Round About ...... …14 February Music Calendar The Local Seen ……15 Photo Page Phil Harmonic Sez:

An individual has not yet started living until he can rise above the narrow confines of individualistic concerns to the broader concerns of all humanity.

— Martin Luther King San Diego Troubadour • February 2004 wweellccoommee mmaatt

SAN DIEGO MAILBOX ROUBADOUR Alternative country, Americana, roots, Tfolk, gospel, and bluegrass music news performers . . . Earl Thomas (if you perfectly the very first time. haven’t seen him in concert yet, do Joe lived in Compton then, and he MISSION CONTRIBUTORS it soon — you’ll be glad you did!). gave me his home phone number. I Commentary in regards to the called him semi frequently over the To promote, encourage, and Skip James Rare and Unreleased CD next few years and he invited me to provide an alternative voice for the FOUNDERS Lyle & Ellen Duplessie review by Mr. Lou Curtiss also gives a few weddings that the great local music that is generally us all something else to look forward Honeydrippers were playing in the overlooked by the mass media; Liz Abbott to. Leave it to Lou to know the L.A. area, always quick to invite me namely the genres of folk, country, Kent Johnson inside scoop when it comes to the to sing a few songs with him. He roots, Americana, gospel, and obscure . . . great record store too. was a kind hearted, humble man bluegrass. To entertain, educate, PUBLISHER Thanks again. Live more in 2004. and he always had a big, friendly and bring together players, writ - Lyle Duplessie Chet Cannon smile. I was very sad when he passed ers, and lovers of these forms; to away in 1987, but I feel honored to Dear SD Troubadour, have met and actually sang with explore their foundations; and to EDITOR Dear Troubadour, Just wanted to thank you for fea - him. When I became a stripper from expand the audience for these Ellen Duplessie WHAT AN AMAZING ARTICLE ON turing my friends Earl Thomas on 1983 - 1986, I only danced to Joe types of music. DAVID MALDONADO!!! your cover this month, and for the Liggins songs. “Got a Right to Cry” GRAPHIC DESIGN I was so pleased to open the latest To receive advertising rates and story on Dave Maldonado. Earl sang and “Pink Champagne” were big Liz Abbott issue of the San Diego Troubadour information, call 619/298-8488 or duets with me on several of my CDs crowd pleasers and Joe seemed tick - and read your review of our local e-mail [email protected]. PHOTOGRAPHY in addition to being a wonderful led at my choice of material. Other flamenco phenom. family friend. Dave and I went to dancers were using Donna Summers’ San Diego Troubadour Paul Grupp I was hoping to obtain permission college together. They are both so “Love to Love you Baby,” but for to reproduce and distribute your P.O. Box 164 DISTRIBUTION talented and deserve every success. me, Joe Liggin’s music was as La Jolla, CA 92038 write up on David, as well as feature I also wanted to thank you for swingin’ and sensual as you could E-mail: [email protected]. Ellen Duplessie the article on flamenco web sites. your article about The Liggins get. Kent Johnson Timm J. Dietschak Brothers by Bart Mendoza. I met Joe Congratulations on a great article Liggins in 1981 when he played at a and a fine newspaper. SAN DIEGO TROUBADOUR, the local Hey Folks, ADVERTISING friends wedding in Malibu. He let Sincerely, source for alternative country, I just picked up January’s issue of Kent Johnson me sit in that day with the Candye Kane Americana, roots, folk, gospel, and the very cool San Diego Troubadour Honeydrippers. We sang the duet he bluegrass music news, is published WRITERS music newspaper. Had to send an wrote “Daddy on my mind.” He was monthly and is free of charge. Letters Lou Curtiss e-note to say thanks for a little blues impressed when I knew that the girl to the editor must be signed and may news . . . we really do appreciate Lyle Duplessie who sang with him on the song was be edited for content. It is not, howev - that out here on the street! also named Candy (Candy Rivers). Phil Harmonic er, guaranteed that they will appear. You may remember my contacting He also played a song that I wrote Paul Hormick BCDB All opinions expressed in SAN DIEGO you in mid-December singing praise called “Club of the Foolish Hearts.” I TROUBADOUR, unless otherwise stated, Frederick Leonard for your paper and the work you are sang it in his ear and he played it are solely the opinion of the writer and do Jim McInnes doing out there, but requesting a lit - tle more on the San Diego blues not represent the opinions of the staff Bart Mendoza or management. All rights reserved. scene. Wow, talk about some amaz - Sven-Erik Seaholm ing response time! ©2004 San Diego Troubadour. José Sinatra We absolutely loved the cover D. Dwight Worden article by Robert Woerheide on a cat Cover photography: Thomas DeSoto John Philip Wyllie who is truly one of San Diego’s most talented singer/songwriter/

Artwork sent in by veteran folk musician Jon Adams. Catch him at the Adams Avenue Roots Festival, May 1-2.

Welcome, Sven-Erik Seaholm WRITE TO US! The San Diego Troubadour is We want to hear from you! happy to welcome Send your comments, Sven-Erik Seaholm feedback, and suggestions to: as a technical writer [email protected] who will grace our pages with a regu - or to San Diego Troubadour, lar column, beginning with this issue. P.O. Box 164, La Jolla, CA In case you hadn’t noticed, Sven’s name appears in the credits 92038-0164. of dozens of locally produced CDs, having contributed his expertise in the areas of production, recording, mastering, composing, arranging, performing, and/or writing. As a producer, he has won several San Diego Music Awards in the categories of Best Local Recording, Best Blues Album, and Best Acoustic Album. If that’s not enough, he is also a talent - ed graphic artist who provides design services for print and for the Web. See page 10.

3 February 2004 • San Diego Troubadour ffuullll cciirrccllee

Listen: It’s Mark Intravaia lectible 45 “Melanie”/”Little Black Book.” greatest, and true, urban legends — that together. Bob Sale was the drummer and Intravaia wrote the flip. “I was more into of Beach Boy Brian Wilson roaming the I still work with him.” Notably, the pair three-minute pop songs, while Dennis, streets of San Diego in the late seventies. performs on the group’s sole release, the the group’s other writer, was more into “Our drummer Tom met and jammed with “Man Alone”/”I Break Down” single. ballads and still kind of influenced by Yes Brian Wilson the same year,” Intravaia Next he put together a new group with and all those kinds of people. He was explains. “A mutual friend named Frank former Listen drummer Tom Boyd, but the more into songs with many parts, like a Niska spotted Brian in Mission Beach eighties would prove to be a tumultuous suite or something like that, but in a good wandering down the street and gave him time for Intravaia. “Tom and I formed the way not a bad way.” An off-the-cuff ref - a lift to the Siers Brothers house. He tried Heroes in ’81, [but I] left that band a few erence to Yes’ Tales From a Topographic to contact me but I was in Catalina. But years later and took over the guitar play - Ocean jars a memory. In a scene right he did get in touch with Tom [and] they er slot in the Monroes for about a year. out of television’s That 70’s Show , we had all met and played ‘Little Deuce Coupe’ Then I moved to L.A. and rejoined Rick that Yes album cover on the wall at our and ‘Darlin.’ Brian cleared up our confu - for a while. We recorded a record for the band house in Serra Mesa. We had sion about the words in the chorus . . . ‘O, Frontline label in ’89 called Rick Elias and somebody paint that album cover in keep dreamin’ it darlin’.’ We were doing the Confessions .” He was soon on the black-light paint.” the song in Listen around that time and move again. “In 1990 I joined a band in A bemused Intravaia returns to the couldn’t quite make them out.” LA fronted by Brian Ray [Etta James’ for - single. “We were having lots of success Around this time the band had an mer band leader who is now with Paul with the Homegrown albums, we were audition with Curb Records in Los McCartney], but I got tired doing lots of concerts at the Balboa Bowl of starving and rejoined the Heroes in ’91. and various clubs around San Diego like It would prove to be a fortuitous move. the Halcyon and Park Place. And it was “The Heroes played an important part of suggested that we record up in L.A. and my life in that Eve and I started writing do our own single as a way to make the together in ‘91 when we were both in the major labels take notice,” he says. “It group and have been working together was a bare bones thing with a tiny budg - ever since.” et, but it was our first single so we were These days Intravaia focuses thrilled.” Considered by many to be a squarely on original music, but over the classic of Beatles-esque pop, albeit with past few years he has also played guitar impressive keyboard flourishes, the tune for a number of touring acts, not only tak - was bootlegged in 2002. The band’s best ing great care to reproduce the sounds Mark Intravaia in the ‘70s known work however was of a more as recorded but also performing them by Bart Mendoza anonymous nature. “While we wrote and Angeles as well as a coveted spot at the with a real passion. His solo during B.J. Palmer, and so on. Those were the cover recorded lots of [original music], mainly Troubadour in Hollywood, arranged by Thomas’ “Hooked on a Feeling” at last ans of local road-house songs we were doing and then we were thru ’77, we [also] did all of the musical KGB. “Both KGB and KPRI gave us a few December’s Carols By Candlelight con - rocker Eve Selis have likely writing our own songs along the same KGB logos, courtesy of Rick Liebert. shows with interviews and music fea - cert deservedly earned an ovation from been impressed by her gui - lines. There was another band called Local response to the single was great, tures,” he says. “Local radio was so the crowd. And it all goes back to those tFarist and song-writing partner, Marc Horsefeathers, and we were kind of though. KGB was playing it and so was great back then, I can’t imagine getting early days with Listen. “One of the first Twang, aka Marc Intravaia. One of the along that line. We were doing the art KPRI. We did better with the Homegrown the same treatment nowadays, although songs I learned at the band house in ‘73 most gifted players to emerge from San rock thing and kind of just transformed stuff, but my memory of that was that we the current KPRI is probably the closet was America’s ‘Ventura Highway.’ For Diego’s music community, his craft is a more into pop rock, although we were always sold them well at shows [but] we thing to that.” Despite a strong fan base some reason I learned both the guitar mix of understated playing and virtuoso never a hard rock band. We had a sax didn’t get any national airplay that I know and major radio support, the group’s days intro parts in harmony, so that’s the way picking, all meant to elevate the song, the player, so it always remained heavily on of; it was all just local.” Besides the were numbered. “The band just ran its our band played it, not realizing that it singer, and the melody, something that the pop side of things.” Later on, the group’s appearances on Homegrown , the course. We were all pretty young and did was two guitars. I was only 17! Thirty seems to be a lost art these days. band would branch out to play the hits of single was the only other item released a lot of growing up together. We sort of years later I was playing it with America “I was raised around music,” says the day, from rock to disco. “Early on, it by the band, though they were prolific transformed from an original music band at the Carols show and Gerry (Beckly) Intravaia from his North County home. was about originals and later it became studio pros. “We would do cassette as teenagers and started turning more was very surprised and happy that I “My dad was a jazz musician, Jack whatever the hits were. What we were tapes that we would either give to fans or into a cover band and just making a living could continue to play both parts after he Teagarden. He played with Louis doing musically toward the end was sell at shows.” at it, which is kind of what broke the dropped out in the first verse and played Armstrong and all these wonderful people specifically America, Loggins and 1977 was the year that members of band up. I think there was some frustra - rhythm. He told me I was the first gui - back in the ‘40s and ‘50s. I had a very Messina, Springsteen, and the Beach Listen placed three cuts on a tion within the group because we weren’t tarist they worked with that could play musical, artsy family. I originally tried Boys. It was a lot of pop stuff.” Homegrown album. They backed Brad really progressing. We tried to crack L.A. the song all the way through like the playing trumpet like him, when I was in Almost as soon as he had left high Cahill on the classic “San Diego Smiles,” and then Dennis moved to L.A., and that’s record.” the fourth grade, but before that, as soon school, the group began to experience Rick Telli’s synth classic “City in Motion,” specifically what broke the band up. Sadly during last October’s fires, as I saw the Beatles at age seven or major local success, beginning a string and the amazing soft pop “Can’t Go Back Listen was together through the ‘70s and Listen’s extensive archives were lost, eight, I had to have a guitar. I started play - of appearances on the much missed to Cardiff” with Intravaia, Boyd, Bales, we were all very tight, but as you including hundreds of photos, flyers, log ing professionally by the time I was 13.” Homegrown local artist compilations pro - and Telli joining Gary Hyde. They had know . . . all good things . . . I still see a books, diaries, all master tapes, and, sad - In 1970, the teenaged Intravaia duced by KGB radio. “The first [was] in built up a huge local fan base and had few of the guys once in a while.” dest of all, those Channel 10 TV shows. If already had his own group, Head County, ’74 with a song called ‘Where is San major radio support. Leaving Listen, he soon hooked up you have copies of any of these items, which featured Rick “That Thing You Do” Diego?’” recalls Intravaia. “I can’t Unfortunately the group never toured with his former bassist. “I joined the Rick especially those TV broadcasts, please Elias on bass. The members of the group remember how we came about the idea or even shared the bill with a major act. Elias Band in ’79 after the group broke up contact us through the San Diego who would become Listen had already to enter, but we cut the song on my 18 th “We never opened for anyone of note and stayed for two years. We opened for Troubadour and we’ll let the band know. come together. “We all attended Kearney birthday at Studio West, and Bill Blue though we headlined or co-headlined a Bob Marley and it was only our third gig Any help is greatly appreciated. High, [but] I think the group was formed was the engineer. I felt so big time. The few big concerts at Balboa Bowl. The in the late ’60s by Dennis Bales (keys, first time we heard it on the radio I felt farthest we ever went was Yuma, guitar), Rick Telli (bass), and Tom Boyd like I was ten feet off the ground, and my Arizona. Maybe that’s what kept the band (drums), and was (originally) called The mom was very proud. She passed away from doing anything. We had a local fol - Friends of Melvin,” says Intravaia. “Gary the following year so that memory is very lowing but never developed it outside of Pluchino (sax) joined them a year later.” precious to me.” They also had local tel - San Diego.” Almost as an afterthought Intravaia actually met the band mem - evision exposure from the song. “We Intravaia notes, “We did have a few run- bers through an unusual family connec - were on a TV show called Homegrown ins. In ’74 we had a band house where tion. “It’s interesting to note that they and Greene , (hosted by local TV person - we rehearsed and recorded, and one day were all music students of my dad at Taft ality Harold Greene) in ’74. It was shot in we took a break and wandered into the Junior High and I met them through him Presidio Park. They did it all at Presidio living room. Dennis had a grand piano one day in 1970,” he remembers. “My Park and we were right in front of the there. I could hear this amazing voice dad would let them practice in his music mission. We did ‘Where is San Diego?’ and beautiful playing. We turned the cor - room on the weekends. I was invited to Denny Bales was wearing a cape, and ner and there was Gary Puckett at bring my group down [and] we had a little Tom Boyd had a big afro. My hair was Denny’s piano. It turned out that he was a battle of the bands that day. They would down to my waist,” Intravaia says, laugh - friend of a friend and was just hanging play a song and then we would and so ing at the memories. “We were on subse - out waiting for his pal to come by. Our on.” Though they were a bit older than quent Homegrown television shows fol - place was a meeting place/hangout for Intravaia, their musical camaraderie was lowed through 1978 on channel 10.” lots of people back then. We also instant. “They were the class of ’72 and I “Where Is San Diego?” also appeared on jammed with Chester Thompson in ‘78 was ’74. When their lead guitarist, Tom the 1978 Homegrown “Best Of.” when he was with Tower of Power. He Costa, quit, I was invited to join them in 1975 saw the group’s “City of Love” stopped in at the club where we were the summer of ‘73 at the age of 17. “ included on that year’s Homegrown playing and we did a few tunes together. “We definitely weren’t bluesy,” notes album, while “Never Walk Away” was [We] jammed with Warren Haynes of the Intravaia. “We started out as a progres - chosen in 1976. Notably that same year Allman Brothers around the same time.” sive rock band. When I joined them, we the group decided to release their own Intravaia also reveals how Listen were listening to Yes, Emerson Lake and record, which resulted in the highly col - neatly dovetails into one of San Diego’s Intravaia today (third from left) with the Eve Selis band

