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

April 2009 www.sandiegotroubadour.com Vol. 8, No. 7

what’s inside

Welcome Mat ………3 Contributors Mail Box Valley Music Store Full Circle.. …………4 Scottsville Squirrel Barkers Recordially, Lou Curtiss Front Porch... ………6 George Svoboda Parlor Showcase …8 Chris Clarke Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Stages Highway’s . …12 & Of Note. ……………13 Dime Box Israel Bissell Zen Boy & Karma Girl Delaney Peter Sprague & Kevyn Lettau ‘Round About ...... …14 April Music Calendar The Local Seen ……15 Photo Page

APRIL 2009 SAN DIEGO TROUBADOUR welcome mat

SAN DIEGO Past Meets Future at ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and news Valley Music Store After 57 years at their E. Main Street location in El Cajon, Valley Music has to move, MISSION CONTRIBUTORS marking the end of an era. At the end of February, they received notice from the landlord To promote, encourage, and provide an FOUNDERS that they had to vacate within 60 days. No, Cactus Soldi never purchased the property. alternative voice for the great local music that Ellen and Lyle Duplessie They are in negotiations to rent a space at the corner of Magnolia and Bradley and are store had their resident pros ready to per - is generally overlooked by the mass media; Liz Abbott hard at work planning and designing new teaching studios. Thankfully, Andrea Long form an impromptu show or hand out namely the genres of alternative country, Johnson and the folks at Valley Music are looking on the bright side of things. According to advice. As a result, Valley Music became a Americana, roots, folk, , gospel, jazz, and PUBLISHERS Andrea, the dynamics of the neighborhood have changed vastly over the years, especially local mecca for musicians wanting to talk bluegrass. To entertain, educate, and bring Liz Abbott in the last few, so she thinks that a new, more vibrant location will greatly enhance busi - together players, writers, and lovers of these shop and learn licks from the journeymen. Kent Johnson ness. Now . . . to face the task of moving 57 years worth of stuff! We at the San Diego forms; to explore their foundations; and to Rogers continued to promote himself as a Troubadour wish them success in their new location. We have dug into the Troubadour expand the audience for these types of music. EDITORIAL/GRAPHICS local personality and even had live radio and archives to rerun a wonderful article (May 2006) about Valley Music to give our readers Liz Abbott television shows at KFMB in San Diego that Chuck Schiele a little taste of its illustrious history. SAN DIEGO TROUBADOUR, the local source for took him into the 1960s. It was around this alternative country, Americana, roots, folk, ADVERTISING blues, gospel, jazz, and bluegrass music news, time that the business partnership split up, Kent Johnson is published monthly and is free of charge. by Raul Sandelin with Rogers taking the Ballroom and Soldi Letters to the editor must be signed and may be BUSINESS CONSULTANT taking Valley Music. edited for content. It is not, however, guaranteed Joanna Schiele “Hello walls…” Since so many national acts played the that they will appear. DISTRIBUTION As sung by Faron Young Bostonia Ballroom, it’s difficult to say exactly All opinions expressed in SAN DIEGO Kent Johnson and written by who stopped by the store. But it wasn’t TROUBADOUR are solely the opinion of the Dave Sawyer writer and do not represent the opinions of the Mark Jackson uncommon for the party to simply move staff or management. All rights reserved. Indian Joe Stewart ooking back on the year 1952, when from the Ballroom to the store in the wee Dan Long ADVERTISING INFORMATION Valley Music opened its doors, seems hours of the morning. Paul Cruz For advertising rates, call 619/298-8488, e-mail Llike some long ago beginning, given On one such occasion Audie Murphy [email protected], or visit www.sandiegotrou - STAFF PHOTOGRAPHER that Valley Music celebrated its 55th year in decided to buy a he had pulled down badour.com Steve Covault 2007. Yet, at the time, it was actually the end off the wall during an after-hours jam ses - SUBSCRIPTIONS are available for $30/yr. WEB MASTER of the trail in a way for two long-time travel - sion. Likewise, Johnny Cash woke Soldi up Send check payable to S.D. Troubadour to: Will Edwards ing musicians who decided to finally hang one night when everyone had retired early San Diego Troubadour their hats and settle down. and insisted on getting into the store at 3:30 P.O. Box 164 WRITERS La Jolla, CA 92037 Mike Alvarez Smokey Rogers and Cactus Soldi had a.m. in order to try out some new Peter Bolland before hitting the road. Soldi, for the trouble, WHERE TO FIND US Can’t find a copy of the already built careers touring the country in Lou Curtiss San Diego Troubadour? Go to the 1930s and 1940s as part of the emerging made sure that Cash bought one, a sale Cash www.sandiegotroubadour.com and click Lyle Duplessie country western and circuits. would remember with a smile years later Paul Hormick Cactus Soldi on FIND AN ISSUE for a complete list of They had played in bands headed by Spade when Cactus Jim, Soldi’s son, became Heather Janiga locations we deliver to. Johnny’s guitarist in the 1980s. Frank Kocher Cooley and Tex Williams before Smokey SUBMITTING YOUR CD FOR REVIEW who wanted to re-supply while passing Jim McInnes himself stepped forward as a band leader in Given all of this celebrity activity, the If you have a CD you’d like to be considered for through town for a show at the Ballroom. Terry Roland his own right and took over Tex’s Western store, along with the Ballroom, would cer - review, please send two copies to: San Diego Singer Ginger Snow (Rita Soldi) and Cactus Troubadour, P.O. Box 164, La Jolla, CA 92037. Raul Sandelin Caravan. Their provided soundtracks tainly appear to be natural stars on any Sven-Erik Seaholm to various Westerns and they even appeared were already married. Rita would be an unof - walk of fame. But what is SUBMITTING A CALENDAR LISTING ficial partner in the venture until her death Email your gig date, including location, address, José Sinatra as singing cowboys in a number of equally interesting is the role that Valley and time to [email protected] by Allen Singer Hollywood projects. And, their reputations decades later. Music played in the development of rock ‘n’ the 23rd of the month prior to publication. Steve Thorn as crack musicians opened the ears of a The Bostonia Ballroom became a top roll and its mythology. D. Dwight Worden ©2009 San Diego Troubadour. Who’s Who list on both coasts as well as in showcase for national acts. Big names like It is well documented that Frank Zappa Cover design: Chuck Schiele Nashville. Eddie Cochran, Jim Reeves, Patsy Cline, Tex spent a good portion of his early teens living In 1950 Rogers and Soldi, along with Ritter, Carl Perkins, Hank Snow, Gene in the East County. La Mesa civic boosters The San Diego Troubadour is dedicated to the memory of Ellen and Lyle Duplessie , another bandmate Pedro DePaul, decided to Vincent, and Bobby Riddell were frequently have been quick to steer the attention to whose vision inspired the creation of this newspaper. pull their reigns away from the road and booked throughout the 1950s. (However, their fair city, probably because Zappa was open up their own venue – the Bostonia despite popular rumor, Elvis never did per - enrolled for a time at Grossmont High, Ballroom – located near the corner of form there.) By day, the musicians could hit which is located in La Mesa. But the family Broadway and Second Avenue in El Cajon. the music store for strings, equipment, and actually lived in El Cajon. And, as noted in (The building is still standing.) Soon after - any quick repairs they needed before heading Barry Miles’ Zappa: A Biography , young ward, Valley Music opened its doors partly in out of town. Frank bought his first Decca record player at response to the needs of the many musicians With Smokey on guitar and vocals and Cactus on , both the Ballroom and the continued on page 6

www.sandiegotroubadour.com 3 APRIL 2009 SAN DIEGO TROUBADOUR full circle together again the Scottsville Squirrel Barkers by Lyle Duplessie , was invited to sit in on . He would go on to greater glories, ver the last 40 years, countless joining Larry Murray in Hearts and Flowers, musical trends and trend setters becoming a Dillard and Clark Expedition Ohave come, gone, and long been member, a Burrito Brother, and finally cul - forgotten. Not so the Scottsville Squirrel minating as an Eagle, the most famous of all Phil Harmonic Sez Barkers, San Diego’s first bluegrass band. California-based country-rock bands. From its humble origins at the original Blue Indeed, for many of us, Leadon was the Guitar location on Midway Drive, it can rea - essence of that band. (At the time of this “I’ll play it first sonably be argued that this band was the writing, it is uncertain whether Leadon will springboard for much of the great Southern be a part of this reunion in which case and tell you what it California-rooted music that would follow. Hillman’s long-time partner Herb Pedersen is later.” Though together for just a couple of years – will fill in.) Doug Jeffords will also be join - roughly 1961 to 1963 – this local band has ing the group, a guitarist who was present at left an enduring and indelible legacy in its the 2003 reunion. Gary Carr, the original — Miles Davis wake. And they’re reuniting again this year guitarist for the Squirrel Barkers passed away at the Adam’s Avenue Roots and Folk while still a young man. Festival. This will mark the second reunion Then there’s our Troubadour friend Ed (first one was in 2003) for them following a Douglas. It was Ed, the Squirrel Barkers’ bass hiatus that lasted 40 years. Squirrel Barkers in the early days. (l to r) Kenny Wertz, Chris Hillman, Gary Carr, player, who picked the name for . Where does the name ‘Scottsville Ed Douglas, Larry Murray It was Ed who found and secured the old Squirrel Barkers’ come from?, you might Blue Guitar digs on Midway Drive. It was Ed ask. When Ed Douglas proposed the name, who was the driving force behind the for - the name sure had an authentic ring, but and Dillard and Clark. I learned that before mation of the Squirrel Barkers. And if we what did it mean? Ed explained that “squir - and all that would follow, there take this logic to its final conclusion, isn’t it rel barking” was the name given to a squir - were the Scottsville Squirrel Barkers. Could reasonable to say that without Ed’s key rel-hunting technique invented around the it be that this band was the musical missing moves at key times, nothing that we know time of Daniel Boone and still practiced link that would evolve into California folk- today as the California sound of folk, rock, today. When a hunter saw a squirrel in a rock and California country-rock? or country would have ever come to pass…? tree, he would whistle. The squirrel would Examining the relationship close up, If you missed the Squirrel Barkers when freeze on its branch and the hunter would there certainly appears to be a connection. they played the Roots and Folk Festival in aim his rifle at the bark on the branch Chris Hillman, the group’s player, 2003, you have another chance to see them where the squirrel stood. When the bullet would later be a founding member of the LIVE! Don’t miss the band that gave rise to hit the bark, it would blow the squirrel off Byrds and lead the Rock ‘n’ Roll Hall of so much of California’s musical heritage. the branch, which would land on the Fame group into country and country-rock. The Scottsville Squirrel Barkers will perform ground unconscious. The hunter would Hillman also co-founded the Flying Burrito at the Adams Avenue Roots & Folk Festival then have an unmarked squirrel with a lot Brothers with former Byrd . on Sunday only, April 26, 4-5:15pm on the more meat left on for the supper meal. Ed From the late ’80s to the early ’90s, Park Stage. learned this technique first hand as a kid Hillman’s Desert Rose Band revived the visiting his uncle’s farm in Scottsville, California country music tradition. Hillman Kentucky. remains a creative, viable force in music. Some fortunate souls can still recall see - Larry Murray, on , would campaign ing the Squirrel Barkers in their heyday. his folk-country-rock group Hearts and Others, myself included, only learned about Flowers, a band that added to the cool the band some years later. The first time I Southern California musical climate of the stumbled onto a reference about the late ’60s. Banjo picker Kenny Wertz became Scottsville Squirrel Barkers was about 1970. I a latter day Burrito Brother. With legendary was a senior in high school and my musical fiddler , Wertz helped to found tastes and identity were taking shape via the the red-hot California-based bluegrass band Byrds. The first generation of Byrds had Country Gazette. come and gone, yet I was still learning from When Wertz left to join the U.S. Air Squirrel Barkers first reunion at the 2003 their music and that of the splinter groups, Force, another future R&R Hall of Famer, Roots Festival such as the Flying Burrito Brothers, CS&N,