4 San Diego Troubadour • February 2004 ffuullll cciirrccllee n o s d r a h c i R l l i

B Recordially, Lou Curtiss

: o t o h P than I do. I’ve talked to Smokey Rogers, San Diego. The San Diego-Tijuana area Buck Wayne, Cactus Soldi, and other veter - (especially south of the border) became a ans of the San Diego and Southern hot bed of black jazz and blues artists dur - California country music scene. Having a ing the Prohibition Era. Nearly every impor - record shop that deals in roots music and tant black jazz artist, from Jelly Roll Morton having done one kind of roots music radio to Blind Lemon Jefferson, played in clubs show or another for the past 33 years ( Jazz and on the streets of Tijuana. Various water - Roots on Sunday nights, 8-10pm for the ing holes like Agua Caliente and Rosarito past 18 years on KSDS-FM88.3), I’ve talked Beach became playgrounds for the I Have a Dream, Too!!! to a pretty wide variety of musical people Hollywood crowd, the rich and well-born I’m sitting here on Martin Luther King’s and fans of musical people. I’ve talked to crowd, and those who wanted to drink birthday, thinking about dreams that are far many who aren’t around any more. Slim legally. Yet almost nothing has been written less noble than the one he had, but consid - Gaillard once told me a story about how about the scene on either side of the bor - ering what I’ve been up to, and into, for Fats Waller wanted to come to San Diego der. In fact, when they talk about Mexican most of these past 40 years or so, I think and be recorded playing the world’s influences on jazz perhaps they are worth talking about. (Jelly Roll called it I’ve been putting together the music “the Spanish for festivals in San Diego since 1967. Some Tinge”) and blues, of them have gotten a fair amount of they talk like it all acclaim (he said with pride), but none of happened in them have had the kind of budget to afford Texas, even all of the kinds of music that I’d like to though Jelly Roll bring and share with you. Just once, I’d like Morton wrote his to do a festival with the kind of backing Jelly Roll Morton “Kansas City and budget that Street Scene has or, even Stomp” about the better, like the big music festivals in other Kansas City cities, like the New Orleans Jazz and Fats Waller Cantina in Heritage Festival or the Philadelphia Folk Tijuana where putting people in touch with their roots. I even start my own CD label (a long-time Festival. Friends, I’d do a festival that would he played in want to keep doing that right here at 3611 dream of mine). If you have any ideas or flat-out set this city on its ass. I mean, you’d the early ‘20s, Adams Avenue. The property is for sale and would like to become a member of the be talking about it for the next five years. and Smokey if it sells, I hope whoever ends up buying it down trodden landlord class, drop me a I’m not bragging here (well, yes I am, a bit) will let me stay here. I don’t line c/o the San Diego Troubadour or at Folk but I know I could do it and just once want to move and, even Arts. Hopefully you won’t raise my rent and before I give up the ghost on these festi - worse, I don’t want to go out I’ll help keep your city’s musical head in the vals, I’d like to do that. People keep telling of business. I’m not brag - right place. me I need a grant. Well then, help me get ging, but I think this town Lots of bragging and lots of dreams to one. You won’t be sorry. needs me to keep doing contemplate this time around. Dr. King’s A book about San Diego’s musical his - what I do right where I’m dream is taking some time coming true, tory. Lots of people are working on this doing it. I want to keep Folk but we’ve made some progress. My dream idea, and I’ll admit I’ve been toying with Arts Rare Records. I want to takes a lot less work, so hopefully it won’t aspects of it my whole musical life. I can’t Blind Lemon Jefferson keep doing the music for the take as long. tell you who played in what band during Adams Avenue Roots Festival Recordially, the ‘60s or ‘70s, but I’ve been poking largest outdoor organ, but some of (we just booked the great around with roots music in this town since I Thomas Lou Curtiss our more Neanderthalic city fathers Shaw Slim Gaill ard Cumberland Gap fiddler got here in 1951. I’ve been in and out of decided that they didn’t want a black the folk music, country music, rhythm & man’s fingers touching their precious blues scene, and, to a lesser extent, rock ‘n’ Spreckels organ, so Fats went to roll and jazz (mostly as a collector of France and was recorded playing the Buck Wayne records). I’ve interviewed old-time San world’s second largest outdoor organ. Diego bluesmen like Thomas Shaw (who On the record, he is listed as playing came here from Texas in 1934) and Robert “the world’s largest outdoor organ in Jeffrey and jazz men like Fro Brigham, all of Louvre, France.” It could have been whom go back in this town a lot further

Rogers wrote his “Spanish Fandango” Clyde Davenport, about a lady in Rosarito Beach, bringing the Hawks and Spanish Tinge to country music many years Eagles, Ray Bierl, before Freddy Fender and Johnny Kenny Hall, Larry Rodriguez. At any rate, I could go on and Hanks, and lots, on about bits and pieces I could contribute lots more for this to a San Diego musical history. I just want year’s festival on to be sure that such a comprehensive musi - May 1-2) and the cal history includes items from the frontier Adams Avenue era through the beginnings of the recorded Street Fair (the era and to the modern era, and that it last weekend in includes roots music from all these eras too. September). I I’ve been doing what I do (running want to keep Folk Arts Rare Records and the Lou Curtiss doing Jazz Roots Sound Library) for going on 37 years now on KSDS and liner and for the last 26 of those years, I’ve been notes for CDs on at 3611 Adams Avenue. Most of what I do the Country is put people in touch with their roots. I Routes label. I might sell someone an old record that has want to maybe special memories or take old home record - ings — maybe of a wedding or children long-since grown up or grandparents and friends who are no longer with us — from disc or reel-to-reel tape and putting them on cassette (cleaning them up in the process). I’ve made special tapes of every - thing, from songs about trains and automo - biles to songs about chickens and guys named Joe. I’ve found that special song for people, which reminds them of some important event. I enjoy what I do, which is

5 February 2004 • San Diego Troubadour ffrroonntt ppoorrcchh

The Granger Music Hall: National City’s Historic Musical Gem by Paul Hormick the expense of hiring a great musician, Granger enlisted the expertise of such as Vsaye, for an audience of just architect Irving Gill – who had just left three or four persons. the Chicago office of Louis H. Sullivan to ight under the National start his own career in Southern y City Mile of Cars sign sits t e i

c California – to design his dream hall. o

one of San Diego County’s S

l With an interior of polished Port Oxford a c

little-known musical land - i

R r

o cedar, the original music room was con - t s marks. In the shadow of the monument to i H

structed in 1896. Because no supports o

Ford, General Motors, and the Interstate g e

i were built in the ceiling and the floor was Granger Music Hall as it looked in 1898 D

Highway System sits the Granger Music n constructed without girders under the a S

Hall, an auditorium that hosted the most :

o joists, the room was allowed to vibrate and fortune. Growing up in Connecticut building his hall and hiring the greatest t celebrated musicians of a hundred years o h

P with the music, functioning in essence as in a family of ten children, Granger later musicians of the time to perform there. ago, and still today, from time to time, Ralph Granger (4th from left, back row) a large natural amplifier. used the $10,000 inheritance from his reverberates with great music. s s

and friends, National City, 1899. Having designed the larger auditori - e parents to buy a livery stable in r Between 1898 and 1906 nearly every g n

um, which was added in 1898, Gill used Springfield, Massachusetts. In time, o C eminent musician who toured the West f