4 www.myspace.com/sandiegotroubadour APRIL 2009 SAN DIEGO TROUBADOUR full circle n o s d r a h c i R

l l i

Recordially, Lou Curtiss B

: o t o h P IDEAS: HOW ABOUT IT? from the Grammy folks and now we just got word that Grammy won’t be renewing the ell we had a real successful benifit project, so, it’s up to us to seek another grant, concert for the Lou Curtiss Sound or raise money in other ways. Both the Library Library Digitization Project. That of Congress and UCLA want to continue as W co-sponsors. We’ve also had inquiries from San means we will be going to Washington DC from May 27 to May 30 for the 43rd annual Diego State University about getting involved convention of the Association of Recorded with the SDSU Library, which might be con - sidererd a home for the digitized collection). Sound Collections (ARSC) and to meet with Lou Curtiss the folks at the Folk Life Division of the There are some 1,500 plus reels to go that are Library of Congress. I’d like to thank all the essential to include in the Library of Digital non-profit organizations, such as San Diego folks who played at the concert (Gregory Page, Copies (the 10th through 20th San Diego Folk Folk Heritage and San Diego Friends of Old Sarah Petite, Robin Henkel, Tanya Rose & the Festivals, 15 or so Adams Avenue Roots Time Music could be a repository for your Buffalo Chip Kickers, Wayne Brandon, Los Festivals I was involved with; some Adams Ave donation. How about it? Californios, Phil Baroff, Chris Clarke & Plow, Street Fair acoustic stuff, blues, , and Quite a few years back, when some of the Patty Hall, Curt Bouterse, Allen Singer, and other stuff; a bunch of other festivals and field elementary schools in Seattle were closing, a Dane Terry). Lots of good folks and friends recordings I made in various places like Sweets group of concerned folklife type people went there, although you might have thought that Mill and Tucson; the five or so Blues Festivals to the city with an idea. They would take over some of the Adams Avenue Business I was involved with; the concerts at Orango’s one of those schools and open a Seattle Association board members would have shown Natural Food Restaurant, Folk Arts Rare Folklife Center. They’d rent out classrooms for up. (I did serve on that board for almost 15 Records, and various other places). Since we various kinds of projects (traditional crafts, years, booking their festivals and all.) Oh well, started the project other people who have instrument lessons, a folklife, folklore, and at least some of the good folks from the North tapes have come forward with stuff worth folk and roots music library, and a concert hall Park Business Improvement District were including in the collection and we’ve started to or two that could be used for music not often there. Maybe we can do a Folk Life Festival in be the middle man in getting those libraries heard in San Diego. The school could even be North Park. How about it? included in the collection, like recordings from a location for a folklife type music festival or Well, we’ve done all the work of digitizing Escondido’s In the Alley coffee house and oth - even several reflecting the various musical tra - about 420 -to-reel tapes of the early San ers. We’ll be doing more benifit concerts and ditions in our city that are so often over - Diego Folk Festivals, related concerts, and making more efforts to get this stuff done. If looked. The Seattle idea has been very success - field recordings with the grant money we got you can think of any way to help with the ful. They rent the campus from the city at a fund raising, please do so. I’m sure one of the nominal dollar-a-year type fee and they have built a year-round program of musical and folklife events that have brought in tourists from all over, which has richly improved the cultural life of the city. If you think this is a good idea, why don’t you bring it to the atten - tion of your San Diego City Council and mayor? It’s an idea that has a proven track record. Again, it needs a group of people that want to get involved. Kyle McCarthy, founder of the Save Old Time Music group and who recently brought the Carolina Chocolate Drops to our city is interested as are other people I’ve talked to, including obviously myself and hopefully you. How about it? I’ve always referred to folkmusic, folk - dance, and folklife in general as “the stepchild of the arts.” We are always the last to get fund - ing after the symphony, the opera, Broadway and the musical stage, movies, and of course pop music of all sorts and kinds . . . even when all these other kinds of music came out of folk traditions originally. I remember once, back at the time of the city’s centennial, I was asked to serve on the Music Committee to represent the local community. At the first meet - ing it was decided by the opera, symphony, and the guy from Starlight Musicals that the music I represented wasn’t real music and didn’t belong in a San Diego City Music Committee. They decided that folk music just wasn’t a part of our city’s history. That attitude is still around and it still gets in our way. We have to speak up for our music and when folks slap it down, we’ve got to slap back. How about It? Recordially, Lou Curtiss

www.sandiegotroubadour.com 5 APRIL 2009 SAN DIEGO TROUBADOUR front porch

with Jim Soldi and Mark Twang, Bleu Dawg, The Valley Music Folks are looking for volun - Valley Music, continued Berkley Hart, the Honky Tonk Kings, Tom teers to help with the move. In addition, dona - Hiatt, and others. Admission: $10. There is also tions will be gratefully accepted (mail to Valley a $10 buffet. Music, 530 E. Main St., El Cajon 92020). Valley Music, identified as Smokey Rogers Music Store, in 1954. A decade later, members of a Mount Helix garage band that were soon to morph into the iconic Iron Butterfly purchased their first guitars at Valley Music, really the only music outlet east of downtown San Diego. Soon afterward, Valley Music would be immortalized in popular literature when the great gonzo journalist Lester Bangs included it in his Vietnam-era chronicles of ben - zedrine sojourns throughout the East County that included trips to “Grossmont Junior College” and “San Diego State College.” And, in the notes to the first KGB Homegrown , released in 1973, Bangs’ protégé Cameron Crowe would mention Valley Music while reviewing the young Cactus Jim’s band, Montezuma’s Revenge. The Western Caravan But, as the decades wore on, El Cajon’s lazy pepper trees and willows and streets Preceded shortly before by Rita, Cactus’ promises of cosmopolitan San Diego. lined with elm were bulldozed in favor of death brought the two kids back home. And, “Sometimes we see dead people floating apartments and ever-wider streets to accom - after this long journey, they are both keeping through here,” Jim laughs. “Sometimes they modate the East County’s unmitigated popu - the store running much like it did in 1952. even come out and sing late at night after lation growth that tore the small town feel Its small town feel is immediately apparent everybody has gone home.” Well, if they did, out of El Cajon’s heart. Instead of rolling upon entering. Andrea is there most days these walls would’ve heard them. fields, orange groves, and the occasional and helps customers find anything from a Two Valley Music Relocation Parties have been rider on horseback, El Cajon grew from a vast collection of books and sheet music. A planned. One will be held on Sunday, April 5, humble cow town to a clamoring city of healthy selection of guitar parts, strings, and 1pm, at Valley Music (530 E. Main St., El 100,000 today. accessories hang behind the counter. Full- Cajon), music provided by the California As El Cajon transformed so did the music service repairs are also offered there. There Rangers, the Slidewinders, Kelli Lydell, Vic industry, especially in the areas of music are CDs for sale although the and Gross, and other guests. Admission is free. The equipment and retail. While Cactus and Rita Decca record players are long gone. Also second Relocation Party happens on Sunday, minded the store (the Ballroom was long included in the modest showroom are a April 19, 4-8pm, at the Downtown Cafe, 182 E. gone by the 1970s), newer stores specializing number of fine instruments, mostly guitars, Main St., El Cajon. Music provided by Eve Selis in everything from records, stereos, and band both new and used, along with an equally instruments to electric guitars with a rock ‘n’ impressive stock of amplifiers and assorted roll attitude popped up and began to draw gear. There are even a few resident pros who customers away from the one-stop-shop that offer lessons in the back. Valley Music had offered the East County for But, what is so impressive about Valley so long. In addition, the new stores grew big - Music is the sense that one is stepping back ger and bigger into the “big box” outlets we in time. To walk in the front door you must know today. These larger stores were better realize that you are standing in room where able to handle the expanded product lines of some of the biggest names in American pop - the name-brand guitar manufacturers such as ular music have also stood over the last 50 Gibson and Fender. So, within all this years or so. If these walls could only talk, growth and transformation, Valley Music had and talk about what they’ve heard, they’d to carve out a very small niche in the East talk about the shiny Cadillacs and DeSotos County market that had once been its exclu - parked outside and the guys with names like sive domain. Hank and Eddie and Tex and Johnny who About this same time, the Soldi kids – sauntered out of the hot, dusty sun or warm Cactus Jim and his sister Andrea – began moonlight for a song or two and maybe even stretching out on their own. Andrea, in fact, a nip off a flask usually kept hidden in some - joined the carnival and left town altogether one’s coat pocket. These walls would talk until shortly before her father’s death in about the young kids with dreams of rock 1990. Cactus Jim, on the other hand, fol - operas floating through their heads who lowed in his father’s early footsteps and hit found solace in the squeaky sounds of spin - the road, recording with some of country ning records. These walls would talk about music’s finest, including Waylon Jennings psychedelic teenagers and teenagers soon and Johnny Paycheck, not to mention two bound for Vietnam, teenagers who rolled out years of touring with and four of the apartments and trailer parks searching years with Johnny Cash. Of Cactus Jim, Cash for the music that would lift them away from once called him “the best player in the busi - the blue-collar booby prize that El Cajon ness.” Perhaps he was remembering that dangles in front of those who grew up just a morning at 3:30 when he and Jim’s father little too far east of Paradise and the postcard and a carload of Cash’s band set about trying out all the instruments in the store during that long-ago jam session and guitar-buying spree.

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ClassiCal Guitarist EmbraCEs EthniC musiC GEorGE svoboda

photo & story by Paul Hormick

eorge Svoboda grew up in Cheb, a very quiet Czech town three miles Gfrom the then West German border and about 50 miles from Pilsen, the German town famous for Pilsner beer. This tiny hamlet at the center of Eastern Europe gave Svoboda a great opportunity to soak up a wide array of music. There were the tradi - tional folk songs of the Czechs and Slovaks. And he heard the music of Germany and the Russians, who occupied the country during the Cold War years. There was the music of the Slavs and the Gypsies that tra - versed the country. So, when his father, an amateur violinist, encouraged him to pick up the , an instrument suited to or featured in all the different music Svoboda grew up with, he did not jump at the George Svoboda chance. “Back then the violin was not the instrument to play. It would not have been play music,” he says. Taiwan, and Europe. The two have recorded cool,” he says. “I wanted to play rock and Svoboda and a few of his friends decided four disks, all of which celebrate the heritage roll, so I wanted to play guitar.” to leave Czechoslovakia and make their way of the with its roots in Spain. Today, Svoboda may not be known for to a freer life in the West. Working through Svoboda was one of the founding mem - his , but when you hear his personal channels – friends and acquain - bers of the Second Avenue Klezmer name, the first thing that comes to mind is tances with connections that were the only Ensemble. He used to frequent a music the guitar. A first-place winner of the guitar way to get anything done during the Soviet store along University Avenue in North Park competition in the city of Kromeriz in his era – Svoboda and his friends received a to pick up sheet music and an occasional native Czech Republic, Svoboda has per - permit to travel to what was then set of strings. He would often talk to Debbie formed throughout Europe and the U.S. All Yugoslavia. That country was communist Davis, who worked at the music shop. Davis the great musical organizations in San and lead by strongman Tito but was not grew up in Brooklyn and assimilated the Diego, including this city’s opera, ballet fully under the thumb of the Russians. The folk tunes and the music of “Jewish company, the symphony, and the Old Globe group had an easier time of getting around Broadway,” which had thrived along New Theatre, have had the guitarist as a per - its Iron Curtain. From Yugoslavia the cadre York’s Second Avenue, from her Jewish former or collaborator. made their way to Austria and were able to grandmother. Davis began to interest Back in Czechoslovakia, Svoboda’s child - find positions in a refugee camp there. From Svoboda in the Klezmer music from her hood wish for a guitar came true, with a Austria, Svoboda was offered asylum here in childhood. As they reviewed the frelachs, nylon-stringed guitar to unwrap under the the U.S. He had the opportunity to set roots horas, and waltzes of the repertoire, tree one Christmas morning. The young down in Newark, New Jersey, but by chance Svoboda noted that he was already familiar Svoboda took to the instrument naturally. he was also offered sponsorship by a church with the tunes, as they were the songs and Without lessons or training, he taught him - in El Cajon to move there instead. music that were played by the Gypsies back self to play songs of the Beatles, the Rolling It was then that Svoboda said goodbye to in Czechoslovakia. Stones, and other pop and rock hits that Soviet beaurocrats and hello to the land of The duo has grown to a five piece. came across the Iron Curtain. cheeseburgers, Cadillacs, 24-hour cable, and Clarinetist Robert Zelickman, who teaches at Svoboda may have wound up as another blue jeans. But his first days in the land of UCSD and performs with the San Diego rocker, a Les Paul slung over his shoulder the free and the home of the brave brought Symphony, was the first addition. And San and plugged into a Marshall stack turned up new challenges. His new digs were found in Diego’s VIB (Very Important Bassist) Bert to 11. But four years after receiving the a trailer park, and a noisy trailer park at Turetzky, joined up with the ensemble as nylon-stringed guitar, he turned on a radio. that. Svoboda spoke several languages, well. The most recent member is Drummer Across the airwaves came the sounds of the Czech, German, Slovak, even Russian, but Jon Wishnuff. Svoboda enjoys his role in the great classical guitarist, Andres Segovia, knew very little in the way of the English ensemble “As a classical guitarist, you are playing Francisco Tarrega’s “Adelita.” “It was language. His first attempts at becoming an always in the spotlight. It is nice to perform the most wonderful music I had ever heard,” Anglo were frustrating and often comical. and be on the sidelines, and let the other Svoboda remembers. Thereafter he was But work came. He began performing at musicians be the stars,” he says. “And I’ve drawn to classical music, and pop music Drowsy Maggies and other cafés and coffee always been draw to ethnic music, wherever occupied less and less of his attention. shops, and he found a place to teach guitar it comes from. It is simple but still quite Today, classical and other music oriented to at McCrea’s Music store in La Mesa. beautiful.” Today the ensemble performs at a the classical guitar, such as flamenco, are the Although he had finished four years of a variety of venues throughout Southern focus of his musical interests. “I don’t think six-year degree program at Pilsner, when he California. Reviews have noted their ability I’ve played an in 20 years,” he showed officials at San Diego State his to entertain and yet give a realistic sense of says. “I like the classical guitar. I like the work, they were skeptical. Ultimately, they another culture. Fittingly, the titles of their feel of nylon under my fingers.” came back with disappointing news. “They disks sound like musical selections from Grabbing chords and riffs off the rock said that it was at about a high school Fiddler on the Roof: For Our Mothers, and pop records had come easily for level,” says Svoboda. Well past the age of a Traditions and Transitions, and Celebration . Svoboda. With classical music, he was now typical undergraduate, Svoboda entered “After 20 years they made me full time,” inspired to seriously study music – its theo - State as an undergraduate. He says, “I was Svoboda jokes. He is referring to his teaching ry, notation, and techniques – and to learn in my forties when I started out as a fresh - position at Mesa College. Each semester there all that he could about the intricacies and man. I was teaching guitar at the time, so his teaching load includes about a half dozen subtleties that the guitar was capable of. “I sometimes it was odd that I would be in private students and about 50 students for was getting into the craft of playing guitar, class and be sitting next to one of my stu - classroom instruction. “With my students I of playing music. Before, I was relying on dents.” Working and raising a family, emphasize the craft of playing the guitar,” intuition. Now I wanted to learn how music Svoboda plugged on after finishing his says Svoboda. It’s a lesson that takes some works,” he says. “Also, as I became more bachelor’s and completed a master’s degree patience, as many of his students have played serious about music, I started to appreciate in guitar at SDSU. guitar for years but have grown to rely on it all the more.” After two years of compul - In the eighties Svoboda formed a guitar electricity and amplification instead of learn - sory military service, Svoboda entered the duo with another local classical guitarist, ing the finesse that it takes to produce the Pilsner Conservatory to study guitar and Rod Sherrod. Sherrod suggested forming a sound from nylon strings on a wooden guitar. performance, completing four years of a six- trio and introduced Svoboda to Fred Svoboda has also taught at Grossmont year study program. Benedetti. “Rod brought Fred over for College and been a faculty member at his The Berlin Wall fell and the Soviet Union rehearsal, and we tried some pieces. Things alma mater, SDSU, and at CSU San Marcos. imploded 20 years ago, so it’s easy to forget just didn’t work out. It just didn’t work as a More teaching and performing are in line the Cold War and the heavy-handed rule trio, but I could tell right away that Fred was for Svoboda, including a possible tour with that the Soviet Union exerted on its satellite an exceptional player,” says Svoboda. “And Benedetti in the Czech Republic next year. states. But Svoboda remembers. Normally there was a real chemistry there. I didn’t have The new year also brings other priorities for jovial, with a boyish smile, a cloud comes to explain things to him and we just the guitarist. Svoboda talks about surfing, a over his face when he recalls the trials of clicked.” The meeting with Benedetti was pastime that Benedetti introduced him to, living under the Soviet system, particularly one of the most fruitful for Svoboda. The two and the fulfillment he gets from his family. for an artistic person. “I did not want to guitarists have performed as a duo for He says, “I’m at the point now that, take the time for the Party meetings and decades. They have often been heard in although music is still very important to other nonsense like that. I just wanted to Southern California, and tour dates have me, there are other things that I enjoy as taken them to the rest of the U.S., Mexico, much as I’ve enjoyed music.” www.sandiegotroubadour.com 7 APRIL 2009 SAN DIEGO TROUBADOUR parlor showcase