“This is the only violin recital hall in wall studs sheathed on both sides to cre - o aware of the opportunities opening up in y

Coast played at the Granger Music Hall, r

San Diego,” says Mary Karo, a classical ate an unusual construction that insu - the West, he sold the livery and headed a r b

including violinists Fritz Kreisler, Eugène i L

violinist who serves as a leading member lates the hall from outside noise. for Colorado, where he spent 12 years :

Vsaye, and Alexandre Petschnikoff. o t

of the National City Historical Society. Additionally, the walls are slightly bowed wielding a pickax as he prospected for o h

Among the pianists to perform in the hall P “It’s too bad it’s not better known.” She and do not run parallel to each other; the gold. were Mark Hombourg and Ignacy explains that, as a violin lover, Granger floor is also cantered. All this results in Tiring of the backbreaking work, Paderewsky. was very specific about what he wanted ideal acoustics, particularly for the violin. Granger gave up prospecting and worked This plum red and green shingled in the hall design, one that would The current kitchen and office for a cattle ranch as a fence mender. He structure was built by Ralph Granger, a enhance the voice of a violin. He was spaces once served as a vault that held saved his money and soon bought a gro - self-taught violinist who loved music so also very insistent on certain aspects of Granger’s impressive collection of musi - cery store with a partner, Erl von much that as a young man he spent all the hall’s appearance — the large oval cal instruments. The Hawley Collection, Buddenbock, in Creed, Colorado. Around his savings on a violin. This former gro - windows, for instance, were part of his as it became known, contained master - the time of his marriage to Jesse cer later amassed a fortune so great that, design specifications. pieces built by Steiner, Guarnerius, and Hastings in 1890, he and his partner were besides building the hall, he could afford Stradivarius. When the vault developed approached by two miners who were problems with dampness, Granger sold down on their luck. Restored interior, showing stage and organ the collection to the city of New York.

P grillwork, 1975. h

Although the Granger Music Hall is o t o :

modest by most standards, the original L A 1906 fire that destroyed Granger’s i b

Don Gibson: The Man r decorations were considered quite lav - a house and severely damaged the music r y

ish, especially the large ceiling painting o hall forced him and his family to move, f

C

of allegorical figures that took the painter o settling on Laurel Street. After the fire,

Who Put Pain to Pen n g r

David Samaan a full year to complete. e Granger never took an interest in his s s by Lyle Duplessie Painted in the French Rococo style, the great music hall again, allowing it to sit mural depicts Euterpe, the muse of derelict. After he died in 1938, time and on Gibson, another of Nashville’s music, in an idyllic setting with rosy- vandals added to its deterioration. old guard singer/songwriters, passed cheeked cherubs amid mandolins, tam - In 1953, Granger’s grandson, Lester Ceiling detail D away last November. Like the late bourines, and other musical instruments. Wegeforth, restored the building Johnny Cash, Gibson’s songs epitomized the Steve O’Connor, whose “Suite for With a handful of silver ore to estab - although it remained unused until 1969, best of what country music once represented. Jazz Piano, Bass, and Violin” received its lish their credibility, the two miners pro - when it was facing demolition. A commu - “Sweet Dreams,” “I Can’t Stop Loving You,” 1993 premier in the hall, thinks its posed to the grocers a grub stake, a type nity group was organized to save the hall, and “Oh, Lonesome Me” were just three of appearance enhances the concert expe - of loan that gave the lender rights to and in November of that year it was his 23 top ten country hits. He was 75. rience for the listener. He says, “The hall future earnings of the mine. Buying the moved from 8th and Euclid to Palm and Gibson was born in 1928 in Shelby, has a nice colloquial, homespun feel, grub stake with his partner in the Last 4th, where it remains today. In 1975 the North Carolina. His parents were impoverished sharecroppers. He quit school in second [yet] has a certain sophistication and ele - Chance Mine, Granger was back in the Hall was placed on the National Register grade, reasoning, “The only thing I was any gance. There’s no problem going into the mining business. With the mine’s first of Historic Places. Once it was saved good at was music.” His first foray into coun - performance visually as an audience success, the miners and Buddenbock from the wrecking ball, the hall was used try music came in 1948, when as a teen he member.” He loves the acoustics, adding, sold their interests to Granger, leaving for wedding receptions and as a meeting helped form a band covering the Sons of the “That night [of the premier], the violin just him as sole owner of the mine. He later hall. Starting with a concert in April of Soil, cowboy songs made popular by the Sons sang.” He thinks, however, the hall is dis - sold the mine for an estimated $1,000,000. 1986 by the Allegro String Quartet, the of the Pioneers. Don Gibson 1928-2003 advantaged by its close proximity to the During a stay at the Hotel Del Granger Hall has once again become a Gibson was first spotted as a freeway. Despite the thick walls, noise Coronado, Granger fell in love with place for great music. singer/songwriter in his own right by famed painful experiences — episodes of desponden - from passing cars can interfere with the Southern California. He moved here with Mike Wofford and Holly Hoffman will music publisher Wesley Rose, performing his cy and struggles with alcoholism and drug music. his wife the next year and established perform at the hall, March 14, 2 p.m. For song “Sweet Dreams.” In 1956 “Sweet abuse. He knew of what he wrote, which made for powerful music, but left in its wake a himself as a banker. They settled in information on this and other events at Dreams” became his first top ten national hit. s s e

broken and reclusive man. r National City, finding the tree-lined the Granger Music Hall call 619-660-8184. The song was later recorded by Faron Young, g n Gibson penned over 350 songs. Over o streets preferable to the boom bust whose rendition rose to number two. Shortly C

y f t o the years numerous artists and performers e thereafter, Patsy Cline would immortalize the atmosphere of San Diego to the north. i c y o r S have reinterpreted his music for most every a

r song with her own heart-wrenching treat - His good luck continued to hold. In l b a i c i

genre. Gibson’s tunes have been recorded by L r ment. :

the financial panic of 1893, three San o t o s t

some very un-country type characters, includ - i

Then, as now, recording a chart-topper o H h Diego banks went under. Only Granger’s

P ing Count Basie, Frank Sinatra, Ike and Tina o doesn’t guarantee financial or personal well- g e Turner, Van Morrison, and even Marilyn bank, the Merchant National Bank, i D

being. In June 1957, Gibson was living alone

remained intact. (Coincidentally, the n Manson. In 1983 Gibson was inducted into a in a trailer on the outskirts of Knoxville. As leg - S

:

panic and resultant economic depression o end has it, two of his most recognizable and the Nashville Songwriters’ Hall of Fame and in t o h timeless classics — “I Can’t Stop Loving You” 2001, he was elected to the Country Music was caused when the price of silver, the P and “Oh, Lonesome Me” were written on the Hall of Fame. Music hall interior, 1898 metal that made Granger’s fortune, plum - same day that his television and vacuum Don Gibson left a legacy of timeless meted in value. Prices fell because the cleaner were repossessed. Regarding that day, country music for those who will listen. The hall once boasted an elaborate Sherman Act was repealed and India Gibson had been quoted as saying, “I couldn’t Besides the aforementioned songs, such price - organ with 21,000 pipes and 32 ranks. stopped buying silver.) less musical gems like “Blue, Blue Day,” “Sea have been any closer to the bottom.” Today, behind the small and worn wood - Granger’s income at this point is esti - of Heartbreak,” and “”Lonesome Number Heartbroken, abandoned, down and en stage you can see the organ’s original mated to have been around $5,000 a day; One” helped to set a standard for great coun - out, conflicted, tempted, conscience riddled grillwork. Fluted wooden columns frame that’s back when $5,000 a year was con - — these were the themes of his songs. There try music. It’s unfortunate, however, that the ornately carved wood. sidered a healthy income and before was none of the macho-bravado-narcissism so those who sing, market, and produce today’s The life of Ralph Granger reads like a there was an income tax. With this Bill common in today’s male-dominated country country music have forsaken that standard. music. Unfortunately for Gibson, however, the But being forsaken was an experience that cross between the American legends of Gates-sized wealth he was able to themes of his songs emanated from his own Gibson knew only too well. Horatio Alger and Dickens’ stories of luck indulge his lifelong love of music by Ralph Granger, 1936, two years before his death