by Allen Singer photos by Dennis Andersen

by vast artistic cultural changes and political conflicts in the presence of out-of-work folk singers looking for new ways to survive. The 1960s started out somewhat incon - gruously with civil rights sit-ins as well as a New York First, a detour City folk music revival that extolled the roots of southern music. I didn’t fully appreciate this interesting dichotomy While driving over to Chris Clarke’s house the other day until I was reminded of that freedom ride down to to spend some time talking and finding out about his life Richmond in 1963, and the fear that had been hanging as well as picking guitar (which we never got around to), on in my subconscious for decades since that uneasy milk I was reminded of an old bus trip and speaking tour I shake I drank in that Richmond Greyhound bus station. took with some friends back in April, 1963. We were an integrated group of 18-year-olds, including some mem - bers of the Imperial Lords’ bopping gang, who had grown up together in the Elliott Houses, a low-income project in the Manhattan neighborhood of Chelsea. We were joined Chris’s story CHRIS CLARKE on this trip by some new friends who lived in the Penn I got to Chris’s house, entered through the side yard South Co-Op, a Union-sponsored housing cooperative door, and stepped into Chris’s self-built studio and man just a few blocks away from our housing project. The trip cave. Chris had built two rooms off to the side of his was our own freedom ride down South and the majority home where he can practice, give guitar and mandolin of the group was African-American. We got on our lessons, run his website business, listen to music, and Greyhound bus in New York City’s Port Authority bus sometimes just hang out and record and play music with terminal at 2 a.m., amidst the night people, street people, the many folks who come by to pick and sing. I told whores, hustlers, and crooks. We were heading south for Chris about the thoughts I had on my way over to inter - Virginia. After we left Washington, D.C., we could feel view him for this Troubadour article. He grinned with the tension rise as we rolled over the Potomac toward just a hint of a laugh and seemed to understand that I Lexington, Virginia, where we were to speak at was clearing my head of old conflicts. We moved for - Washington and Lee University, a fine institution that ward, since these events were just history before he was reeked of southern tradition and even had the bones of born, and we started to discuss Chris’s life and times. Robert E. Lee’s horse displayed behind glass. On the way Chris is alive and doing well in California, but his to the college, we stopped in Richmond, Virginia, which sentiments and soul still sing of back home and its tradi - was to be Chris Clarke’s home town six years later. tional roots. Although many of us have been drawn to Richmond was a town whose name I’d sung in songs I the traditional songbook, Chris was born to the music was picking and singing back in New York during the and can’t escape his DNA. You can still hear that certain early 1960s in what would come to be called “the Great tone and a hint of the native Virginia soil in his speech Folk Revival.” In Richmond we entered the Greyhound pattern. There’s no hokum here, no pretense to play the bus stop restaurant and sat at the lunch counter, which hillbilly, just a natural sense of joy in playing the music still had the signs of segregation, referring the coloreds to he learned at his family’s gatherings back home. Chris the back door, separate drinking fountains for coloreds went to Davis and Elkin’s College and Virginia and whites, and two crossed flags – one the stars and Commonwealth University, where he majored in fisheries stripes and the other a confederate one. You could feel and marine biology. A well-educated hillbilly, he titled the room temperature rise and the staring eyes in the his master’s thesis “Changes in Fishery Community restaurant, and hear the silent wish from the patrons that Structures.” Chris spent a lot of time around the we would just disappear. These were tense times and I Chesapeake Bay before coming out West. He still loves realized that I although I loved the music, the realities of the outdoors and enjoys camping, traveling, fishing, and life in the old South still hadn’t changed that much, even the wide open spaces. Chris is Tom Sawyer and Huck three years after the Greensboro sit-in. I began to recog - Finn – and much more than that. He’s a musician on a nize that the heart of a music I loved still had its contra - life‘s journey to play the next tune and enjoy himself. dictions and conflicts deep in its Southern roots. As I Chris is like a musical sponge, absorbing whatever was driving up to Chris’s house, I understood why I was sounds and styles he approaches and plays. The joy of doing this, why I was visiting Richmond again, and try - the music and not the need to satisfy others seems to ing to figure out where to start my conversation with feed him as he opens new musical doors. Musicians have Chris. It was my old conflict of a New York kid trying to always been a hungry lot, seeking to satisfy a craving, justify an interest in a regional music that was birthed in with a drive to keep learning and finding the next note or a place about which many of us felt ambivalence and exploring the empty air space between notes during a fear, despite our love and respect for its musical connec - solo. This hunger in turn spurs further creativity. With Clarke and Sara Petite perform at a Canyonfolk house concert Clarke with Plow tions. Chris’s music, he picks and sings, letting his musical soul During the late 1950s and 1960s, some of us urban touch the listener. However, Chris is not a song and home town and family where you could feel Chris’s joy a wonderful songwriter and singer. I had a few of their kids tried to play the old time music, blues, and tradi - dance man. Each note, his voice, and his body motion in recalling those times of family gatherings and music recordings while I lived in West Virginia and would listen tional music that Chris Clarke grew up on. focus on the music. Chris is always Chris and his playing jams. Chris told me about special Sunday barbeques at to Michael sing and play all the time on tapes. Michael Some of the city billys got really good at playing the old is sometimes emotionally edged yet understated with a his great uncle Donny’s farm. He described some of died too damn early. Donny is my father’s nephew; my music and went on to win string band and fiddle/banjo quiet solitude of sound and creativity. those times: “Donny [and his wife Barbara Lacy] lived ‘in father is the youngest of 13. A lot of the boys played contest in Galax and Asheville. What we had to seek out Chris told me about the origins of his musical inter - the country,’ as we called it. We’d drive about an hour music, mostly early country and standards. Donny second-hand from records and old time concerts, Chris est. During his undergraduate years at Davis and Elkins west of Richmond, between Richmond and learned from my grandfather initially, but learning music received on a daily basis through his immediate family, College, the school had summer music festivals that fea - Charlottesville through Goochland County – where I was tough then. Donny used to leave Grandpa’s house in his musical relatives and peers, and his genetic code. tured old time, blues, and Celtic/Irish music. Chris saw would later live after college – to Bumpass, Virginia. He tears sometimes. Sometimes my Uncle Lenny would be Chris was born in 1969 at the end of a decade marked Tracy Schwartz there and sat at the feet of many a Piedmont-style guitar picker. He explained that at the had some land that we hunted on. Well, I didn’t exactly there and he played guitar too. So yes, Donny still lives core of some of his musical interests, one would also find hunt. I did shoot a couple of times as a kid, but most of on the land and I try and visit him at least once a year, if a Deadhead who has seen more than 100 the time, I was the ‘bird dog,’ as by then my father had not more.” shows. Chris talked about , the wonders of gotten rid of his huntin’ dogs, so I walked the line where Listening to Chris, I became somewhat envious of all seeing a Dylan/Dead show, and how Jerry Garcia’s inter - the fresh corn had been cut to scare up the birds – doves his family traditions – the food, music, togetherness, est in old-time roots music tweaked his own interest in and quail. We’d have these family reunions up in the spontaneous picking, the joy of the music, and the the old music. The Dead journey opened the door and country that would include some pickin’ by real tradi - reunion and continuance of a family musical tradition. made Chris want to go back and retrace his family’s tional musicians, jamming in a variety of styles and These were special times and Chris clearly has never for - musical connections. Chris’s own granddad was J.P. sounds, and a lot of eating too. Donny had a pool then, gotten nor pushed aside the memories of his family. He Clarke, an old-time Vaudeville fiddle player who also so that was fun as kid. Donny plays guitars and man - speaks fondly about his dad, his three brothers and sister, played many other instruments. Chris mentioned that he dolin, and sings and plays banjo, too, just like Doc his dad’s recent health concerns, how his mom raised the regretted not starting to play fiddle earlier in his life. He Watson. His son Michael and my oldest brother Cabell family, and the wonderful spirit of a family growing up started out playing guitar, but also plays mandolin and had a band in the early 1970s called the Bush Brothers. with traditional love and music. His family memories all Clarke with the Monroe Avenue String Band some old style banjo. My first gig was in the mid-’70s on spoons – thus my ring true like a saga in an old-time song. Our conversation was like a time travel back to his nickname ‘McSpoon.’ Cabell gave me that. Michael was Chris moved to San Diego in 1999 to join a friend 8 www.myspace.com/sandiegotroubadour APRIL 2009 SAN DIEGO TROUBADOUR parlor showcase