6 San Diego Troubadour • February 2004 ffrroonntt ppoorrcchh Saba Follows her Heart by John Philip Wyllie rewarding and challenging, Saba said female guitarists. Their strumming that establishing your own record tends to be smoother. At some point fter earning a degree in label, “is like building something I picked up the percussive style of political science at UCLA, from nothing.” playing from one of the musicians Rancho Bernardo’s Saba that I had been hanging out with.” BAerenji initially intended to enter law Having worked herself into the school. Those plans, however, took a regular rotation at Twiggs, Saba now 180-degree turn a year ago when performs at Lestats as well. Her next the strikingly attractive 24-year-old appearance there is February 20. She singer/songwriter first stepped on to also ventures north to play in L.A. on the stage at Twiggs coffee house in occasion, usually about once a University Heights. A little voice month. She has an interesting per - inside of her had been nudging her spective on both cities. in a different direction for some time. “L.A. is, of course, a much big - Finally, in the winter of 2002, she Saba and Angela Correa perform at Lestats ger city and there are about five mil - decided to take the plunge. lion people trying to get a show. It is “I’ve been playing seriously for Heavily influenced by Ani very cut-throat and very much about about a year, but I started doing DiFranco as well as local stars Lisa how many people you can bring in. open mics a few months before Sanders, Gregory Page, and Steve If you can’t bring in at least 30 peo - that,” Berenji said following her most Poltz, Saba borrows nuances from ple, most venues won’t ask you recent Twiggs engagement on each and incorporates them into her back.” December 26. “I feel a lot more music. L.A. may be the entertainment comfortable now than I did when I “It is hard to come up with capital of the world, but Saba prefers started. At first I was literally ill to the something that you feel is complete - playing here in America’s finest city. point where I was almost ready to ly original. On the local scene there “San Diego is very open to new home or up in L.A., Saba never become my good luck charm. Since vomit. Like anything else, with prac - are a lot of different musicians. By musicians. Here, you can get a regu - appears on stage without her then, I have taken it everywhere.” tice you become a lot more comfort - watching them, you can draw some - lar show even if you don’t pull in 30 Princess Leia Pez dispenser. With Saba’s journey just beginning, able.” With her stage fright jitters thing from each one. You can take a people every time. The focus in L.A. “Somebody handed that to me there is no telling where she and now a thing of the past, Saba, as she particular characteristic or the way in is on the whole package, including when I was doing a show up in L.A,” Princess Leia may eventually end up. is known professionally, is carrying which someone plays and then turn the look. Down here it is more about she revealed. “I was losing my voice, on the family tradition. it into something that is yours,” Saba the music than it is about looking or but after they gave that to me I man - “My parents emigrated from said. “What makes me different is my acting like a rock star.” aged to regain it. I was able to sing Iran in 1976,” she explained. “My guitar style. I don’t play like most Whether performing close to throughout the whole set. It has dad played the guitar and my mom sang with him in a band. That’s how they met. I was born in Connecticut, but we moved to San Diego about six months later. Inheriting her moth - er’s beautiful voice and her father’s Louie and Morin: guitar-playing ability, Saba developed her own musical style. While a full- time job as an administrative assis - tant in an appraisal firm limits her A New Spin on Classic Tunes musical endeavors, Saba never ven - tures too far from her guitar. billy fan. He had a pretty strange especially in their churches,” she says. “When I get 10 or 15 minutes, I record collection, at least for a white She was also influenced by the Latino just sit with my guitar and start guy,” says Morin. “Mom listened to children in her school and began strumming some chords,” she orchestral music. She had 33s and 16s singing Ranchera music. explained. “I’ll come up with a pro - of Tchaikovsky and other classical The musical masala of her gression that I like and then I’ll start composers.” upbringing comes through in her voice babbling over the chords. Slowly, As for those who have influenced today, a voice that can range from big verses will come out with words that his vocal styling, Morin names Johnny full-tilt boogie to soft, lilting ballads. make sense. For me, the music Mercer and Hoagy Carmichael. As a featured vocalist, her versatility is always comes first and then the “Everything that Carmichael sang shines on Steve White’s Better Days lyrics. Sometimes it takes months to seemed so effortless,” he explains. He CD, going from the tender, haunting complete a song. I’ll start one and also admires Dean Martin for the vocals of “La Sirena Negra” to her rap then I’ll set it aside. Other times a strength of the Rat Packer’s voice. Español on “Kung Fu Chopper Pilot.” song will just pop out in five min - Morin has performed ever since high Through a large part of the nineties she utes, but those are more rare. [The school, when he joined a pop/rock teamed up with singer/songwriter Paul process] usually takes about a week.” band. He then did his part to keep Henry, performing his songs in San Saba released her first collection tikis and cocktails with little umbrellas Diego’s cafes and coffeehouses. She of songs last March, a five-song EP on America’s patios by playing ukulele plans on continuing to perform some with Pete Auclaire and his Polynesian of Henry’s songs with Morin. titled Letters to Doe, as in John Doe. as blues and Ernest Tubb as jazz,” he Serenaders. And somehow or other he Louie and Morin will be at the In it, she sings about love, pain, and says. He cites Ray Charles’ album, The by Paul Hormick found himself playing Dobro with the Golden Goose in Lakeside on February relationships using thoughtfully con - Modern Sounds of Country Music , as an ever youthful Merry Prankster Gypsy 6; at Twiggs, sharing the bill with Joe structed melodies and a voice that example of the jazz and blues interpre - “We want to be known as bluesy Boots in a band named Sherwin Rathburn, on February 20; and open - projects vulnerability, sadness, and tations he and Corredor want to try on rootsified white singers,” says Luisa Williams and the Chemtones. ing for the film Where Is Clem? at longing. Having a virtually non-exis - the songs of Hoagy Carmichael, Hank Corredor, as she describes the duo she Corredor started performing Lestats on March 7. tent budget, she was somehow able Williams, and Patsy Cline. has formed with Jeffrey Joe Morin, call - semiprofessionally at the age of seven, to put together a quality product Corredor and Morin met up when ing themselves Louie and Morin. These when she sang songs of the British with the help and generosity of some they both sang in Dr. Gabe Weiss’ two veterans of the San Diego music Isles and madrigals with her family in friends. In the process, she created Millennium Big Band. With the passing scene have joined forces to put a new Los Angeles at folk cafes and renais - Spinster Records, her own record of the millennium and the passing of spin on the classic songs of country, sance fairs. She cites an important part label. the swing fad, they went their separate Broadway, and Tin Pan Alley – all the of her musical development when, as a ways. On occasion, however, they “We recorded it in someone’s songs you know, and even your par - result of moving with her family when would see each other by way of some room and used everything in sight to ents know, by heart. she was in sixth grade, she wound up of the local folk circles and found that make it work. In fact, we used a pair In a process he calls degenrefica - being the only white kid in her new their voices worked well together. of purple pantyhose for a vocal mic tion, Morin says he and Corredor try school. The next year, when she was Morin’s love affair with music filter at one point. It was interesting to bring freshness to these old songs. “I 13, Corredor sang in the choir of a began with his parents’ record collec - and fun, and it took about three want to extricate a song from its place black church. “There is more expres - tion. “My father was a blues and rocka - months to record. Calling it both in history. I want to do Hank Williams sion in the African-American culture,

7 February 2004 • San Diego Troubadour ppaarrlloorr sshhoowwccaassee

by John Philip Wyllie

“My last CD eing a well-known sports celebrity can (Highway Song) cost my open a lot of doors long after the last ssoonn ooff aa pprreeaacchheerr mmaann record company a lot of touchdown has been scored, the last slap money to produce,” shot has been fired, and the last pitch has Flannery explained. “This been thrown. In every major American city time around we wanted there are former athletes serving as sports - B to do it in an affordable casters, opening restaurants, and hawking TTiimm FFllaannnneerryy way. I wanted it exactly everything from soup to nuts as they carry the respect earned how I hear it, not the way on the field into their post-career endeavors. While Tim that a record label might Flannery, former Major League infielder, remains one of the want it, or a radio station most popular San Diego Padres of all time, Tim Flannery, the might want it to fit their singer/songwriter, sees his hard-earned reputation as more of format. I wanted to make a double-edged sword. this one for our fans, the people “Having been a baseball player will help you to get into a who come out and listen to our local bar to play, but to take our music to the levels we have music and know where we are had to forge our way through, it doesn’t. When people [in the coming from. There is equipment music world] hear that you were once a baseball player, they out there now that levels the play - often cringe,” Flannery said while putting the finishing touches ing field. You don’t need a giant on his sixth and latest CD titled Kentucky Towns . budget and a big record label to No longer encumbered with concerns about who is on make good records anymore.” first, Flannery has devoted much of the past year to his music. While Flannery’s 2001 Highway His single-minded focus has been in capturing the down Song had a strong bluegrass influ - home bluegrass sound that has always been a part of his life. ence, it was more eclectic in nature. “I wanted to record an album exactly as I hear it in my His “Baseball Song” drove home the head,” he explained. “This is both a traditional and a contem - disillusionment many feel toward mod - porary bluegrass album about faith and hope. It’s a spiritual ern-day baseball. “Island Song,” a Hawaiian record that tells it the way my family lived it in the back hills of slack-key inspired number, spoke of the sim - Kentucky.” pler life enjoyed while surfing on Tavarua. This Determined to distill the essential elements of the high time around, Flannery narrows his focus to the blue - lonesome sound on to disk, Flannery recruited his multi-talent - grass music his Kentucky ancestors have enjoyed for ed “Medicine Show” bandmate, Dennis Caplinger, to produce centuries. the project. Caplinger, a virtuoso fiddle, mandolin, banjo, “Bluegrass music isn’t the flavor of the month,” Flannery dobro, and guitar player, also has an impressive resume of said. “The shelf life of this music is forever. Somebody will be recording experience to his credit. He can navigate his way able to pick this up 100 years from now and say that is the through the complexities of a recording studio as effortlessly way this music is supposed to be as he glides up and down an instrument’s fin - played. For the most part, it’s just stand- gerboard. And few people understand the up bass, banjo, fiddle, mandolin, accor - interplay and interaction that takes place The title track, “Kentucky dion, and some family hillbilly har - among the various bluegrass instruments as Towns,” provided the early impetus for the project monies. There is a common thread from well as Caplinger. On Kentucky Towns Flannery when it was penned about a year ago. It came about when the first note to the last of what we are takes full advantage of Caplinger’s versatility, Flannery, after several years, opened the Bible that had been trying to capture. I’ve got tons of other and this one-man Bluegrass band shines at given to him following the death of his father in 1999. Ragon songs I could have recorded, but this every turn. Flannery was a well-known Christian minister who preached time I only wanted to include the songs Caplinger heads a stellar lineup that initially in rural Athens, Kentucky and then later in Anaheim, that would fit into this album.” includes highly regarded bass player, Bill California. Having his brother and lifelong Bryson from Caplinger’s own Bluegrass Etc. (as “At the time (of his death after a long battle with singing companion available makes it a well as the Desert Rose Band) and Flannery Alzheimer’s Disease), I didn’t want to look at it, I was on the lot easier to sing the family harmonies Band regulars Jeff Berkley (Berkley Hart), Doug other side of the grieving process,” Flannery explained. “I’d Flannery so enjoys. Whyte handles the Pettibone (Lucinda Williams), Sharon Whyte been through it all, but a while back, I pulled it out and third-part harmonies that Flannery’s (Eve Selis Band), and Tom Flannery (Tim’s looked through it. In the back were 15 pages of names. They older sister once sang. She also embell - younger brother). Together, they have record - were the names of the people my dad had baptized. I was ishes the overall sound with her ed a collection of 13 songs divided among 10 moved by the fact that this hillbilly from the mountains of accordion. tracks, seven of which were penned by Flannery during his Padre days. Kentucky had made it out to the West Coast to become one of Flannery. the great Christian ministers and a well-known figure in that “From the first note to the last, I have never been more proud of what I have done,” Flannery said. “It probably won’t get a lot of airplay other than on bluegrass stations and it’s not going to be for the mainstream, but I don’t care. This is the music I want to be remembered for.” Seeking total control over this record, Flannery decided to forgo the often stressful environment of a big recording stu - dio where time is money and the clock is always ticking. He opted instead to use the comfortable surrounds of Caplinger’s in-home mini-studio. And while he admits to nearly driving Caplinger crazy with his perfectionism, the additional studio time he gained allowed him to capture exactly what he was looking for. Flannery with Steve Poltz and Jeff Berkley Flannery and his van, which reads “Kids Rule”

8 San Diego Troubadour • February 2004 ppaarrlloorr sshhoowwccaassee

Flannery brothers an opportunity to explore the vocal har - monies they have been cultivating for more than three decades with a unique arrangement. ssoonn ooff aa pprreeaacchheerr mmaann Heard for the first time are songs like “Judas Kiss,” written the day after Flannery was released by the Padres and a song called “Living Stream.” The former is a song about forgiveness while in the latter he sings about God’s grace. TTiimm FFllaannnneerryy Included also are a couple of instrumental tracks. On one Caplinger pulls out his fiddle and bow and goes to town. “Dennis smokes on that one,” Flannery said. While it isn’t accurate to pigeon hole Flannery as a Christian performer — he thinks of himself as more of a spiritual than a religious per - son — his music remains popular within the Christian community. “A lot of bluegrass music has spiritual ties. This is a very spiritual record and it has been very healing for me,” Flannery said. In November he was invited to perform at several Orange County churches. “A few weeks ago we played at the Huntington Beach First Christian Church, which is one of the biggest Christian churches on the West Coast. Driving up there, I was won - dering what it was going to be like, but I was blown away by the response. I brought along 200 CDs and they were all sold before the first service was over. I had no idea that would happen.” Flannery doesn’t know what the future holds, either musi - cally or for the prospects of rekindling his baseball career. It is world. Kentucky Towns is clear that his passion for both has never waned. He was Flannery’s father baptizing in Kentucky about all the places and people he visit - recently invited to Arizona by the Padres to help out with ed and how he changed their lives.” spring training and he intends to go. But his future in baseball Sometime later, Flannery decided to do an entire album beyond that is less certain. of songs dealing with the Appalachian culture his father was “The Padres asked me to come to camp so that I can born into and that he himself was familiar with through family work with some of their young kids. I am anxious to see how stories and childhood visits. that will work out. And while I’m there, I’ll do shows in Several of the songs included will be familiar to Phoenix and Cave Creek.” “Medicine Show” regulars of the last few years. The updated Flannery takes life as it comes, remains full of enthusiasm versions transform the songs utilizing different arrangements, and optimism, and lives very much in the present. different keys and different musical elements. “It’s been great to be able to play music year-round and “Foot of the Cross,” originally recorded for 1999’s Pieces it has been fun to evolve (as a band). Being able to do that of the Past , features Molly Andrews from the cast of Fire on has taken us to new levels. I’ve also enjoyed baseball more the Mountain, using her incredible voice to do an a cappella during the last season because it was no longer affecting my lead in. She then brings the song to a moving end by playing life. I hated losing and getting beat in game after game. I a mountain dulcimer solo. couldn’t have gone through another season of losing 98 Flannery with Dennis Caplinger, brother Tom Flannery, and Sharon Whyte “Molly Graham,” Flannery’s “traditional” Irish song, which games. It was getting really unhealthy.” was previously only available only as a live version on 2000’s Flannery will turn his annual El Cajon East County Tim Flannery and Friends, has also been redone for this CD. Performing Arts Show [on Feb. 7) into a Kentucky Towns CD And Flannery fans will recognize Gillian Welch’s “By the Mark” release party. His magnetic personality will once again attract and Flannery’s own “He Ain’t Coming Down the Mountain” as some of the area’s best singing/songwriters to appear with recent staples from his popular Medicine Show concerts. him. Performers such as Randi Driscoll, Steve Poltz, Berkley Having long interpreted other people’s music while at Hart, and Eve Selis are sure to be invited along with his afore - the same time writing his own, Flannery tips his hat this time mentioned regular crew. Chuck Brodsky and the legendary around to the father of modern bluegrass music, Bill Monroe, Jack Tempchin, who wrote several of the Eagles’ best-known with an inspired version of Monroe’s classic “Kentucky Waltz.” hits, will round out what should be an exciting evening of He also covers a song by Del Mar singer/songwriter Chris entertainment. Stuart called “Road Into Town.” From there, Flannery will hit the promotional trail per - “When I first heard it, I thought it sounded like something forming at least 18 shows in rapid succession in support of I might have written. I love [Stuart’s] music,” Flannery said. the new album. While he knows that will be taxing, he is The traditional “Bury Me Beneath the Willows” gives the excited to begin. “I’d play every night if I could,” Flannery said. “There is nothing that brings me so much joy at this point in my life other than my family.”