wisely and it really shows in Plow. Like his band, Chris is musically as curious as a fox, looking under the layers of old music and trying to integrate a cross section of differ - ent styles. Plow’s live shows are alive with creativity. This reflects Chris’s expertise in knowing how to create group harmony and a great atmosphere where you can swing, play out, and enjoy the music. Lately Chris has been lis - tening to 1920s’ jazz and Django Reinhardt and has played some blues with Dane Terry, my play - ing buddy. As I write this article, Chris and Plow are evolving as John Mailander prepares to move to the East Coast to attend the Berklee School of Music in Boston in the fall. Chris’s new band is called the Zapf Dingbats. The group still plays old-time music, old jazz, and CCHHRRIISS CCLLAARRKKEE tunes but has added an early jazz feel to its performances, with more improvisation heading back to Chris’s creative heart of pre-1930s’ roots music. BBrreeaatthheess NNeeww LLiiffee iinnttoo MMuussiiccaall TTrraaddiittiioonn Chris Clarke told me directly that he loves the music, has no interest in fame or doing the Nashville shuffle, and doesn’t have stars in his eyes. Chris is a you shouldn’t take yourself too seriously. He said that musician who plays to play and who gigs to feel the joy he’s not performing or operating with a grand plan. He of the audience appreciating his talents. He doesn’t limit said performing is really complex, since it takes time to here who was studying for a Ph.D. The first place he dis - dolin, and wearing a good old boy baseball cap. As Clarke who he shares his talents with, whether it’s a singer-song - develop the right group mix and a lot of practice to find covered was Lou Curtiss’s Folk Arts Rare Record Store on mentioned, “Ben is already listening to old-time fiddle writer or his new group, Zapf Dingbats, or his other the heart of a group. He wants music to be an enjoyable, Adams Avenue. Chris bought a record and tunes.” band, Plow. His new group reminds me of an old 1930s’ fun, and ongoing creative outlet in his life. Teaching is talked about old-time music with Lou, who encouraged As I was writing about Chris, I had another thought. group called the Cat and the Fiddle, which played important to Chris, too, and is a significant and meaning - him to check out the original Roots Festival on Adams Wouldn’t it be nice if you could go to a concert to just acoustic scat, sometimes goofy music, and humorous, ful part of his life. Chris began teaching guitar back in Avenue in the spring. Chris also found a San Diego listen to the music and let it touch you without any pre - bluesy, swing stuff to entertain and make you feel good. college. He finds it really worthwhile to teach children Troubadour paper and was surprised and overjoyed to conceived notions and expectations of who’s playing In addition to everything else, Chris has also performed especially, so he can pass on the traditions taught by his find that real old-time music existed in his new town and based on what they look like? There’s so much hyped with my group, Old Rolling Stock, at the 2007/2008 own family. Chris is now teaching guitar and mandolin to that a festival was happening in his own neighborhood. image gossip that separates a musician from the regular Train Song Festivals in Old Poway Park. Chris is like a both children and adults a few days a week but men - He jammed at Ed Cormier’s Old Time Fiddler’s gather - folks. Take a look at Chris Clarke doing a concert some - kid in a candy store who enjoys many musical varieties tioned that a majority of his students study mandolin. ings. He got to know Kenny Hall and met the late and times – look past his long hair and baseball cap drawn and is happy to taste them all. Playing with him gives In Chris Clarke, there’s a well of talent, a sense of fine bluegrass musician Les Preston, who turned him on down, with no cornpone gimmicks. He’s just there to you a real sense of musical security, a trust that he’ll not curiosity, and a feeling of being drawn toward the old but to the bluegrass crowd and to the San Diego Bluegrass pick and sing, no more, no less. Just Chris and his band. showboat and can always fit in without stepping on any - open to all that’s new. His spirit is contagious and musi - Club. He even stayed at Les’s place and met the young, I recently experienced Chris and Plow in concert. I one’s musical toes. He’s like an inquisitive kid who’s cians who play with him continue to experience his joy of very musically wise, fiddler John Mailander through Les. really liked their first CD and looked forward to the looking under a log, digging for buried musical treasure, living and love of music. Chris is clearly a modern good Chris has studied mandolin with Walt Richards over the show. Listening to Plow and its individual members – and not afraid to let the newness of the music scare him. old boy with dreams of musical satisfaction, who teaches years here and has also taken guitar lessons from Robin David Bandrowski, John Mailander, and Dough Walker, I explored Chris’s songwriting because of my interest the tradition by reincarnating himself through his stu - Henkel and Phil Boroff. picking and performing with Chris – it quickly hits you in his song “Tonopah” on Plow’s CD. Chris said he isn’t dents as well as staying musically vital by incorporating Chris Clarke’s music conveys the sound of an era, a that this isn’t your grandfather’s stodgy old string band. trying to be a songwriter, but that sometimes things hap - new musical ideas and sounds. The rewards of knowing hollow, a porch, a dream, and also a heartfelt sadness at There’s an intensity to their playing and an inventiveness pen and just work out into a song. Chris’s description of Chris and playing with him are endless and timeless. He times. Listening to Chris play his music, you can never in the improvised lines that sing out with originality. the songwriting process for Tonopah sounded like a song validates each member of his immediate family – his forget his roots and the old home back in Virginia. This goes on for an hour and a half. No clichéd lines, a in itself. The song came to him during a trip to Yosemite Dad’s nephew Donny, his Grandfather J.P. Clarke pick - Sometimes you might hear the chomping of a mandolin, lot of humor, swinging rhythm, with each musician play - and central Nevada, when he felt the empty, lonely, ing his way through Vaudeville, and all those who came a guitar being picked, and voices blending into a tune. ing off the other and testing the edge of the musical passed-its-prime feeling across that area. He drove before him. He sows the seeds of a kid grown on the Here’s where music and urban genre. These boys aren’t through many little towns, dying towns, ghost towns, musical soil of Virginia. He’s a natural, not a cliché. It’s realities separate and yet afraid to pull up some gold towns, and silver towns – all places that used to in his DNA, and Chris is an evolutionary part of the next feed off each other. Chris roots and go out on a breathe life. While staying at a motel in Tonopah, he “Chris is like a kid in a generation of musicians born into an old-time musical just loves to pick and sing limb to create a new noticed a prospector’s letter, encased in glass on the wall, culture and aided and abetted by his relatives and family. his heart out. Back at his musical branch in the and written to someone in San Francisco. The letter, candy store who enjoys Chris Clarke is a musician, something he’s always wanted hollow in Kensington, Chris evolution of string-band dated September 1910, talked about meeting up in town to be, and that’s just fine with him. jams with many of San many musical varieties and music. There’s wonder - and the pending ore strikes. Tonopah is an old side-of- Diego’s finest string-playing ment in their interac - the-road town now, but back in its strike days it had 40 folk musicians and singers. is happy to taste them all.” tions. You get the saloons, a sure sign of success, and was a place the train Chris is a multifaceted impression that these wanted to stop in, but now no longer rolls through. It string musician who’s equally musicians like each other took Chris an hour to outline the song, which he finally at home on the mandolin and guitar. Sometimes you get and have found something special that lets them feed off finished by the end of his trip. the impression that he lives an eight-day week, consider - each other’s creativity. David Bandrowski, a New Orleans ing all the gigs and musicians he performs with on a banjo/arch-top guitar musician and very skilled in his weekly basis. own right, who moved here a few years ago after Katrina, I first crossed paths with Chris when he was leading has tweaked Chris’s appetite to listen to Jelly Roll the CirCle is unbroken and playing with the Monroe Avenue String Band and Morton and old Dixieland sounds. David’s banjo style is As Chris and I were yakking away, time seemed to sus - also playing with Sara Petite. Later, I heard Chris and the one of a kind – old-style pre-bluegrass – and it swings. pend itself as our interview and bull session just rolled Monroe Avenue String Band when they opened for Ralph David had this to say about Chris: “Chris has such a along and ended while we were listening to old tunes. I Stanley at the Belly Up Tavern. He also joined me and great rhythmic drive and understanding of traditional realized again how authentic Chris is – no desire of being Dane Terry when we all opened for Carolyn Hester at music, it’s very easy to play with him. He’s always push - famous nor dreams of Nudie suits and Nashville nights. I SDSU, and he opened for the Carolina Chocolate Drops ing me to learn more tunes, write more tunes, check out asked him about East Coast versus West Coast old-time in February. Chris’s gene pool is a repository of old-time new music, and even sing more, so it’s always fresh. The music. Chris grinned and listed three, maybe four things musicians and traditional pickers. He almost had no main thing is that he always just wants to have fun play - that he felt seemed to best describe the differences, choice but to end up playing the music he loves so well, ing music – that’s what really matters.” David continued, including higher energy levels back East and stronger atti - which he plays from the heart. “Chris believes that old-time music is group centered. It’s tudes and traditional regional variations. He added to These days Chris and his wife Tiffany are busy shar - dance type music that doesn’t musically lean on the this the notion of interpretations, but that’s coastal. ing the joys of new parenthood with their son, Benjamin soloist and stays group focused.” John Mailander’s fiddle Chris said he looks forward to having a family, to Wyatt Clarke, born on March 19. Tiffany’s work involves and mandolin playing shows us that he is a special musi - raising his son, and to playing music with many different setting up and developing labs to test for HIV/AIDS all cian who appreciates his bandmates and enjoys being a people along life’s road. He’s not looking for stardom and over the world and now both she and Chris are embark - part of Chris’s musical adventures in sound and creativi - doesn’t like the creative blindness that can cause false ing on a new adventure of parenting and building their ty. Dough Walker, a left-handed bass player, really expectations. He wants to continue playing in a genuine family. My crystal ball guess is their son probably came knows his way around the instrument and adds a jazz way but not necessarily down-to-the-note authentic Benjamin Wyatt Clarke with his mother out into the world singing, picking an imaginary man - sensibility to the group. Chris has chosen his musicians music, just honest and fresh music. Chris suggested that www.sandiegotroubadour.com 9 APRIL 2009 SAN DIEGO TROUBADOUR ramblin’

Bluegrass

CORNER pattern to a more directional one if desired. by Dwight Worden by Sven-Erik Seaholm The sleek, intuitive face sports a nice- 1 1 sized (1 /2" x 1 /4") back-lit LCD screen that displays menu options, folders, etc. MUSIC AS A MIRROR (OR Below that are a “Stop” button (which, We’ve had some great bluegrass in San Weisman, J.D. Crowe, Charlie Daniels, Kenny REFLECTING ON ONE ’S ARTISTIC when held down, displays time, date, Sven-Erik Seaholm Diego since the last edition of the Rogers, Steve Wariner, Dolly Parton, and REFLECTION ) Troubadour , and we have more great opportu - , among others. There is no doubt recording time remaining, and current recording format in the display); a Being that this comes from a compa - nities to hear and participate in bluegrass this band can and will deliver the goods! You was having a discussion with a ny that understands portable electron - activities coming up. Missy Raines , multi- can get more information about these two musician friend of mine the other “Peak” indicator light; a “Rec” button; a four-way directional selector with a ics devices (i.e. cameras), the manual is time winner of the IBMA award for best bass concerts and you can buy tickets online at: Iday that I’ve had several times actually printed (yay!), meaning one Play/OK button at its center (like those player of the year appeared in March with www.acousticmusicsandiego.com or call before. Being that it is one that directly doesn’t have to refer to a PDF file in her great band Missy Raines and the New (619) 303-8176. impacts most readers of this column found on most digital cameras); an “Erase” button; and a line of four small the field. Also included are a pair of Hip in a concert at the Powerhouse in Del Coming April 4 at the beautiful Flower (thanks for being one, by the way), I “AA” batteries (they last a long time!), Mar, playing some great progressive music Fields in Carlsbad is Bluegrass Day at the feel its substance bears repeating. buttons labeled “Function,” “A-B Repeat,” “Menu,” and “List.” a USB cable for uploading audio files with bluegrass roots. March also saw the Flower Fields , sponsored by the North San At the heart of the subject was that, onto your computer, an 1/ " audio Claire Lynch Band , featuring IBMA vocalist Diego County Bluegrass and Folk Club. This essentially, music artists and bands Along the left side of the LS-10 are 8 an 1/ " “Ear” jack that provides stereo cable, a zippered carrying case, a strap, of the year Claire Lynch , with two-time year’s event features Highway 76 . Also on always seem to become better perform - 8 a windscreen, and a DVD-ROM of IBMA guitar player of the year Jim Hurst , April 4 at Old Time Music you can hear banjo ers after they’ve completed a recording monitoring via headphones or earbuds; a “Volume” dial, a rubber-flapped USB Cubase LE4 music production software, two-time IBMA bass player of the year Mark player Bill Evans and fiddler master Megan project. It’s an observation that has allowing users to further edit and Schatz, and Florida state fiddle champion Lynch . For tickets and info, go to sdold - been repeated many times in my expe - jack, an SD/SDHD memory card slot, and a sliding button for powering the sweeten their recordings. Jason Thomas . Claire’s band also performed timemusic.com/events. rience, and I have always been fascinat - The LS-10’s compact size and solid, at the Del Mar Powerhouse and left the The Adams Avenue Roots & Folk ed by the phenomenon. unit on/off as well as pausing the recorder. The right side offers 1/ " sturdy build helped to make it a con - crowd in awe of their talent. Festival will also be in full swing the week - My theory is a simple one: that we 8 stant companion, allowing me to test it March also brought us the Temecula end of April 25-26 featuring the Scottsville all have an ideal in our mind’s eye (or stereo mic and line-in jacks, a record - ing level dial, and slider switches for in a variety of circumstances. Bluegrass Festival , a free bluegrass event Squirrel Barkers, Chris Hillman and Herb ear, if you will) that we are aspiring to Recording a rehearsal with vocal trio sponsored by the Temecula chamber of com - Pedersen, Plow, Sara Petite and the Tiger when performing. The sharper and Low/High mic sensitivity and Low fre - quency cutoff. There is also a DC Allied Gardens, I was very impressed merce. Appearing were the Claire Lynch Mountain Boys, Shawn Rohlf and the stronger that image is, the more we are with the beautiful imaging and clear, Band , Silverado , and perennial favorite Buskers , and more. Read more about it: able to focus in on it and bring the power jack at the base of the unit. The back of the LS-10 houses two dime- crystalline recording quality. It was as Bluegrass Etc. , along with Flint Hill http://www.adamsaveonline.com/rootsfestival/ ideal into reality. if you were right there in the room Special, Sligo Rags, Nathan McEuen , and For those craving a big time bluegrass Let’s say you have a new song sized playback speakers and a thread mount for affixing it to a tripod. with us, allowing the listener to clearly Scott Gates . Many local bluegrass fans festival, the weekend of April 25-26 also fea - you’ve written, or it’s a cover tune that “see” just where we were seated. A found their way to Temecula for this event tures the Stagecoach Festival in Indio, you’re learning. Almost invariably, you recording of the show we subsequently and reports are they had a great time. which includes some of the best of the best: will repeat this song or parts of it sever - played captured the large, reverberant On the local scene March included a fun with Family and Friends, al times to really “lock it in” to your hall’s acoustics very accurately and by band scramble and a one-hour concert pre - Ricky Skaggs and Kentucky Thunder, memory; this ensures that you’ve really turning down the mic sensitivity I was sented by the SDBS Board of Directors at the Doyle Lawson and Quicksilver, Ralph got the song “down” and can perform able to record the loud rock band’s set regular third Tuesday event in Chula Vista, Stanley, and his Bluegrass it with a relative level of consistency. that preceded ours with similar success. held at the Fuddruckers Restaurant on Third Band , and more. Information and tickets are Subsequent performances of this song The recorder offers a great deal of Avenue. SDBS reports it is trying to revitalize available at: http://stagecoachfestival.com/ will improve somewhat over time, as flexibility for meeting your unique its third Tuesday event and encourages all If a social get-together and picking party you become more and more familiar needs by offering true, uncompressed pickers and listeners to come on down to is more to your liking, you won’t want to miss and comfortable with the piece. I high quality audio recording at up to share the fun. The next event is on Tuesday, the San Diego Bluegrass Society’s member’s believe this comes from building the 96k/24bit resolution. Additionally, April 21. SDBS also featured local band the picnic in Harry Griffen Park in La Mesa previously mentioned mental image recordings can be made in Mp3 or Superstrings at the SDBS fourth Tuesday of from 11am to 3pm on Saturday April 11. and using that as the foundation of 1 even WMA format offering up to 69 /2 the month at the Boll Weevil restaurant, Admission is free to members, but if you one’s performance. Therefore, it would hours recording time via its 2-gig which is turning into a great listening place aren’t a member you can join on site for $20 follow that having a polished, edited onboard memory! and venue to jam. If you haven’t been to this for the whole family for a year. The SDBS recording of yourself performing the Due to the Olympus LS-10’s easy, new venue, stop by on April 28 at 9330 Board is offering free hot dogs and drinks and same song gives you an even more Dictaphone-like usability, I have cap - Clairemont Mesa Blvd. at the intersection of encouraging everyone to bring their instru - accurate picture of the ideal, and that tured some great demos and song ideas Ruffin Road to eat some great BBQ, to do ments for some great jamming. Visit the aspiring toward that brings us that on the fly in recent weeks and have some jamming, and to hear San Diego’s Plow SDBS web site for more info about all SDBS much closer to a perfect performance. been able to really dial in some tricky led by Chris Clarke . activities at www.socalbluegrass.org. A sort of musical “muscle memory,” if harmony parts in the same way. This Coming months If camping and picking appeals to you, you will. means I have improved as a musician promise to be just consider attending the annual Spring It is a similar, though slightly differ - as a direct result of my experience with as bountiful for Bluegrass Camp Out sponsored by the ent, process that we employ in record - this powerful product. San Diego blue - North San Diego County Bluegrass and Folk ing ourselves when rehearsing or per - Enough said? I’d say so! grass fans. We Club and supported by SDBS. The event will forming. In this instance, we are trying Sven-Erik Seaholm is an award-winning to attain an accurate picture of where have top-tier fid - be held April 17-19 at the beautiful KOA independent and recording dler Byron campground Chula Vista, featuring a pot luck we are with the song right now in an artist. He plays every Friday at Bondi in Berline appear - dinner on Saturday and lots of jamming. For effort to remove unwanted elements of the Gaslamp. Find him on the web at ing with more information or to sign up contact Phil our performance and highlight the SvenSongs.com, KaSPro.com, Lynda.com, Bluegrass Etc. Levy at [email protected] strengths. This is where the old studio Facebook, and myspace.com/SvenSeaholm in a special con - Wow–that’s a lot of great bluegrass! I adage “playback never lies” comes from. Byron Berline cert at Acoustic hope to see you out and about enjoying one So, if the studio recording could be Music San Diego or more of these great opportunities. seen as a lovely PhotoShopped version on May 10. Byron has played with a stellar of our face with blemishes and other group of top musicians including the Rolling imperfections removed, the live record - Stones, Gram Parsons, the Flying Burrito ing is more of a harshly lit close-up. Bothers, Emmy Lou Harris, , and Both of these instances are incredibly James Taylor as well as with top bluegrass useful; one shows the ideal and the bands, including Country Gazette. other shows how far we are from it. It is an interesting irony that the audio and visual realms are both evoked in the preceding observation, because I have spent the last few weeks with an audio recording product that was developed by a company more closely associated with items from the decidedly more visual realm: Olympus (www.olympusamerica.com). It’s called the LS-10 Linear PCM The Grascals Recorder ($449.95 List, as low as $309.00 online) and is described by the On May 17, Acoustic Music San Diego is manufacturer as offering “Studio-Grade presenting, for the first time in San Diego, Recording to Go.” Based upon my the nationally acclaimed Grascals . The experiences with it, I’d have to say Grascals have had a series of top bluegrass that’s a pretty accurate statement. hits and were selected as the IBMA The LS-10 is small but powerfully Entertainer of the Year in 2007, IBMA’s high - featured. It’s about the size of a longish 1 1 3 est award, a repeat of their win in 2006. Each cell phone (5 /4" L x 1 /2" W x /4" D), of their first two CD releases, The Grascals with two high quality microphones at and Long List of Heartaches , was grammy the top of the unit in an X/Y configu - nominated. The Grascals are no doubt one of ration. This provides a very accurate the top bluegrass groups of the modern era, stereo “picture” right out of the box, having shared the stage with Brooks and and there are options within the unit Dunn, Dierks Bentley, Patty Loveless, Mac that allow the user to alter this pickup

10 www.myspace.com/sandiegotroubadour APRIL 2009 SAN DIEGO TROUBADOUR ramblin’

Hosing Down Radio Philosophy, Art, Culture, & Music by José Sinatra Daze StAgeS

by Peter Bolland hunched over that Olivetti crafting long stories of how we boys were growing up, AROUND THE BLOCK or what the orange blossoms smelled like, or how the California sun felt on your ’ve been writing this column for nearly skin. These accounts were my grandpar - two years now, and it’s been a wonder - ents’ only link to their far-flung children Iful experience. Having the freedom to and grandchildren living half way around explore the intersections of philosophy, the world. This wasn’t mere reporting. art, culture, and music in San Diego’s pre - This was writing as an act of love. mier music magazine is an opportunity I This went on for years. There must be will always be grateful for. Normally, I hundreds of pages of this stuff. All four of have no problem coming up with topics my grandparents are gone now, and most José Sinatra completes a self-portrait and concerns to explore in this column. of my aunts and uncles, too. My dad has But this month, I’m stuck. Maybe the two the letters. What’s most haunting is that books I’m working on have drained all the they were all written in Dutch, a language CERTIFIABLY INFLAMED happen, especially since last month when words from me. Maybe it’s because I’m get - I cannot read. My dad and I have often you expelled, finally, whatever quantity of ting on a plane tomorrow to play a show spoken about getting them translated, but Once an artist achieves a degree of by Jim McInnes human soul you ever possessed all over in Washington D.C. and all the arrange - it’s such a daunting task. There is just too public acceptance, the more troublesome ments for that are eating all available brain this very page Yeah, you done shot yer much material. I feel something slipping symptoms of celebrity always find a way to waves. Maybe I’m just, for once, speech - away. wad, Hoseman; there ain’t nothin’ left. Ah, April! gate-crash the party, leaving him with two less. Whether it’s songwriting, prose, poetry, Please don’t underestimate the volume options: either shoot the bastards or allow Writer’s block is a mysterious beast. fiction, or nonfiction, the process seems to of my wad. them to lay their cards on the table. pril is an important month. Income There are, naturally, numerous websites be the same – if there is no compelling Historically, he’ll usually opt for the latter. I’d love to know how Bobby Sherman taxes are due on the 15th. April devoted to helping writers work through purpose for writing, no discernable reason The crafty sharpies display what was able to pull it off. Maybe someday I’ll A28th is our 25th wedding anniver - this strange malady – something to read to put pen to paper (or cursor to doc), appears to be a full house. There is a base - meet someone who has his phone number. sary, which Sandi and I will celebrate by while you’re not writing. It’s almost as if then why bother? Art without hunger is ment built on compromised ideals, a decor There could be someone else . . . going out to dinner in La Jolla, or driving to the language centers of the brain have col - art without truth. No matter how elegant reeking of surrendered creative autonomy, I’ll never forget the first time I heard his Palm Springs, or working (which is what we lapsed in on themselves, like one of those the composition or fortunate the arrange - and private areas, constructed entirely of song “Julie Do You Love Me?” many usually do, anyway). awful third world high rises after an earth - ment of elements, if there is no beating glass. Still, somewhere upstairs is a big decades ago on a summer night out on Most important, though, April means the quake, and all the words are stuck inside, heart, no radiance shining through the fab - pot of gold and a magic bed that women Fiesta Island with a girl named Julie! Met start of baseball season! Which reminds me, dead or dying. ric, no music , then it’s all just sound and instinctively desire to territorially mark. her at her fire ring, music coming from the did you know that I signed a contract with The problem is manifold. Some say it’s fury signifying nothing. The key to over - If our artist has the purity and intelli - radio of her yellow VW. Long blond hair, the Padres for the 1994 season? True. lack of focus or purpose. No clear goal or coming writer’s block is hidden deep with - goals. If you were passionate about your gence to send the vultures back to their headband, bell bottoms, and sandles, she First, some history. in the folds of this insight. It’s almost as if subject, they say, this wouldn’t be happen - nests in Hell, he’ll end up sleeping well could’ve been Michelle Phillips’ twin. Andy Strasberg, who was KGB’s sports writer’s block is doing you (or your read - ing. There’s probably a metaphor in there ers) a favor – it’s preventing you from writ - that night and perhaps be remembered Intrigued by my gentle manner, my manual director/reporter in the 1970s, was also VP for how I should live my life, but I’m too ing a word until you’re in touch with fondly as a one-hit wonder five or ten dexterity, my missing chromosome. of Promotions for the Padres. Andy was the tired to find it. what’s real. years later. Dueling pairs of starry eyes. After an driving force behind the station’s once-fear - Or it could be a sudden onset of shy - My dad never had writer’s block. That’s impulsive swim, we sprinted back to the some softball squad, the AM-FM Wizards, But being an American, he loves saying ness – you’ve grown weary of revealing because he wasn’t trying to write anything. fire nakedly to warm, to dry, and I impul - named for KGB-AM jock “Wizard” Lew things like “Bring it on!” especially when your private observations, values, and He was up to something far more primal, sively suggested that her legs could use a Rogers. Others on the squad included he can make it sound like “Brang it own!” opinions to a vast, faceless legion of more elemental. He was reaching out shaving. She suggested the same to me. And the sleazeballs do exactly that while myself, Larry Himmell (before going on to strangers. What, suddenly now you’re shy across the miles and joining lives together. the artist kisses normalcy bye bye to Then the song came on. TV fame), current “Rockline” host Bob after all these years of nakedness? What if we let that goal guide all our art? become a rich and famous corporate mari - When it had ended, she stuck a hot dog Coburn, Jeff Prescott and Ernesto Gladden, Any kind of creativity has its snags. It’s We humans are, by nature, communal onette. on a coat hanger and thrust it into the Chris Sullivan of the Penetrators, who was unrealistic to expect the flow to be peren - creatures. We need to tell each other our After many hours of seriously immers - flames. “God, that’s a great song,” she working at KGB as well, some sales dudes, nially vigorous. Rivers and streams have stories. I need you to know what I saw, ing myself in the rather intriguing history said, her light voice accented by the spit - and a few ringers, some of whom were ex- their dry seasons. The trick is to somehow what I heard, what I thought, what I felt. of popular music, I discovered only one ting noise of sizzling meat – a noise poised pro baseball players. The Wizards had a get across the sandbars, through the shal - If I clamp it all down and keep quiet, artist who became a superstar and yet to become the soundtrack of our lives. good several years but eventually petered lows, and down stream to the source. The something dies a little inside. And if I ever kept his own soul entirely unstained. One “What’s it called?” out as attrition set in. ocean, thankfully, shows no signs of dry - stop listening to the people around me, if I – out of hundreds – attained a perfect “It’s by Bobby Sherman,” I replied. “It’s But, in the early 1980s, Strasberg talked ing up. ever grow dismissive and tone-deaf to their career that encompassed modesty and called [now looking into her blue/green a few of us into weekly Sunday pickup soft - My favorite image of writing will always music, a loneliness will well up around me be my father. My parents emigrated from integrity along with adulation and incredi - eyes, removing my glasses and towel for ball games at Grossmont High School. and drown me. the Netherlands to America after World ble wealth. effect] ‘Julie Do You Love Me?’” Sullivan came out, bringing more and more The absurd popularity of social websites War II. There were few opportunities for a like Facebook, Twitter, and MySpace testi - That secret something possessed by “Yes,” Julie answered, as I took the local musicians to play, including Country young married couple in Holland after the fy to this incessant need to speak and be this one man is what investigative journal - hanger from her hand, flinging the redun - Dick Montana, then known as Dan McLain; Germans got through with it. They landed heard. Next time you compulsively log ists like myself have been attempting to dant wiener into Mission Bay. “Yes! I Don Story, formerly with Modern Rhythm; in New Jersey and eventually settled in onto Facebook or sneak a furtive glance at thought that’s what it’s called. Debbie said and David and Douglas Farage, the identi - recognize, define, and steal for centuries, Ventura, California. I grew up without any your Twitter page during an important I was wrong. Wow. She owes me ten cal twin frontmen of DFX2. Current but to this day Bobby Sherman remains as cousins, aunts, uncles, or grandparents. meeting, take inventory of how it makes bucks!” Troubadour publisher Liz Abbott was a regu - tight-lipped as he is eternally frustrating. Outside of our little home, every Bolland you feel. There’s something going on there Memories of that night in 1971 still siz - So, perhaps you can imagine how I felt lar, as were the late Lorna “Doone” we knew was far across the Atlantic. Apart we haven’t quite grappled with yet. For all when I heard that Bobby Sherman had zle like a sausage in the currents of my Hamilton, Penetrators manager Paul from the occasional phone call, the only its lamentable ills, the interscape, as Jon died. I take that back; you can’t. No way. blood. They mean more to me than they Sansone, and a host of lesser known peeps. substantive link was the written word. Stewart calls it, it plays a vital role in our Something within the deepest, slipperiest, have any right to, and that’s why, when the Sometimes that ragtag bunch played under My dad would sit in the sun on the communal human experience. most underused part of me began scream - City Council decided to remove the Fiesta the KGB moniker, if there was a challenge patio in our backyard with a portable type - We no longer sit in the sun with ing, “It’s Impossible” – or rather, singing Island fire rings earlier this year, it made from another motley crew. What our band writer on his lap, carefully typing nine- portable typewriters on our lap and a sheet “It’s Impossible,” one of the most over - my sizzle fizzle. of merry ballplayers specialized in was page letters to the family back in Holland. of carbon paper sandwiched between two looked masterpieces of the last century, in And that is why I paid a quarter of a drinking beer. And softball. He needed two copies, one for his parents onion skins. But we still utterly rely on the a head-banging, metal mode. Yes, for a million bucks to have them restored. After our final “season” in the early and one for my mom’s parents. This was power of language to keep our love alive, brief time, my heart sprouted vocal chords, Yes, I wanted to remain anonymous, but 1990s, we held an awards dinner at a pizza the sixties. There were no copy machines. whether it’s half way around the world or and I didn’t have a camera. And I was now one of the hundred or so people who joint in La Mesa. I was awarded a symbol of He’d put a sheet of black, oily-looking car - half way around the block. bon paper between two sheets of very thin crushed by the fact that my long-planned know about it says it’s a difficult secret to my range at first base: a square foot piece Peter Bolland is a professor of philosophy and white paper (it was called “onion skin” dream – a no-holds-barred, exclusive cover keep and that everyone should know what of Astroturf! humanities at Southwestern College and singer-song - back then – very thin and light to keep the story/interview with Bobby Sherman for a generous spirit I truly am, that I haven’t I know you’re thinking, “So, what has all writer-guitarist of the Coyote Problem. You can com - plain to him about what you read here at peterbol - really “lost it,” that at long last I’ve done this got to do with Jim signing a deal with air mail costs down) and carefully begin the Troubadour would never be able to typing. No rewrites, no white outs, no [email protected]. www.thecoyoteproblem.com is the “something decent” with my life. the Padres.” take place.I felt even worse for your loss mistakes. Total commitment. Just say it ethereal home of the Coyote Problem. Okay, so what if it was just an April Well, in 1994, on my 20th anniversary than my own, but that’s just the way I’ve and move on. fool thing? Isn’t there a bit of real decency on the air at KGB, Andy Strasberg gave me always been. Then, finally, after hours (or I’ll never forget his quiet focus, his in the fact that I would have gladly paid was it days? minutes? who knows; watch - a nice gift. It was a signed Major League reverie, his near trance-like state as he es are for geeks), after the chills had dried for the restoration of the rings if I had the Baseball contract with the Padres, at a and the tears warmed, I mustered the money and inclination to do so? Decency salary of one dollar! In the attached letter, Radio Daze, continued courage and relished my opportunity to enough to want to thank, hug, kiss the feet he wrote: of that mystery person who keeps these look Reality right in the buns. Hot dog! Dear J.M., pits of passion alive as we revisit memo - of beer in his hand like you, Jim...I mean No, I concluded, wiping my chin, Bobby So you have managed to fool the suits at KGB ries and create new ones? nobody !) Sherman cannot truly be dead. Because his for 20 years. Way to go! And it can’t be indecent, can it, to wish Please accept the enclosed game tickets songs still live. Because the inspiration he Perhaps my fondest memory of you were that the benefactor is female and willing and a player’s contract for the 1994 season. bestowed upon everyone who has ever those days when we played softball together to share a fire with me out there one night heard his music will remain eternal. And and specifically the game where you hit a Sincerely, Andy this summer? most of all, because the person who told towering 400-foot plus triple to deepest cen - Vice President There’s a song I want you to hear, baby, me of his death had confused him with terfield and by the time the ball got back into Game Operations & Special Events by a man who’s a lot like you. someone else. the infield, there you were, standing on first Tears came to my eyes as Andy present - I know what you’re thinking: you’ve base (nobody could run the bases with a can ed the package to me...and before he left, I really lost it now, Hose. It was bound to made him give me my entire season’s continued adjacent salary! www.sandiegotroubadour.com 11 APRIL 2009 SAN DIEGO TROUBADOUR highway’s song