9 February 2004 • San Diego Troubadour rraammbblliinn’’

Bluegrass CORNER by Dwight Worden BLUEGRASS FESTIVALS val attendees play in these informal jams Believe it or not, the bluegrass festival is throughout the whole festival and never a relatively recent phenomenon. visit the main stage! These pickers con - Bluegrass music, while popular in the sider jamming to be the main festival by Sven-Erik Seaholm Sound familiar? Maybe it would if 1940s and into the 1950s, began to suffer attraction. Even if you’re not a player but you substituted your favorite musical enjoy listening, be sure to visit the jams. financially in the late 1950s and 1960s. artists and producer’s names for those There are three prominent festivals Smell the Revolution Record sales and concert attendance of the directors listed above, and your dropped due to the new electrified music within easy access to San Diego. was watching a DVD the other favorite albums instead of movies. How called rock ‘n’ roll, which was becoming night called A Decade Under The about now? Here are some more ques - popular. Concert attendance and record Influence . It’s a documentary about sales for bluegrass bands was in trouble I tions: Why do you make music? Is it filmmaking in the ’70s, detailing the as the 1960s came to a close, although artistic expression and contribution zenith and subsequent commercial fall and the ability to nurture and explore as a true American form of music, it toward the furthering of your chosen of independent American cinema in them far from the calculated eye of The remained strong on the porches and in craft, or is it your main objective to the span of just 10 years. Man. Movies are prohibitively expen - the living rooms of the people. In the “get signed”? The film shows us an America dou - sive ventures compared to music and it early 1970s the bluegrass festival was Oh yes, there it is: the S-word. bled over from the growing pains of seems like each day, more tools of our born. This was a new idea that brought Look, don’t get me wrong. I want to be social activism. Freshly arrived from the trade our made available to us even several bands together for a multi-day able to deliver my work to the largest festival of concerts, camping, and related Summergrass festival grounds front lines of the civil rights movement more inexpensively. What this means is audience possible, and I’d like to be activities. Following the success of the and encouraged by the “Summer of that we now have more control over paid big piles of money for doing what first few festivals, others sprang up Summergrass San Diego , August 20-22, Love” and its emphasis on free think - our art than those who have come I love. But at what cost?’ across the country and proved to be so at the Antique Gas and Steam Engine ing, our country’s people had begun to before us, and that our decisions popular that bluegrass festivals are now Museum, Vista. Summergrass has on-site Let’s say you’re a diehard blues ask questions of its leaders. These ques - regarding our work can come from a considered the preeminent place for the camping, lots of vendors, a great lineup artist and The Record Company offers tions covered everything from our place of love and unique expression. presentation of bluegrass music and the of bands for 2004 (see www.summer - you all these things with the caveat involvement in Vietnam to women’s This column will endeavor to festival circuit has become the mainstay grass.net), music workshops, great food, that you’ll be making your music their rights, and of course there was a whole empower you with knowledge of the of its financial success. Folks like the jamming, a raffle, and a kids music camp way. Let’s further suppose that their sexual revolution to deal with. tools and techniques available to aspir - outdoor atmosphere, the camping and this year. Admission is $13 per day in way is in the form of some sort of tech - This dialogue manifested itself in ing songwriters, recording artists, engi - food, the picnic atmosphere, and the advance, $15 at the gate. All this in a no-dance music, and that you will have chance to beautiful and interesting setting within an the works of maverick directors and neers, and producers. The title The Zen very little input as to how the end hear lots of easy hour’s drive from most anywhere in producers of that era. This was the first of Recording comes from a book I’m product will sound. Don’t forget that great the county. time we were hearing names like working on, which deals with these solid two years of touring where you acoustic Julian Bluegrass Festival , September 18- Cassavetes, Scorsese, Ashby, Altman, very things and should not be confused music. It’s not get to recreate that unintended vision 19. Julian also has a great lineup of and Coppola. The passage of time with excellent former technical colum - an under - night after grueling night, just so you bands this year (see www.julianblue - makes it easy to forget that such clas - nist Paul Abbott’s company, Zen statement to grassfestival.com) and includes work - can make enough money to pay back sics as Easy Rider , Midnight Cowboy , The Mastering. say that the shops for musicians and a raffle. Last the production and promotional French Connection , Deliverance , Taxi There is indeed a whole new move - festival move - year they had a fiddle, guitar, mandolin, expenses of music you don’t care about Driver , The Godfather , Apocalypse Now , ment afoot. Send me an email and let ment rescued and banjo contest which we hope will be anymore. bluegrass repeated this year. Admission is also $13 and Being There were once considered me know what you'd like to see cov - Byron Berline at Summergrass Sound like a cynical over-exaggera - financially. the groundbreaking, taboo-busting ered. As we like to say in the Gandhi in advance and $15 at the gate. There is tion? Could be, I suppose. There are So, what’s the big attraction? What work of artistic rebels. Method, “Wake up and smell the revo - no camping on site, but there is camping certainly a few artists who can be happens at a typical bluegrass festival? in the Julian area. The festival site is As people began to get their fill of lution.” pointed out as being in command of First, most are family oriented–like large about an hour and a half from downtown all these “reality”-based themes, outdoor picnics for the whole family. their own artistic destiny, but for each San Diego. escapism once again reared its empty Sven-Erik Seaholm is an award-winning Second, the music is acoustic. Typically one of them, there are undoubtedly Temecula Festival , March 20-21. The head, and things subsequently began to recording artist and producer who writes alcohol is not sold, but beer might be hundreds of thousands of equally tal - Temecula festival has an excellent band and performs with the Gandhi Method and sold in a beer garden area. take a nasty turn in the latter part of lineup as well as camping [www.temecu - ented but, as yet, undiscovered artists the Wild Truth when he isn’t working with Most festivals, in addition to featuring the decade with the mega-success of lacalifornia.com]. toiling away in seedy dives and apart - other artists through his company, Kitsch Spielberg’s Jaws and Lucas’ Star Wars . a number of bluegrass bands, provide ment studios everywhere. The real dif - & Sync Production (www.kaspro.com). workshops for musicians with instruc - For those willing to drive a little far - The staggering amounts of moneys gen - ther, the Huck Finn Jubilee Festival in ference is in the cost of these pursuits tional seminars for festival attendees erated from these kinds of film “fran - Victorville is about three hours from San conducted by the performers. These usu - chises” and their accompanying mer - ally cover the core bluegrass instru - Diego by car and is generally considered one of the premier national bluegrass chandising revenues brought a much ments— banjo, guitar, bass, fiddle, man - larger corporate involvement to bear. dolin, and sometimes dobro—and often festivals. In 2003 it was voted “best Suddenly, the smallest courtesies once cover singing as well. The workshops are national festival” by the International extended by producers and studio usually conducted by some of the top Bluegrass Music Association. Held this musicians performing at that festival. year June 18-20 at the Mojave Regional heads were now the domain of corpo - Access to the workshops is usually Park, the festival includes camping, ven - rate boardrooms and accounting firms, included in the cost of admission. dors, kids activities, and top-of-the-line and final cuts were left to the mercy of There is likely to be a “slow jam” or music [www.huckfinn.com]. Advance test audience opinions. Hello tickets are $55. It can be hot in Victorville introductory workshop for beginners financial success…bye, bye artistic in June, but Mojave Regional Park is a interested in learning how to play and freedom. how to jam in a group. Some festivals nice setting with good shade. provide children’s activities, such as Think you might enjoy a bluegrass magicians or other entertainment. And festival? Try one and I’ll bet you’ll be some, like Summergrass 2004, have a hooked. Bring the family, bring your music academy for kids with several instrument for some jamming, or bring hours of instruction each day and an your ears for some listening. If you’re not opportunity for the kids to perform on sure how the family will like it, come for stage with their instructors at the end of the day to a local festival like class. I’ll tell you more about this sum - Summergrass and try it out. I’ll bet you’ll mergrass Kid’s Camp activity in a future be back! column. A major festival attraction is the jam - ming and camping. Festivals large and small see large groups of RVs and tent campers circle their wagons and pick informally into the wee hours. There is nothing quite like wandering around the camping area of a festival in the evening after listening to a great stage perform - ance and listening, or joining in, with the many informal jam sessions. Many festi - Raffle prizes at Summergrass 2003

10 San Diego Troubadour • February 2004 ramblin’

Hosing Down Radio Daze n

by José Sinatra o t s e W a walkie-talkie in his hand, and a huge n by Jim McInnes o v

What comes around goes

s gold ring with the letters “B.B.” spelled t o

around. Tune in, turn on, drop o

T out in diamonds on his right hand. Oh

: o out. I could care less. t my God! B.B. King! o Meet the Stars! h Wake up, people! Stop mur - P STORIES FROM RADIO , THE BOTTOM He was very gracious and down to dering these perfectly valid sen - RUNG OF THE SHOW BUSINESS LADDER earth. When he flubbed some lines I timents with your careless, lazy, chided him, reminding him that he was once a disk jockey, too. B.B. then pulled stupid revisions! ecause I’ve been a broadcaster for Jim McInnes For the record, ladies and so long, I’m often asked whether his glasses down the slope of his nose, looked me straight in the eyes and, as if gentlemen, the real deals are, BI’ve met a certain celebrity or pal, Lawrence of Bolivia. Seger and his to deny that part of his past, said, “THAT and should remain, as follow: “What is so-and-so really like?” That’s band gave us that knowing look as they why, beginning this month, I’m dropping was a long time ago!” What goes around comes went onstage and did what they later The debonair Mr. Sinatra names and telling it like it was! around. John Hammond A college friend thought of as the best set they’d done turned me onto the blues when he put on the entire tour. Turn on, tune in, drop out. however, that I didn’t define B.B. King Between 1986 and 1991 I John Hammond’s version of “So Many Bob Seger remains one of the most I couldn’t care less. what “it” was. Perhaps it was hosted a syndicated radio comedy show, Live from the Improvisation , produced by Roads” on his turntable and told me to down-to-earth, hardest-working musi - Oh, yeah, and there’s a pro - simply forgoing one of my daily Larry Harris. Harris was the co-founder “listen to this guitar player!” That gui - cians I’ve ever met. nounced “axe” in the word pedicures. I’ve always found that (with Neil Bogart) of Casablanca Records, tarist was Robbie Robertson. That album Ian Anderson The leader of Jethro Tull “accessories.” Amen for now. a bit of mysterious ambivalence the label responsible for Donna Summer changed my life. is one of the most articulate pop stars I adds luster to my celebrity pati - There’s another old maxim and Kiss. Larry was also a huge blues fan I met John Hammond in 1972, when have had the pleasure to meet. I inter - na. Yes, today I raise the ante that’s usually correctly stated but and had signed B.B. King to host the syn - I emceed one of his solo shows at the viewed Anderson via telephone a few is rarely examined, and that’s a substantially . . . a reflection, if dicated B.B. King Blues Hour . One week in University of Wisconsin in Madison. I had times before meeting him in person. pity, since its fallibility is so easi - you will, of my expanding bounty, 1991, Harris’ regular engineer was expected a cocky and confident rich guy Those early phone chats were an inter - ly exposed. It has to do with put - my urgent need to help in any unavailable to record King’s voice parts, (I think he’s an heir to a piece of the viewer's dream because Anderson chat - ting away childish things as one way I can. I fully realize that this so I was asked to do the job. I agreed Vanderbilt fortune), but Hammond was ted comfortably about any subject that very shy, stuttered, and tended to avoid matures. Now, call me a loon, largess will not be without pit - immediately! Who wouldn’t? I asked came up (unlike many rockers whose eye contact. He’s for real. but I’ve found that the childish falls, but the entire world knows Harris what to do. He replied, “B.B. is vocabularies consisted of grunts, profani - staying at the Hilton. I’ll fax you the Now, when I hear John Hammond game of playing “Doctor” only that I am nothing if not coura - ties, and monosyllabic answers). When I script. You’re on your own.” Great! I was sing, I really believe him. was offered an opportunity to have Ian improves with age. So, in at least geous. And my office hours are supposed to do some recording with one Bob Seger I met Seger and his Silver Anderson as my in-studio guest, I was one respect, I’m quite deter - quite liberal. Feel free to contact of the giants of American music and all I Bullet Band backstage at the Sports thrilled. He came to the studio on a me through this paper. Just think mined to never grow up. And I’m knew was that he was at the Hilton. I had Arena. It was late in 1976 and Seger was Sunday afternoon, his flute and a of Dr. Hose, hum the Young loathe to “adapt” to certain no secret password. He wasn’t registered on tour, opening for Ozzy/Black Sabbath adjustments to the game. Rascals’ “Good Loving” and under a pseudonym. There was no while promoting his Night Moves album. Surgical gloves? Give me a allow your fingers to do the manager nor a representative for me My friend Randy, a.k.a. Dark Fader, and I break. That’s like wearing a rain - walking. to contact. walked into Bob’s dressing room before coat in a thunderstorm. Or some - Speaking of Fingers (and the I went to the registration desk at the the concert (security was more relaxed thing like that . . . Speedsters and the Beat Hilton. On a whim I asked, “Which room 28 years ago). We began chatting with Anyway, who am I to curtail Farmers and Powerthud), I is Mr. King in?” I was astonished when the band. Seger and I talked for quite a the woman replied, “Do you mean B.B my need for anatomical knowl - received a call from the very while about being from Michigan (I was King?” I said, “Yes, the B.B. KING!”. born in Detroit), the Midwest music edge as it concerns the female awesome Joey Harris, who Without hesitation, she said, “He’s in scene (which was terrific but unappreci - of my own species? If this is asked the Hose to join him as his room 224…second floor, to the right.” ated beyond Wisconsin, Illinois, Indiana, first celebrity guest at Tio Leos Rubbing elbows with Ian Anderson childish, mon frère , let me As I walked to room 224, I thought, “No and Michigan), and the rigors of touring. for The Joey Show on February remain an eternal youth, playing forkin’ way! Can you imagine any other The band complained of being burned portable CD player in hand. I stuck a the game of life, where both par - 27. Be there or be very childish. superstar being THAT EASY TO FIND?” out from the many months they’d been microphone in front of him and ran a ticipants are sure to be winners. Or, of you’re still legally a child After a couple “shave-and-a-haircut” on the road, adding that they were glad cord from his CD player to the console. Ah, but in life, there are sure and can’t cop a fake I.D., you knocks on 224, the door opened and I that the San Diego show was the last of Anderson had a CD of full-band backing to be losers as well. Too many have a lot of growing up to do. If was face to face with a refrigerator-sized the tour. Since it WAS the 1970s, we tracks, over which he'd play the flute and celebrities seem too anxious to your name is Britney Spears, I’ll guy who had reading glasses on his nose, introduced everyone in the band to our sing. It was like a 90-minute Jethro Tull grow up too quickly. Britney get you in free. And you can all concert right there in our cramped little Spears recently felt it necessary be my guests the following night, radio studio! Last September, Ian Anderson to actually get married for a few February 28, when José Sinatra appeared at the East County Performing hours, ending up divorced and and the Troy Dante Inferno bring Arts Center in El Cajon. I was selected to our love-sharing to Claire de pathetically alone. be on stage with him for his entire show, Lune in North Park. The opportu - A few sessions with Dr. Hose called “Rubbing Elbows with Ian could have surely saved her from nity of allowing yourself to be Anderson,” and played “Ed McMahon” this indignity. Perhaps there is touched in a very special way at to his “Johnny Carson.” It was a memo - still hope; I’ll go on record today each of these soirees will, I’m rable night for a rock star wannabe like to offer my services to put a sure, be exactly what the myself to be a part of the real thing! spark of direction … of joy … of doctor ordered. To be continued. Next month: Ray youth back into her life. If she And a very happy 18th Manzarek, Iggy Pop, and more celebrities accepts my offer, I’ll promise her birthday to my beloved muse, who wouldn't know me if they tripped over me. a big gig right here in San Diego Elaina Sword. The gloves will as early as — oh, let’s say remain off. March 2nd or so. After that, Honeybuns, the sky’s the limit. Why do I do this? Because of my youthful urge to help those in trouble, especially if they meet certain criteria — what I call the three Ws: well-known, womanly, and washed. That’s all. Now, it’s well-known that I once stated that if I could help just one per - son, it’s all worthwhile. Note,

11 February 2004 • San Diego Troubadour tthhee hhiigghhwwaayy’’ss ssoonngg

Soiree for Steel String Guitar Lovers by Sandy Beesley rehearsed and planned ensemble. So Gambetta and Crary went to his month acoustic steel work to recruit co-conspirators in string guitar lovers are in this guitar (so they hoped) extrava - T for a real treat. On February ganza. An obvious choice from the 13 the Carlsbad Village Theatre in celtic world was Tony McManus, North County will come alive with renowned as the leading interna - a dazzling display of musicianship, tional guitarist of the genre. Tony courtesy of the Men of Steel. This said yes and the search continued. is a power ensemble that brings Initially they wanted to focus on together four of the most dynamic flat-picking because of its dynamics guitar artists in the world, each and adaptability to ensemble play - player a master of the acoustic gui - ing. But when Canadian Don Ross tar, who combine their talents into was suggested, it was no great leap one amazing band. Dan Crary from that this fingerpicker was as power - the U.S., Beppe Gambetta from ful and adaptable as they come and Italy, Tony McManus from would be a great asset. Don said Scotland, and Don Ross from yes and the group was complete. Canada play music as diverse as Last February, Beppe, Tony, their cultures, taking their audi - Don, and Dan flew to Oregon and ences on a spellbinding journey gathered in the little coastal town into a world of Celtic, blues, folk, of Depoe Bay, for what Crary traditional, and original music. An describes as a “boot camp” style evening with the Men of Steel is rehearsal that lasted several days, charming, dazzling, funny, and followed by a concert delivered unforgettable, with vocals and twice in one night, and recorded instrumentals that hint at their live for a CD release. In this way, diverse cultural backgrounds. It the Men of Steel were forged out of promises to be a truly unique expe - a deep love of the guitar and a lit - rience. Men of Steel (standing, left to right) Tony McManus, Don Ross, Beppe Gambette, and (seated) Dan Crary tle chaos. By April of 2003 they Critics have applauded both had completed a European tour, their live performances and their cal music that I wanted more…I Crary is recognized as one of the Aboriginal mother, Ross grew up garnered rave reviews and estab - first CD. The Edinburgh News pro - just wanted more of the whole founders of the flat-picking guitar around a diversity of music. He lished themselves as one of the nounced them “impeccable….” thing.” technique. Crary weaves jazz, was already experimenting with most interesting, varied, and Brian Miller of Celtic Roots (BBC blues, Celtic, classical, and folk alternate tunings and writing origi - dynamic guitar ensembles of the The Players online) declared that “all four together with memorable stories nal music at age 10. He won the world. players are virtuosi, with character - Beppe Gambetta ’s distinctive that audiences love. Still blazing U.S. National Fingerstyle Guitar t l istic and individual styles … sound is a multi-cultural tapestry u

new musical trails, he blends tradi - Championship in Winfield an a v

of traditional, original and classical o unfolding seemingly endless com - tional material from a variety of unprecedented two times. Whether C

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music reflecting a colorful mosaic v binations of instrument and style e American sources with original he’s singing a tender Acadian bal - t S

of musical influences. . . from his : …and an obvious love of music o

compositions, vocals with powerful lad or playing a blazing instrumen - t o

native Genova, Italy to central h making to produce an unforget - instrumental showcases. Dan Crary tal, it is clear that Ross’ unclassifi - P table listening experience.” Of European dance tunes, Celtic makes the possibilities of the guitar able musical style is his own, bor - their CD, Live: Men of Steel , Dave music, American bluegrass and come alive in every rowing from Higgs of Nashville Public Radio’s more. Gambetta, who plays both dazzling perform - jazz, folk, rock, Bluegrass Breakdown wrote, “…the flat-picking and classical fingerstyle ance. and classical. As music is simply mouth-wateringly guitar, is acknowledged as Europe’s one of the most Tony McManus sublime” and “…the performances premier guitar stylist. respected musi - has long been are hard-hitting and powerful.” cians in Dan Crary is a musical legend. applauded for his Brian Miller summed it all up by Canada, Ross Now in his 50th year of perform - uncanny ability to describing it as “such exciting, var - usually pigeon - ing internationally, Kansas-born transpose the deli - The charming Carlsbad Village ied, satisfying and downright musi - holes his music cate, complex orna - Theatre as “heavy mentation charac - wood”! Guitar Workshops with the Men of Steel teristics of tradi - tional bagpipe or Beginnings Saturday, February 14, 11am-4pm Men of Steel fiddle tunes onto The idea behind Friday, February 13, 8pm Thunderation Music presents a rare chance to learn from three amazing guitar strings. Born the Men of Carlsbad Village Theatre masters of the acoustic guitar, all in one location. Beginners and advanced near Glasgow, Steel was Beppe 2822 State St., Carlsbad players alike can enhance their playing in a close-up, hands-on seminar — Scotland, Tony’s Gambetta’s. In 760/720-2460 not just lectures, but an interactive opportunity to learn from internationally fiendishly dexter - late 2001, while www.carlsbadvillagetheatre.com acclaimed monster players! A light lunch is provided in the fee. ous and dazzlingly blasting down Tickets : $20/$22 (at the door) original playing the autobahn Available by phone (Visa/MC Flatpicking Workshops conducted by Dan Crary and Beppe Gambetta. draws from the and carrying on only): 877/894-0008 and Fingerstyle Workshops conducted by Don Ross. entire Celtic world — Scotland, a conversation with tour partner online: Ireland, Brittany, Cape Breton, Dan Crary, Beppe suggested that a www.thunderation.com/artists/menofsteel Location: San Dieguito United Methodist Church Quebec – along with jazz and east touring panel of steel-string gui - Box office opens at 6:30pm. 170 Calle Magdelena, Encinitas European music. Ranked alongside tarist-flatpickers would make for a Price: $50 per student in advance, $60, the day of workshop the guitar world’s greats, McManus dynamic and interesting concert. has been increasingly acknowl - Further, Beppe allowed, it should Tickets: available at Buffalo Brothers in Carlsbad and edged for bridging the realms of Scotty’s Guitar Shop in Escondido be different from just a panel of Celtic music and other guitar gen - players who pass around soloing on line: www.thunderation.com/artists/menofsteel res. duties, each looking bored on stage by phone: 1-877/894-0008 Montreal born Don Ross ’ remark - except when it’s his or her chance by mail: Sandy Beesley, P.O. Box 1265, Vista, CA 92085 able fingerpicking style is hall - to play a solo. No, Beppe said, each Info: Sandy Beesley marked by amazing technical abili - member should be from a different 760/224-9204 or 760/726-8380 ty combined with great emotional country, bringing diverse traditions [email protected] intensity. Born to a Scottish immi - together, performing vocals and grant father and a Mikm’aq instrumentals in a carefully