Old Friends Remain True to Their Roots Tell us about the Byrds. the musician who always has your back. He How did you get from the San Francisco You know, we were all folk musicians. We never lets you down. I’ve had to be the sec - music scene to Nashville? didn’t know anything about rock and roll. ond before in my career, but Desert Rose was It didn’t happen right away. I moved to L.A. Were you brought in because of your blue - my time to bring out my songs, to front the in ’63. I was with the Pine Valley Boys for a grass background? band. But, still, we were all a unit. No one year. After they heard me, I joined Vern and CHRIS HILLMAN & had a personal agenda. We were all there for Ray. They were playing around Northern No, they needed a bass player so I lied and said I could play. I didn’t know anything the music and for each other. By that time I California for a while. I learned about coun - about the bass! The only bass I’d seen was was really working on perfecting my craft try and bluegrass vocals from them. They the stand-up Ed Douglas would play. But the and becoming a front man . . . and I couldn’t moved to Nashville in ’66, so I stayed with HERB PEDERSEN have done it without them. They’re all stand- them for a year and a half after that. During guys didn’t know and I learned fast. up guys. You know, John [Jorgenson] is such that time I was invited by Earl Scruggs to sit What was your first impression? an incredible talent. Even so, he’d be the first in for for some shows. We played They were great singers. Roger, Gene, and to help out in little ways during those years two weeks at the Ash Grove in L.A. Then I especially David [Crosby]. He’s gotta be the and even now. If I needed any help with any - was called to replace in the best harmony vocalist alive. But we were all thing, he’d be there, no questions asked. Dillards. After two years with them, I decided into acoustic music, so there was no blue - to stay at home to be with my family. It was print for what we were doing, which is what the early ’70s, the era of the singer-song - made it so good. writer. There was a need for instrumentalists What about ? Did in the sessions with some great people. your love for bluegrass and country allow you How was that experience? creative input? It was different from what I had been doing. Absolutely! I hadn’t played mandolin for four Experimental. I was asked to play banjo, gui - years, having put it aside while in the Byrds. tars, and vocals. In fact, I didn ’t even own one. The Sweetheart project got me back into playing, which I did You mentioned session work was a time for on the album. I bought one of John Duffy ’s you to spend with your family. old Gibson F-5s in Virginia. Not a very good : Jay Dee Maness, Yes. When you have young kids and bands mandolin but as I said before, it got me going Herb Pedersen, Bill Bryson, Chris like the Dillards were always on the road, I again. This particular mandolin was the one I Hillman, Steve Duncan, had to make a decision to be there with the later used in the Flying Burrito Brothers. It’s kids. After they were in their pre-teens, I the instrument heard me play went back to playing live. I started out with at a show in Colorado. Later, when he gave How did last summer’s Desert Rose reunion go? Jonathan Edwards. Then I was invited to play me the beautiful Loar in 1972, which I still You know, it’s been 20 years and it seems we with . That is the most extensive by Terry Roland my god, how beautiful. Less than ten years cherish and play, he said, “That mandolin I were just picking up where we left off. In touring I’ve done . . . all over the world. later, I was standing on the stage singing heard you play in Colorado sounded so bad I fact, I told John that I thought we were better How did you first meet Chris Hillman? n the late ’50s, from San Diego and up to some of those songs with Gram Parsons. decided you deserved a decent instrument.” than 20 years ago. After the time passed, we I think it was around 1963. Bob Stane was San Francisco, bluegrass and country music Herb mentioned a great story. He said that What an incredible gift from a very kind and had so much maturity – no baggage, no war having a bluegrass festival at the Ice House in I were beginning to strike the imaginations of when you were still a teenager, you took a generous man. wounds. It was a really successful reunion. If Pasadena. Chris was playing mando with the beach-hanging teenagers. In a recent interview train up north for a mando lesson? So, with the Flying Burrito Brothers you were we’d moved to Nashville, we might’ve won Golden State Boys. That’s how we learned from his Ventura home, former member of the There was nobody in the San Diego area that even better able to use your acoustic/blue - some of those awards we were nominated for. back then. We’d go to an apartment and swap Byrds and the Desert Rose Band, Chris Hillman I could find at the time who played man - grass and country background? So, you think staying in California made a licks. No electronics. Just live music one on laughed and said, “Back then surfers didn’t lis - dolin. I took the train from Del Mar to Yes. There was more opportunity. Gram difference? one. ten to surf music. Real surfers listened to blue - Berkeley [a nine-hour trip] and found Scott Parsons and I had a good first year up to the Yes, definitely. That’s the price we payed. It’s What made you decide to work together? grass!” At 15, Chris joined the Scottsville Hambly, who had filled in for Roland White always been that way for California country Gilded Palace of Sin . We were really produc - For years after we met, we played sessions Squirrel Barkers (see article on page 4). It was in the Kentucky Colonels. He was a great music. talked about it. It took tive. At that time Gram was focused. He had together. In 1984 I joined on a venture that would change his life. player and was kind enough to give me two Merle Haggard a long time to be acknowl - a real love and knowledge of country music. during his bluegrass- Herb Pedersen made his way as a sideman, days of lessons, which really helped me get edged. You know, Buck Owens, Haggard, the Louvin influenced tour. Chris was on that tour along beginning with legends of bluegrass, then to started. Brothers, all of the great country music of the Any comments about the gig in San Diego? with John Jorgenson and Bill Bryson. We’d do recording sessions with some of the best singer- Did the discovery of country music lead to time. It was the best. But the Burritos were We’re really looking forward to it. I was out an acoustic set during the show. This is when songwriters of the ’70s and co-founding the your involvement with the Scottsville Squirrel flawed. There were other great bands at the hiking this morning on the hills behind my Chris and John started talking about forming Desert Rose Band with Chris Hillman. Barkers? time, like Richie Furay’s , who were real - house and thinking about San Diego, the a band. We did some acoustic shows around Herb and Chris remain headliners at blue - When I got into bluegrass I was still in high ly tight, but we had this material, these great Squirrel Barkers, and the Troubadour . I knew town. It was John’s idea to take what we were grass, country, and folk festivals around the school. Kenny Wertz and Larry Murray, these songs we were writing. Unfortunately, we Lyle and Ellen [Duplessie] well. Their son doing, especially Chris’ new songs, and plug country. I recently had the opportunity to speak guys were the best. They were surfers and didn’t play well. We were too loose. We had [Derek] was also a great kid. I really loved in. When we went electric, we became the with both of them in separate conversations as into bluegrass. If you were a real surfer in the soul, we just didn’t execute it as well as them. Desert Rose Band. they prepare to perform at the Adams Street those days, you didn’t listen to surf music, we could have. . . . Roots Festival this month. HERB PEDERSEN INTERVIEW Yes, I was there the night Desert Rose first you listened to bluegrass ! [laughs] Their What about Gram Parsons? played McCabe’s around 1986, along with 150 Since we’re talking about a roots festival of CHRIS HILLMAN INTERVIEW music gave me an appreciation of the older Oh, man, he was so good. As long as he was other people. We felt like that guy in the Sony old-time music, who would be your earliest songs, the old Baptist hymns, and the old on, he was great. He could’ve been like speakers ad, sitting in front of his speakers Who were your strongest influences for influences? bluegrass and old time music? story-murder songs, the hill songs. I took this Dwight Yokum during his time. He just didn’t with his hair blowing back. with me to the Byrds. Well, I got into this in 1960. That’s when I I love old-time and bluegrass music. But have the discipline. You know, Gram had the [laughs] It was like that. McCabe’s was too became a big fan of old-time music and blue - before that I was listening to Leadbelly, Blind I heard a story about you borrowing a mando trust fund and all of that; Dwight came to small for what we were doing. We needed to grass. Before that it was more urban folk like Willie McTell, Lightnin’ Hopkins, Robert from Ed Douglas back in the ’60s. You hocked L.A. with nothing, and he struggled and be at Santa Monica Civic or someplace like it and he had to track it down in L.A. the Kingston Trio, who I saw at the Berkeley Johnson . . . really, all of the old acoustic worked day jobs until he got it. But, Gram that. [California] music festival. Flatt and Scruggs music I could find. Yes, unfortunately this is true. I was starving just faded away. We lost him. This may be a bit of a cliche question, but were there. I became a huge fan. After that I at the time and did indeed hock the man - Let’s jump ahead to 20 years later and the what is the future of bluegrass? What initially brought about your interest in started listening to , Jimmy dolin. The best part was that I lost the pawn Desert Rose Band. I think it will be important to remember roots music? Martin, and the Stanley Brothers. I had been shop ticket. Ed did get the mandolin back what it was, how it was played, how it is My mom bought me a Louvin Brothers They’re my favorite band. Just a great bunch playing the banjo in more of the two-finger but that was only one of the many times back understood. A lot of new bands have become album in Del Mar at the only record store of guys, each one of them. Herb had a history folk style. After that I learned the bluegrass then when he wanted to kill me. one-dimensional. They can tune to every that carried this kind of music. Their voices, of being a hired hand or a sideman, but he’s three-finger-string style. instrument and get all the right sounds, but they lose the dynamics. Once you get the sound right, is it memorable.? Chris has said that the songs should stand on their own – you know, stand the test of time. The tradi - tion of bluegrass is about how the music was played in front of people. They would use one microphone and whoever did the solo would move close in . . . things like that cre - ated more than one dimension in the music. So, the future will depend on how well each generation is able to keep a memory of that and recreate it. This is also something I stress with my guitar and banjo students. It’s important to take the song or the technique and make it your own. Put your own mark on it, earn the basics, and then find your own interpretations. Do you stay in touch with the older guys you learned so much from? Earl Scruggs is a long time friend. It was such an honor to work with him. He is a great man. Huge. A great figure in American music. Whenever we see each other, it’s just like we just talked yesterday and we’re pick - ing up where we left off... Well, thanks, Herb. I know everyone in San Diego is looking forward to seeing you here. I’m looking forward to it, too. It’s been a pleasure. Chris HIllman & Herb Pedersen will appear at the Adams Avenue Roots & Folk Festival on Saturday & Sunday, April 25-26. 12 www.myspace.com/sandiegotroubadour APRIL 2009 SAN DIEGO TROUBADOUR of note

Dime Box Israel Bissell Zen Boy & Delaney Peter Sprague Five and Dime Waltz Disillusioned Hero Karma Girl Gibson & Kevyn by Steve Thorn by Frank Kocher Earth vs. Zen Boy The Worst Kind of Lettau In the accompanying press release Israel Bissell was a Revolutionary for Five and Dime Waltz , the “Sounds War figure whose 345-mile ride in & Karma Girl Way What Is Enough? Like” category describes Dime Box 1775 alerted colonists of the inva - as “ singing Gram sion of the British from New by Mike Alvarez by Heather Janiga by Frank Kocher Parsons if Roy Acuff was backing.” to Philadelphia. Many scholars con - But the proof of this hyperbole lies sider his more noteworthy than Paul One can pretty much expect that I’ve heard rumor of the technical - North County jazz guitarist Peter in the pudding – in this case, this Revere’s 19-mile trip in Boston. The an act called Zen Boy and Karma Girl ly prophetic “hit machine” that Sprague joins vocalist Kevyn Lettau auspicious debut CD. band that bears his name has select - will have a sly sense of humor as well record labels use to foretell the suc - for What is Enough? and the result is The Dime Box band is the current ed the title Disillusioned Hero for their as an affinity for absurdity and cess/popularity a song might pro - one of those musical collaborations project of Dallas native-turned- new CD. A bit of a spoiler alert: the cheese. And you would be right. duce before shelling out the mega in which the familiarity and talent of Angeleno Kristi Callan, already pos - band’s website and first song will tell Their EP Earth vs. Zen Boy and Karma fortune needed to promote it. If this the artists complement and enhance sessed of an impressive music the listener that this band has adopt - Girl is a pleasantly wacky collection machine does exist, every song on one another perfectly. Sprague’s resume before Dime Box strummed ed a sound, choice of material, and of songs that takes inspiration from Delaney Gibson’s debut release, The 2008 release, Peter Sprague Plays Solo its first note. In the ’80s, Kristi general approach very similar to comic book superheroes and grade B Worst Kind of Way , would pass was a delight that featured his virtu - teamed up with her sister Kelly in 1970s progressive rock giants Jethro sci-fi movies. The songs are mainly through with flying colors. There oso skills on acoustic arrangements the fondly remembered Wednesday Tull, especially such heavily acoustic based on acoustic rhythms, support - isn’t a song on this album that lacks of songs from classical and Brazilian Week, a power pop band reminis - discs as “Songs from the Wood” and ed by bass and embellished with an industry-hungry hook, and the to the Beatles. Lettau got her start as cent of the Go-Gos and the Bangles, “Heavy Horses.” Singer/songwriter electric guitars. Electronic effects and overall production and musicianship a vocalist on several of Sprague’s ear - but with a bit more of the Byrds’ Chuck Preble plays flute and man - keyboards pop up here and there to is of star quality. liest recordings with his Dance of the folk-rock jingle and jangle. Their crit - dolin, and the four other members add atmosphere. The overall sound “I’m Alive” erupts as an emotional Universe band in the late ‘70s before ically acclaimed 1987 LP, What We all belong to veteran jazz-fusion is friendly and gentle, helped along intro, which Gibson croons with girl - her lengthy stint with Sergio Had , has been reissued on CD and is band Speed of Sound, and their ace by their decision to eschew percus - ish naivete and coming-of-age poeti - Mendes’ band. Her prolific solo worth seeking out. Over the years, expertise shows. Preble has a man - sion instruments. That this was not cism. Here, a background in classical career has featured Brazilian jazz Kristi has collaborated with song - nered voice that fits the band’s immediately apparent is a tribute to music is revealed with an Alicia Keys (Sprague played on several of her writer David Gray, the Wondermints Renaissance accents perfectly. their dense arrangements. Taking style twist – a Mozart-like piano riff albums, including 1995’s BrazilJazz ), (’s backup band), and Guitarist Mark Bacilla produced (at center stage are layered vocal har - swooping through the foreground. jazz standards, originals, and covers head Kink Ray Davies’ younger and Tundra Digital Recording Studio in monies. Very rarely do Zen Boy or This moving piece is accentuated by of songs by the Police and others. feistier sibling, Dave. Poway), and his work on the board Karma Girl sing alone. I was remind - refreshing and unanticipated What Is Enough? brings these two For Dime Box, Callan (guitar and enables the listener to hear the ed of Peter, Paul, and Mary on changes that substantiate Gibson’s talented artists full circle, with the vocals) is joined by Edie Murphy, a metaphors in the lyrics and to feel numerous occasions. That is, if they ability as a complex songwriter. pair as co-producers. The accompa - classical violinist who would later the changes of atmosphere and had secret alter-egos and a moral The title track “The Worst Kind of niment is still Peter Sprague solo and learn the mandolin while studying at scene in the songs. imperative to combat evil in all its Way” cues up seductive similarity to acoustic, without overdubs. He is Los Angeles’ Silverlake Conservatory “Undercover” is the opener, with forms. Fiona Apple’s “Criminal,” swelling clearly a master of jazz guitar phras - of Music. Guitarist Yolande Ng is a quiet verses leading into an acceler - After opening with a short, spacey into a riveting power chorus with ing, able to combine improvised fig - veteran of the “cow punk” move - ated exchange between Bacilla’s intro called “Let’s Get Ready,” they hair-raising motive. The essence of ures, rhythmic chords, and bass lines ment and has performed with alter - excellent electric guitar lines and launch into the zany and absurd longing revamps into palpable form in an effortless flow. Lettau’s voice is native country rockers the Preble’s flute, then back into the “Earth vs. You,” a song that firmly as Gibson achingly professes her the other lead instrument here, a Vaquetones, the Better Halfs, and softer resolution. “Angel Wings” is establishes their sound as well as desire for another with spellbinding finely tuned organ that hits harmon - the Spurs. On Five And Dime Waltz , fully acoustic, bringing to mind a their point of view. As I listened to lyricism and quaver. ics and bounces effortlessly through the rhythm section is ably driven by street minstrel in the middle ages each song I got the impression that Two songs stand out as particular - arpeggios several octaves apart, con - bassist Pam Moore and percussionist playing a lute, strings behind a flute the music would be very kid-friendly, ly radio-ready: “In Your Head,” veying joyous freedom or contem - Laura Ann Masura. solo midway, beautifully produced. because they are all bouncy major which is hard to get out of your plative lessons with an ease rarely Early rural photographs (attrib - The band pushes the beat with the key tunes. Then I paid more atten - head, and “More Than Always.” heard. uted to the Hatley and Stone fami - rocker “Monkey Wrench.” Here they tion to the lyrics. Some of the words Although the other songs hold up to The disc’s opener, “Heed my lies) adorn the CD back cover and again show good dynamics, slowing and imagery would definitely earn a task, these two are destined to wear Call,” one of several cuts on the provide a clue to the Dime Box down just before a fluid solo by PG-13 if not an R rating. I had to out the “repeat” selection on the album co-written by Lettau, has a sound: stories of human imperfec - Bacilla. The song recalls Tull’s best replay “Clowns of Yesteryear ” to music player. The performances are brisk Brazilian beat, a superb guitar tion, triumph, failure, and eternal rockers and is a highlight on the make sure I heard what I thought I magical in their perfection, and the break by Sprague, and like several of hope. Long before the CD release, a disc. On “Gallery” it is back to the heard. Like most songs on the CD it songs sound as if they were born out the cuts, some carefree scat singing demo of the song “Betsy” was mak - Renaissance, as the acoustic tune has a sweet melody and light of the inner circle of Nashville’s elite by Lettau. She is clearly influenced ing the rounds among fans and features deftly picked mandolin and arrangement, but I would certainly songwriting circuit. It’s no wonder by Ella Fitzgerald, and wrote the Internet listeners. Making the final flute. “City by the Bay” could be raise an eyebrow or two if I heard a shows like “Boston Public” and tune “Ella” on a 1994 disc for the cut of Five and Dime Waltz , it’s a about any shoreline town anywhere, youngster singing along. And therein MTV’s “My Own” have swooped up First Lady of Song. The title cut of lovely track resting in the arms of with striking images, and a few hints lies a cornerstone of their artistic some of Gibson’s songs to add to the new disc features joyous, spiritu - Murphy’s inspired mandolin playing. of a San Diego connection, like “the approach: balancing inoffensive their repertoire. ally affirming lyrics, along with The CD’s title track not only gritty sightseers looking for a bargain music with edgy lyrics. It takes a lit - She may be a pop star on the rise “Patience” and Stevie Wonder’s speaks of past hard times but our before boarding for a cruise.” tle getting used to, but once you get in the Top 40 milieu, but she isn’t “Have a Talk with God.” The stan - current economic woes; “Buying day Preble’s writing uses imagery it, it’s pretty entertaining. Their one to mock for lack of songwriting dard “Almost Like Being in Love” is old bread/ going to keep my family effectively throughout. Though all of folksy take on the Beastie Boys’ clas - or instrumental ability. Gibson writes given a swing treatment, with fed/ ‘cause we’re doing the five and the musicians are clearly superb, sic “Fight for Your Right to Party” is all her music and does so with Sprague playing bass lines while dime waltz.” A poignant version of there are none of the overlong solos, also a good example of their skewed ingenious originality and creativity to Lettau scats the horn fills and first Dolly Parton’s “Did I Ever Cross Your elaborately arranged suites, or epic- sensibilities. delight the listener with unexpected solo, until he steps in and demon - Mind?” is the only cover selection of length songs often found in progres - This is not to say that they don’t chord transitions, unusual bridges, strates the ability to hold the whole the song set. As entertaining as sive rock albums. The point here is a have a serious side. “Human Error ” is and a myriad tracks that include a song structure together while creat - Dolly’s over-the-top public persona match of lyric and music, and only a slow song with a social message delayed electric slide guitar, back ing a filigree of angular, original may be at times, it’s fun to periodi - two of the 11 songs last over five that’s driven by a melancholy electric porch-style banjo strumming, sultry scales. cally tap into the Parton song bank minutes. piano. But that somberness doesn’t piano sonnets, and harmoniously Helping things on What Is and be reminded what a gifted Israel Bissell has crafted an album last because the next and final song, layered background vocals. She Enough? is a perfect mix. The listener songwriter she is. It’s similar to that enables the listener to travel “Zen Boy and Karma Girl Theme receives even more validation for gets to hear plenty of each artist, but exploring the Buck Owens catalog with the music to other times and Song ” sounds like it could have been being a skilled player in all of these neither crowds the other. The 12 on Capitol and realizing the old places, while enjoying the ride, the B-side to “Puff the Magic instrumentations. songs last an hour, giving both artists Buckaroo was responsible for much which is a superb accomplishment Dragon .” They even thoughtfully If you’re a hard core indie enthu - plenty of room to maneuver, but at more than telling corny jokes on for any musical effort. sang a line or two in Japanese! It’s a siast or folk junkie, this album may no point does the music sound Hee-Haw . humorous ending to an interesting not be your cup of tea. But if you sparse. Be on the lookout for Dime Box. collection of songs that should appeal give it more than one listen, it might What Is Enough? is great music by They’ll be performing at the Adams to fans of folk music. Folk music from just become your next favorite guilty two veteran performers, making one Avenue Roots and Folk Festival, April another dimension, that is! pleasure. Once exposed, Delaney wish for more from these two per - 25-26. Gibson could become the next Jewel formers in a similar setting. Maybe it www.aveburyrecords.com of southern California. isn’t enough? www.sandiegotroubadour.com 13 APRIL 2009 SAN DIEGO TROUBADOUR ’round about