12 San Diego Troubadour • February 2004 ooff nnoottee

Tom Freund Tubby Joel Rafael Chris Stuart Mark North American Unpredictable Band & Backcountry O’Connor Long Weekend Jiggle Woodeye Saints and Thirty-Year by Frederick Leonard by Frederick Leonard by Phil Harmonic Strangers Retrospective I’ve sat down three times now Grooves, grooves, grooves. Take to write about Tom Freund’s CD, your shoes off and start jumpin’ Want to hear Woody Guthrie by Phil Harmonic by Phil Harmonic North American Long Weekend . The on the couches. Call your people. live? Well, you can’t today. The first time I tried, I wanted to talk Make yourself one of those nou - closest you could get would be At last year’s Adams Avenue Every once in a while, a work about how it equates somewhat to veau drinks with Red Bull in it. to hear Joel Rafael singing Roots Festival, as I was setting of art surfaces, whether it be a the Tom Waits thing in that it’s got Squeeze into your hot party duds. Woody. The songs of Woody up the San Diego Troubadour painting, architectural structure, that urban streetlamp corner in Call your people. Guthrie come alive again under booth next to the Park Stage, sculpture, written piece, or musi - the middle of the desolate night Here’s “wubby” on Tubby: The the guise of the Joel Rafael the first group to perform was cal composition that rises above kinda sound. The poetry and band hails (“hail” is the right Band’s CD Woodeye . To me, this warming up with a three-part to influence our culture and the cool/smart changes sort of has word) from San Diego and fea - is truly an award-winning harmony song. As I listened, the world we live in. Van Gogh, that beatness to it, too. Then, tures Dane Scott on guitar and work—authentic, well goose bumps rose and when Michelangelo, Frank Lloyd while entertaining the Hits maga - vocals, Neil MacPherson on key - researched, and genuine in the they finished, I shouted out with Wright, Melville, and Mozart are zine remark about how it remind - boards, Matt Hanafin on bass, and way it comes across. Add the an exhilarating cry, “Hey, you’re some of the contributors and ed that reviewer of Springsteen’s Brendan Concannon on drums. tone and timbre of Rafael’s giving me goose bumps here!” now, Mark O’Connor has blessed “Nebraska,” I sat down again and It’s recorded and engineered by voice, undeniably one of the They graciously said thanks and us, with the help of fellow instru - listened to it that way. It does, at Nico Gutierrez. best pure folk singers today, and took the stage at 10:45 a.m. mental virtuosi Chris Thile, Bryan times, have that “boss on the Unpredictable Jiggle is a dance they fuse into a work that is Saturday morning. Sutton, and Byron House, with prairie” vibe. So, then I thought it record perfectly suited to the abundant with flavor, transport - That group was Chris Stuart his 30-Year Retrospective . This might be a good angle to discuss Ocean Beach jam band thing, ing you back in time. After lis - and Backcountry. Their new CD double CD is one such work of the juxtaposition of those two atti - with a little more concern for tening to this CD, I feel that if Saints and Strangers is a tour de art and is evidence that there is tudes. But, that wouldn’t work “song” than most groups from Rafael did Bob Dylan, it would force. Mostly original songs with still some good in the world and because there’s more. While I was that ecosystem. All in, all they got sound better than if Dylan did it some traditional bluegrass and that the human race doesn’t considering writing about all that it down. As I listen, I imagine this himself. Americana, this CD will move have to continue toward the other stuff, it occurred to me that all goes over incredibly well live. This merited revival makes an you and take you on one emo - destruction and demise of the the whole thing sounds like Daniel Yeah, that’s it. This is meant to be important contribution to pre - tional ride. If this were figure planet. Lanois was on the scene. I was heard live. This is the California serving a part of American histo - skating, I would see the judges Recorded live (no over dub - gonna write about how it carries a party music sound. ry and folk music, namely the all holding up 10 cards. Chris bing) over three concert nights similar attitude to “For the Beauty Nevertheless, the music is chops songs of Woody Guthrie. Today, Stuart (guitar and lead vocals) in July, 2002, from music written of Wynona” (which is one of my damn good. Dane Scott gets bet - original songs are as many as and Janet Beazley (banjo, tin - over a 30-year span going back top three all time favorite produc - ter and better every time I hear there are mosquitoes in whistles, and lead vocals) pro - to 1974, this flawless work mani - tions) — how it’s every bit as him. The guitar solos are impres - Minnesota in July. In the words duced and recorded a gem. Add fests itself into a language all graceful, articulate, heartfelt, and sive. He’s always been a good, of Lou Curtiss, “so many great Ivan Rosenburg (resonator guitar humans understand naturally. If inventive. Classy. ballsy, spirited singer, who picks it songs have already been written; and clawhammer banjo) and listened to directly or indirectly— That didn’t work out. So I up a notch here on this work. He why write any more?” Well, of Dean Knight (upright bass and like when you’re cleaning the began writing about the weariness also writes most of the material course, he was only kidding but vocals) to complete the quartet house—you will experience the in his introspective and believable with a little help here and there. I his point was well taken. and result is vocal harmonies gamut of human emotion and accountings in the form of his own think the writing is pretty good, How many of us, as teenagers, that mesh and blend like a choir, feel what all of us feel: sadness, poetry. Of course, if the chops are but the playing seems to be the would tell our parents that our along with inspirational instru - happiness, frustration, exhilara - good I always talk about that. All I focus and better executed. It’s a new favorite song was “Deep mentation that drives either slow tion, elation, etc. This is truly could come up with was that it is feast of the outdoor party sound Purple,” or whatever, only to or fast. This infectious music what music is intended to do. pristine from head to toe. vibe, with blues moves, a subtle learn that it was originally done causes you to slip into that void This is pure instrumental music And today is deadline day for ‘deadness,’ some reggae/ska by Les Paul and Mary Ford or of sound that makes life worth - at its best. Even though there are me to furnish this review. My third moves, ‘70’s funk/soul moves, and whomever? And we probably while. no vocals or lyrics, you feel that go at it. I pop the disc in. Puff my a heavy rock by which they like to never even heard the original I lost count of the number of O’Connor’s violin, Thile’s man - pipe — relax and take it in. And roll. version. Therefore, remakes, times I listened to this CD during dolin, Sutton’s guitar, and now I know what to say: This is a The band rocks, kicks butt, and well, good remakes, are absolute - my Christmas vacation. Every House’s bass all speak to you in fantastic must-have great record. is always up, up, UP! So throw a ly necessary for the preservation day, early in the morning, for the universal language of feeling. It’s a crime Tom Freund isn’t a kegger at the beach, somebody. of good songs. about two weeks, I popped it in. You’ll be taken on a ride with household name. I dunno. Maybe Invite all the chicks you know, put The Joel Rafael Band consists What a way to start the day. tempos that range from bebop he is and I’m the last to know. on Tubby, turn it up, and uh... of Joel on acoustic guitar and jazz to a slow, melancholy lump And if Tom reads this — Dude, lemme know when that happens. vocals; Carl Johnson on acoustic in your throat , but the message please send an autographed copy! I know what to do. lead guitar; Jeff Berkley on per - heard and felt always leaves you cussion, backing vocals, and feeling positive. The listeners, if invention; and Jamaica Rafael on they allow themselves, will expe - viola, violin, backing vocals, and rience a transformation or self- string arrangements on “Dance realization through this musical a Little Longer,” which Joel form of prayer. As all great musi - wrote the music for to accompa - cians do, these guys disappear ny Woody’s lyrics. The album into the music and translate the was produced by Dan Rothchild. voice of the divine to you. For more information, go to You’ll want to get this CD. www.joelrafael.com and www.woodyguthrie.org.

13 February 2004 • San Diego Troubadour tthhee llooccaall sseeeenn

FEBRUARY CALENDAR

Brag Doll/Return of Mr. Black Shirt , Java Flying Putos , Tio Leos, 5302 Napa St., sunday • 1 Joes, 6344 El Cajon Blvd., 9pm. 9pm. tuesday • 24 Eleonor England/Blue 44 , Lestats, 9pm. The Enchanted , Lestats, 9pm. Third Annual Hillcrest Mardi Gras , WEEKLY sunday • 8 University Ave from 4th-1st Ave., 6-11pm. every sunday monday • 2 Jahi Turner Benefit w/ Gregory Page , sunday • 15 Lestats, 9pm. 7th Day Buskers (Feb. 1, 15, 29; Gully Pro Blues Jam w/ Chet & The The Temptations , Pechanga Resort & wednesday • 25 on alt Sundays: Feb. 8 & 22), Farmer’s Committee , Humphreys Backstage Casino, Temecula. Info: 888/732-4264. Songwriting Workshop w/Penny Market, DMV parking lot, Hillcrest, Lounge, Shelter Island, 6-10pm. monday • 9 Angela Correa , Lestats, 9pm. Nichols , Piano Press Studio, Del Mar. For 9am-1pm. info: 619/884-1401. Big Easy , Metaphor, Escondido, 6:30pm. Rhonda Vincent & the Rage , La Paloma Traditional Irish Music , Tom Giblin’s Pub, 640 Grand Ave., Carlsbad, 3pm. Boon Companion , Casbah, 9pm. Theatre, Encinitas. Info: 760/436-SHOW. monday • 16 Mermaids Journey/Simply Complex/ thursday • 26 Irish Dance , 3pm/ Michael McMahon , Big Easy , Metaphor, Escondido, 6:30pm. 7pm, Dublin Square, 554 Fifth Ave. Bridget Brigitte/Kis Guys/Carol Ames/ Folk Alliance Conference , Town & 7th Day Buskers , All Souls Episcopal tuesday • 3 Abigails Attic/Angel Patua/Hydroplane , Country Hotel, Mission Valley, all day. Celtic Ensemble , Twiggs, 4pm. Church, 1475 Catalina Blvd., 7:30pm. Celticana , S.D. North County Bluegrass/ Humphreys Backstage Lounge, Shelter www.folk.org. Cobblestone (Irish Music & Dance), Island, 6pm. Folk Club Mtg., Round Table Pizza, 1161 E. Acoustic Showcase w/ 7th Day The Field, 544 Fifth Ave., 5-6:30pm. Washington, Escondido, 7pm. Bourbon St. Jazz Band , Metaphor Café, wednesday • 18 Buskers/Robin Henkel/Gregory Jazz Roots w/ Lou Curtiss , 9-10:30pm, San Diego Songwriter’s Showcase w/ Escondido, 6:30pm. Page/Stairwell Sisters , Dizzy’s, 8pm. KSDS (88.3 FM). Peggy Watson, Dave Beldock, Dan Lighthouse , Golden Goose, 10001 Maine Gerard Nolan-Toby Ahrens Jazz Quartet , The Bluegrass Special w/ Wayne Connor, Dave Howard, John Katchur, Joe St., Lakeside, 7pm. Twiggs, 8:30pm. Rice , 10-midnight, KSON (97.3 FM). Rathburn , Kulak’s Woodshed, 5230-1/2 wednesday • 11 Laurel Canyon Blvd. North Hollywood, Shambles/Four Eyes Reunion , Casbah, thursday • 19 8pm. Info: 818/766-9913. 9pm. friday • 27 every monday B.B. King/Earl Thomas , 4th & B, 8pm. Rarities/Steve White/Mark DeCerbo , 2nd Ave. Dixieland Jazz Band , Metaphor Café, Escondido, 7pm. Folk Alliance Conference , Town & Lestats, 9pm. Country Hotel, Mission Valley, all day. Joe Rathburn , Gallery at the Marina, Los Lobos/Lila Downs , Viejas Casino, www.folk.org. Chula Visa, 5-9pm. thursday • 5 Alpine, 8pm. thursday • 12 Int’l Silver Strings Submarine Band , Open Mic Night , Rosie O’Grady’s, 2nd Ave. Dixieland Jazz Band , Metaphor Meghan La Roque/Toria/Pete Thurston/ Pannikin, Flower Hill Mall, Del Mar, 8pm. Normal Heights, 7pm. Café, Escondido, 7pm. Old Town Jazz Band , Metaphor Café, Tristan Prettyman/Renata Youngblood , Open Mic Night , Lestats, 7:30pm. Escondido, 7pm. Twiggs, 8:30pm. Troubadours of Devine Bliss , Metaphor Meghan La Roque/Toria/Pete Thurston/ Café, Escondido, 8pm. Jenn Grinels (Irish music), Blarney Tristan Prettyman/Renata Youngblood , Meghan La Roque/Tim Mudd/Toria/Pete Stone, Clairemont. Tristan Prettyman/Autumn/Late Night Twiggs, 8:30pm. Thurston/Tristan Prettyman , Twiggs, 8:30pm. friday • 20 Waiting/Proper Villains/The County , D.R. Auten Guitar Workshop , RHot Smokey Robinson , Pala Casino Resort, Twiggs, 8:30pm. Java Café, 11738 Carmel Mtn. Rd., Ste. 182. Call for info: 858/673-7111. friday • 6 Pala, 8pm. Info: 760/510-4555. Truckee Brothers/Gregory Paul/Northstar friday • 13 Modern Rhythm , Humphreys Backstage The Kennedys , Normal Heights United Session , Lestats, 9pm. Lounge, Shelter Island, 6pm. Sue Palmer plays music from 1930s Methodist Church, 4650 Mansfield St., The Joey Show w/ Joey Harris & José Manhattan and Harlem nightclubs , 7:30pm. Info: 619/303-8176. every tuesday Louie & Morin , Golden Goose, 10001 Sinatra , Tio Leos, 5302 Napa St., 9pm. Lower Level, Geisel Library, UCSD, 4pm. Open Mic Night , Casa Picante, 10757 Maine St., Lakeside, 7pm. Robert Parker Trio , Pannikin, Flower Hill Ken Layne & the Corvids/Shawn Rohlf & Kyler England/Stewart Lewis/Josh Mall, Del Mar, 8pm. Woodside Ave., Santee, 7:30-9:30pm. Blue Largo , Pannikin, Flower Hill Mall, Steve Peavey , Java Joes, 6344 El Cajon Hall/Kova/Jack the Original/Karen Traditional Irish Music , Blarney Stone, Del Mar, 8pm. Leigh Taylor Band , Metaphor Café, Blvd., 9pm. Jacobsen , Twiggs, 7:30pm. Escondido, 8pm. Clairemont, 8:30pm. Holiday & Adventure Pop Collective/ Baja Bugs w/ Guests , Hot Monkey Love Cheryl Wheeler , San Dieguito United Traditional Irish Music , The Ould Sod, Autumn/Steve Collins/Robert Spencer/ Will Edwards Band , Miracles Café, Cafe, 5960 El Cajon Blvd., 9pm. Methodist Church, 170 Calle Magdalena, Normal Heights, 8:30pm. Saba , Twiggs, 8:30pm. Cardiff, 8pm. Encinitas, 7:30pm. Info: 858/566-4040. Truckee Brothers/Dead Rock West , Laura Taylor/Holiday & Adventure Pop Northstar Session , Hot Java Café, 11738 saturday • 28 Lestats, 9pm. Collective/Colleen Lovejoy/Joe wednesday Carmel Mtn. Rd., Ste. 182, 8pm. Rathburn/Louie & Morin , Twiggs, 8:30pm. Folk Alliance Conference , Town & every Jump Jones Swing Show , Tio Leos, 5302 Men of Steel: The Art of Steel String Country Hotel, Mission Valley, all day. Open Mic Night , Metaphor Cafe, Napa St., 9pm. J. Turtle/Wendy Bailey , Lestats, 9pm. Guitar , Carlsbad Village Theatre, 2822 www.folk.org. Escondido, 8pm. Big Daddy Orchestra , Tio Leos, 5302 Robin Henkel , Java Joes, 6344 El Cajon State St., 8pm. Info: 760/726-8380. Songwriting Workshop w/ Steve Blvd., 9pm. Napa St., 9pm. Sue Palmer Supper Club w/ Deejha Bobby Caldwell , 4th & B, 8:30pm. Seskin/House Concert , San Diego. Marie & Sharon Shufelt , Caffe Big Sandy & Flyrite Boys/Paladins , Berkley Hart/Coyote Problem , Java Joes, Workshop: 10am-5pm. Concert: 7-10pm. Billy Watson , Tio Leos, 5302 Napa St., Calabria, 3933 30th St., 6-8pm. Casbah, 9pm. 6344 El Cajon Blvd., 9pm. Info: 619/884-1401. 9pm. Open Mic Night , Twiggs, 6:30pm. Fred Banedetti/George Svoboda , Dizzy’s, Jody , Metaphor Café, Escondido, 8pm. Robin Henkel , Lestats, 9pm. Open Mic Night , Adams Ave. Studio of 8pm. Coyote Problem/Jane/Curtis Peoples/ Hatchet Brothers , Java Joes, 6344 El saturday • 21 the Arts, 2804 Adams Ave, 8pm. Saba/Mermaids Journey , Twiggs, 8:30pm. Cajon Blvd., 9pm. Voz Alta Festival of Sounds , 917 E St. Call Open Mic Night , The Packing House, José Sinatra & Troy Danté Inferno , Claire saturday • 7 Gregory Page w/ Guests , Hot Monkey for info: 619/235-9815. 125 S. Main St., Fallbrook, 8pm. de Lune, 2906 University Ave., 8:30pm. Tim Flannery CD Release , East County Love Cafe, 5960 El Cajon Blvd., 9pm. Will Edwards Band , 101 Artists Colony, Skelpin , Dublin Square, 554 Fifth Ave., Performing Arts Center, 7:30pm. Encinitas, 8pm. Nathan James/Chuck Perrin , Dizzy’s, 8:30pm (also on Saturday night). 8pm. Tristan Prettyman/Jaimie Cranford/ saturday • 14 Tristan Prettyman/Hugh Gaskins/Until Brehon Law , Tom Giblin’s Pub, 640 Teflon/Late Night Waiting/Annie Dru , John/The Inside/Sara Bancroft , Twiggs, Truckee Brothers/Dead Rock West , Grand Ave., Carlsbad, 9pm (also Wed. Twiggs, 8:30pm. Aliah Selah/Deane & Delores , Hot 8:30pm. Lestats, 9pm. & Sat. nights). Monkey Love, 5960 El Cajon Blvd., 5-7pm. Chris Klich Jazz Quintet , Claire de Lune, Bastard Sons of Johnny Cash/Fatt The Fremonts , Tio Leos, 5302 Napa St., Live Taping of San Diego’s Finest TV 2906 University Ave., 8:30pm. Biddy Bums/Jenn Grinels/Mary Dolan/ Tones/Rhythm Dragons , Tio Leos, 5302 9pm. Show , Lestats, 8:30pm. Jane/Curtis Peoples , Twiggs, 8:30pm. Napa St., 9pm. Candye Kane , Tio Leos, 5302 Napa St., Jack the Original/Josh Hall , Lestats, Hatchet Brothers , The Ould Sod, 9pm. 9pm. Anya Marina/Steve Poltz , Casbah, 9pm. Jenn Grinels/Trevor Davis , Lestats, 9pm. 9pm. K23 Orchestra/Soothsayers , Lestats, 9pm. Christopher Dale/34 Below , Java Joes, Lisa Sanders/Emily Shore , Hot Monkey 6344 El Cajon Blvd., 9pm. Love Cafe, 5960 El Cajon Blvd., 9pm. every thursday Rock Trio , Java Joes, 6344 El Cajon Blvd., Rockabilly Thursdays w/ Hot Rod 9pm. Lincoln , Tio Leos, 5302 Napa St., Call sunday • 22 for info. Beau Soleil w/ Michael Doucet & sunday • 29 Celticana , Dublin’s Town Square, Savoy-Doucet Band , Mandeville Gaslamp, 9pm. Auditorium, UCSD, 7:30pm. Folk Alliance Conference , Town & Country Hotel, Mission Valley, all day. Open Mic Night , Just Java Cafe, 285 Robin & Linda Williams , San Dieguito Third Ave., Chula Vista, 7-10pm. United Methodist Church, 170 Calle www.folk.org. Magdalena, Encinitas, 7:30pm. Info: Taj Majal Trio/Fred Eaglesmith , Belly Up Talent Showcase, Lestats, 9-11pm. 858/566-4040. Tavern, Solana Beach, 7pm. Jack Williams , Normal Heights United Ellis Paul/Vance Gilbert , Normal Heights Methodist Church, 4650 Mansfield St., United Methodist Church, 4650 Mansfield every saturday 7:30pm. Info: 619/303-8176. St., 7:30pm. Info: 619/303-8176. Open Mic Night , Coffee Bean & Tea Brian Hess CD Release/Kova , Lestats, Small Potatoes , San Dieguito United Leaf, 9015 Mira Mesa Blvd., 8pm. 9pm. Methodist Church, 170 Calle Magdalena, Talent Showcase w/ Larry Robinson & Happy Birthday to Encinitas, 7:30pm. Info: 858/566-4040. the Train Wreck Band , The Packing Merle Haggard , Sycuan Casino, Dehesa, House, 125 S. Main St., Fallbrook, 8pm. TOMCAT COURTNEY 8pm. Info: 619/445-6002 x1139. who turned 75 in January. BeN Indie Girl Concert , Lestats, 9pm. 14 San Diego Troubadour • February 2004 tthhee llooccaall sseeeenn P p h e p o i u t s o r s : e

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Steve White performing in Frankfurt

Sven-Erik Seaholm, Earl Thomas, Chuck Schiele at the Coaster Matthew Knapp of Dehra Dun, Dizzy’s 15 San Diego Troubadour readers are above average!