APRIL CALENDAR WEEKLY Shep Meyers , Croce’s, 802 5th Ave., 8pm. wednesday • 1 Leonard Cohen , Copley Symphony Hall, 750 B Bernie Pearl , Old Time Music, 2852 University every sunday Open Mic , Portugalia, 4839 Newport Ave., St., 8pm. Ave., 7pm. Shawn Rohlf & Friends , Farmers Market, O.B., 9pm. Chet & the Committee/John Nemeth , Brian Levy & Mikan Zlatkovich , Dizzy’s @ SD DMV parking lot, Hillcrest, 10am. Humphrey’s Backstage Lounge, 2241 Shelter Wine & Culinary Center, 200 Harbor Dr., 8pm. Bluegrass Brunch , Urban Solace, 3823 30th every wednesday Island Dr., 5:30pm. wednesday • 8 Derek Trucks Band , House of Blues, 1055 Fifth St., 10:30am. Tanya Rose & the Buffalo Chip Kickers , Serra Ave., 8pm. Chuck Schiele & Friends , Newport Ave., Kristin Korb , Anthology, 1337 India St., 7:30pm. Daniel Jackson , Croce’s, 802 5th Ave., 11am. Ocean Beach, 4-7pm. Mesa/Kearny Mesa Library, 9005 Aero Dr., Jim Earp , BookWorks, Flower Hill Mall, Del Open Blues Jam w/ Chet & the Committee , 6:30pm. Yonder Mountain String Band w/ Darol Anger , Mar, 8pm. Scandinavian Dance Class , Folk Dance House of Blues, 1055 Fifth Ave., 8pm. Downtown Cafe, 182 E. Main St., El Cajon, Center, Dancing Unlimited, 4569 30th St., The Jazz Ensemble , Dizzy’s @ SD Wine & Zzymzzy Quartet , Claire de Lune, 2906 Univrsity 2:30pm. Rick Ruskin , Old Time Music, 2852 University 7:30pm. Culinary Center, 200 Harbor Dr., 7:30pm. Ave., 8:30pm. Celtic Ensemble , Twiggs, 4590 Park Blvd., 4pm. Branford Marsalis , Anthology, 1337 India St., Ave., 7pm. Open Mic , Thornton’s Irish Pub, 1221 Diamonds Under Fire/Every Good Boy/Kathryn Open Mic , Kensington Cafe, 4141 Adams Broadway, El Cajon, 7pm. 7:30 & 9:30pm. Dar Williams/Melissa Ferrick , Belly Up, 143 S. Osterberg , Lestat’s, 3343 Adams Ave., 9pm. Cedros, Solana Beach, 8pm. Ave., 4pm. Open Mic , Across the Street @ Mueller Clay Colton Band , Dublin Square, 554 Fourth Calexico/Bartenders Bible , Belly Up, 143 S. Grand Canyon Sundown/Mark Jackson Band/ Traditional Irish Session , The Field, 544 5th College, 4605 Park Blvd., 8pm. Ave., 8pm. Cedros, Solana Beach, 9pm. Ave., 7pm. John Elliot & the Hereafter/The Blue Hit , Zapf Dingbats , Winston’s, 1921 Bacon St., 9pm. Open Mic , Skybox Bar & Grill, 4809 Open Mic , E Street Cafe, 125 W. E St., Clairemont Dr., 8:30pm. Lestat’s, 3343 Adams Ave., 9pm. Encinitas, 7:30pm. Missy Andersen , Patrick’s II, 428 F St., 9pm. saturday • 18 Open Mic , South Park Bar & Grill, 1946 Fern thursday • 9 Joe Mendoza , Surf & Saddle, 123 W. Plaza St., 9pm. Urban Acoustic Playhouse Show , The St., Solana Beach, 8pm. Poway Bluegrass Jam , Templars Hall, Old Marquee, 835 25th St., 6pm. Jazz Roots w/ Lou Curtiss , 8-10pm, KSDS thursday • 2 Poway Park, 14134 Midland Rd., 6:30pm. Plow , Wynola Pizza, 4355 Hwy. 78, Julian, 6pm. (88.3 FM). every thursday Joe Rathburn & Kev , Milano Coffee Co., 8685 Barbara Nesbitt , Indulge, 4550 La Jolla Village KEV , The Living Room, 2541 San Diego Ave., 7pm. José Sinatra’s OB-oke , Winston’s, 1921 Chet & the Committee Open Blues Jam , Dr., 6:30pm. Rio San Diego Dr., 7pm. Bacon St., 9:30pm. Downtown Cafe, 182 E. Main, El Cajon, 6pm. Michael Tiernan , Calypso Cafe, 576 N. Coast Matt Commerce , Beach Club Grille, 710 Old Tyme Fiddle Jam , Old Time Music, 2852 Seacoast Dr., Imperial Beach, 7pm. The Bluegrass Special w/ Wayne Rice , Wood ‘n’ Lips Open Mic , Friendly Grounds, University Ave., 7pm. wy. 101, Leucadia, 7:30pm. 10pm-midnight, KSON (97.3 FM). 9225 Carlton Hills Blvd., Santee, 6:30pm. Robin Adler & Dave Blackburn , Fallbrook Robin Henkel , Wine Steals, 1243 University Joe Rathburn’s Folkey Monkey , Milano Joe Rathburn & Dale LaDuke , Milano Coffee Ave., 8pm. House of the Arts, 432 E. Dougherty St., Co., 8685 Rio San Diego Dr., 7pm. Fallbrook, 7:30pm. Coffee Co., 8685 Rio San Diego Dr., 7pm. Amy Kuney/Annie Bethancourt/Kyler England , every monday The Riders , Wine Steals, 1953 San Elijo Ave., Silverado , Zion Lutheran Church, 1405 E. Open Mic , Turquoise Coffee, 841 Turquoise Cardiff, 7pm. Lestat’s, 3343 Adams Ave., 9pm. Zapf Dingbats , Turquoise Cafe Bar Europa, St., P.B., 7pm. Fallbrook St., Fallbrook, 7:30pm. 873 Turquoise, 7pm. Richard Thompson w/ Russell Bizzett/Bob Moonlight Serenade Orchestra , Lucky Star Tom Baird & Friends , Rebecca’s, 3015 Juniper Open Mic , Lestat’s, 3343 Adams Ave., 7:30pm. Magnusson/Tripp Sprague/Derrick Cannon , friday • 10 St., 7:30pm. Restaurant, 3893 54th St., 7pm. Dizzy’s @ SD Wine & Culinary Center, 200 Pro-Invitational Blues Jam , O’Connell’s Pub, Traditional Irish Session , Thornton’s Irish Harbor Dr., 7:30pm. Steve Poltz , Anthology, 1337 India St., 7:30 & 1310 Morena Blvd., 8pm. Happy Hour w/ the Mar Dels , Belly Up, 143 S. 9:30pm. Pub, 1221 Broadway, El Cajon, 8pm. Ryan Shaw , Anthology, 1337 India St., 7:30pm. Cedros, Solana Beach, 5:30pm. KPRI Homegrown Hour w/ Astra Kelly , Dublin Open Mic/Family Jam , Rebecca’s, 3015 Big Wide Grin , Canyon Folk House Concert, Square, 554 4th Ave., 8pm. Joseph Angelastro , BookWorks, Flower Hill Jamcodia w/ Mark Kinney , Wynola Pizza, 4355 Harbison Canyon, 8pm. [email protected] Juniper St., 8pm. Mall, Del Mar, 8pm. Hwy. 78, Julian, 6pm. Songwriter’s Showcase , Larry’s Beach Club, Jazz Jam , South Park Bar & Grill, 1946 Fern Mosaic CD Release , Dizzy’s @ SD Wine & 1145 S. Tremont, Oceanside, 8pm. The Dirty Heads w/ Mishka/Tribal Theory/ Robin Henkel , Chateau Orleans, 926 Turquoise Culinary Center, 200 Harbor Dr., 8pm. St., 9:30pm. Revival , Canes Bar & Grill, 3105 Ocean Front St., P.B., 6:30pm. Walk, 8pm. The Wrong Trousers , Lestat’s, 3343 Adams Sam Johnson Jazz Duo , Beach Club Grille, 710 Ave., 9pm. every tuesday Gregory Page , Lestat’s, 3343 Adams Ave., 9pm. Seacoast Dr., Imperial Beach, 7pm. every friday Three Chord Justice , Rosie O’Grady’s, 3402 Traditional Irish Session , The Ould Sod, 3373 Leon Redbone , Anthology, 1337 India St., 7:30pm. California Rangers , Larry’s Beach Club, 1145 Adams Ave., 9pm. Adams Ave., 7pm. S. Tremont, Oceanside, 4:30-9pm. Michael Tiernan , Capri Blu Restaurant & Wine Open Mic , Cosmos Coffee Cafe, 8278 La friday • 3 Bar, 10436 Craftsman Way, 7:30pm. Acoustic Mayhem w/ Sven-Erik Seaholm & Mesa Blvd., La Mesa, 7pm. Jesse LaMonaca , Bondi, 333 5th Ave. 6pm. Gilbert Castellanos New Latin Jazz Quartet , sunday • 19 Faultline w/ Harry Joe Reynolds , Wynola Pizza, Open Mic , Beach Club Grille, 710 Seacoast Jazz Night , Rebecca’s, 3015 Juniper St., 7pm. 4355 Hwy. 78, Julian, 6pm. Dizzy’s @ SD Wine & Culinary Center, 200 Dr., Imperial Beach, 7pm. Harbor Dr., 8pm. Shady Side Players , Rebecca’s, 3015 Juniper Open Mic , Bella Roma Restaurant, 6830 La Zzymzzy Quartet , OB People’s Food, 4765 St., 10am. Chet & the Committee All Pro Blues Jam , Jolla Blvd. #103, 8pm. Voltaire St., 6pm. KEV , Borders Books & Music, 1072 Camino Del The Harp, 4935 Newport Ave., 7:30pm. Rio N., 8pm. Brooklyn , Beach Club Grille, 710 Seacoast Dr., Open Mic , Egyptian Tea Room & Smoking Robin Henkel , Chateau Orleans, 926 Turquoise Imperial Beach, 1pm. Jack Tempchin & Friends , Calypso Cafe, 576 Parlour, 4644 College Ave., 9pm. St., P.B., 6:30pm. Ari Heist , Y1 Studios, 1150 7th Ave., 8pm. Nanette & her Hotsy Totsy Boys , Lafayette N. Coast Hwy. 101, Encinitas, 7:30pm. Spring Reverb w/ Jim McAuley/Scott Walton/ Robert Cray , Viejas Casino DreamCatcher Hotel, 2223 El Cajon Blvd., 1pm. Open Mic , The Royal Dive, 2949 San Luis Rey Bert Turetzky/Ellen Weller , Museum of Making Lounge, 500 Willows Rd., 8pm. Rd., Oceanside, 8pm. every saturday Music, 5790 Armada Dr., Carlsbad, 7pm. Lori Bell , Serra Mesa/Kearny Mesa Library, Josh Damigo/Alexis Allan/Thomas Ian 9005 Aero Dr., 2pm. Patrick Berrogain’s Hot Club Combo , Prado Blues Jam , South Park Bar & Grill, 1946 Fern Hawaiian Slack-Key Masters , Acoustic Music Nicholas , Lestat’s, 3343 Adams Ave., 9pm. Restaurant, Balboa Park, 8pm. St., 9pm. SD, 4650 Mansfield St., 7:30pm. Lighthouse , First United Methodist Church of Escondido, 341 S. Kalmia St., 3pm. Steve Tyrell , Anthology, 1337 India St., 7:30pm. saturday • 11 Valley Music Relocation Party w/ Eve Selis Gonzlo Bergara Quartet , Dizzy’s @ SD Wine & Band w/ Jim Soldi & Mark Twang/Honky Tonk Culinary Center, 200 Harbor Dr., 8pm. 10th Annual Spring Harp Festival w/ Billy Kings/Bleu Dawg & More , Downtown Cafe, 182 saturday • 25 monday • 27 Joe Brooks/Sara Haze , Lestat’s, 3343 Adams Watson/Mitch Kashmar/Stan Ruffo , Harry E. Main St., El Cajon, 4pm. Ave., 9pm. Griffen Park, 9550 Milden St., La Mesa, 11am. Little Windows , Old Time Music, 2852 Adams Avenue Roots & Folk Festival , Normal Michael Tiernan , Dublin Square, 544 Fourth The Rhythm Jacks , The Waterfront, 2044 Mark Jackson Band , Wynola Pizza, 4355 Hwy. University Ave., 7pm. Heights, 11am. info: AdamsAveOnLine.com Ave., 8pm. Kettner Blvd., 9:30pm. 78, Julian, 6pm. Robin Henkel Band w/ Horns , Lestat’s, 3343 Hwy. 67 Blues Fest & BBQ w/ Bill Magee/D.A. Jimmy Ray/K.C. Simpson/Jacqui Foreman , Elliott Lawrence , Beach Club Grille, 710 Adams Ave., 8pm. & the Hitmen/Hoodoo Blues , Ramona Larry’s Beach Club, 145 S. Tremont, Oceanside, saturday • 4 Seacoast Dr., Imperial Beach, 7pm. Mainstage, 626 Main St., noon. 8pm. Rory Block , Acoustic Music SD, 4650 monday • 20 Del Dios Hwy. , Wynola Pizza, 4355 Hwy. 78, Bluegrass Day w/ Highway 76 , Carlsbad Mansfield St., 7:30pm. Julian, 6pm. wednesday • 29 Flower Fields, 5704 Paseo Del Norte, 2pm. Leon Redbone , Anthology, 1337 India St., 7:30pm. Poway Folk Circle , Templars Hall, Old Poway Santa Cruz River Band , San Dieguito United Jake Shimabukuro , Grace Theater, 102 N. Park, 14134 Midland Rd., 6:30pm. Methodist Church, 170 Calle Magdalena, Patti Zlaket/John Foltz , Humphrey’s Backstage Encinitas, 7:30pm. Celtic Woman: Isle of Hope , SDSU Open Air Lounge, 2241 Shelter Island Dr., 5pm. Freeman St., Oceanside, 8pm. Daniel Jackson Quartet , Tango Del Rey, 3567 Theatre, 5500 Campanile Dr., 7:30pm. Paul Williams Benefit w/ Cindy Lee Berryhill Frank Lucio , Wynola Pizza, 4355 Hwy. 78, Brett Sanders , Across the Street @ Mueller Del Rey St., 7pm. Ian McLagan , Anthology, 1337 India St., 7:30pm. College, 4603 Park Blvd., 8:30pm. & Randy Hoffman , House Concert in Del Mar, Julian, 6pm. Chet Cannon’s Blue Monday Pro Jam , 8pm. Contact Laura Britton: 760/944-3918. Evan Bethany/Lindsey Yung/William Cowboy Jack , Cosmos Coffee Cafe, 8278 La Lisa Sanders & Friends , Lestat’s, 3343 Adams Humphrey’s Backstage Lounge, 2241 Shelter Fitzsimmons , Lestat’s, 3343 Adams Ave., 9pm. Ave., 9pm. Island Dr., 7pm. Silverleaf CD Release , Lestat’s, 3343 Adams Mesa Blvd., 7pm. Ave., 9pm. Bayou Brothers , Patrick’s II, 428 F St., 9pm. Swing West , Templar’s Hall, Old Poway Park, Grand Canyon Sundown/Assembly of Dust , 14134 Midland Rd., 7pm. Winston’s, 1921 Bacon St., 9pm. thursday • 30 Bill Evans & Megan Lynch , Old Time Music, sunday • 12 2852 University Ave. Banjo & Fiddle tuesday • 21 Barbara Nesbitt , Indulge, 4550 La Jolla Village S.D. Folk Song Society , Old Time Music, 2852 Dr., 6:30pm. Workshops: 3-5pm; Concert: 7pm. University Ave., 2pm. sunday • 26 Sara Messenger , Beach Club Grille, 710 Richard Smith , Old Time Music, 2852 University Joe Rathburn & Carlos Olmeda , Milano Coffee Robin Henkel Band , Coyote Bar & Grill, 300 Ave., 7pm. Co., 8685 Rio San Diego Dr., 7pm. Seacoast Dr., Imperial Beach, 7pm. Carlsbad Village Dr., 5pm. Adams Avenue Roots & Folk Festival , Normal Shady Side Players , It’s a Grind, 204 N. El Heights, 11am. info: AdamsAveOnLine.com Los Lobos , Coach House, 33157 Camino Gary Louris & Mark Olson , Belly Up, 143 S. Capistrano, San Juan Capistrano, 8pm. Camino Real, Encinitas, 7pm. Cedros, Solana Beach, 8pm. wednesday • 22 Jaeryoung Lee Trio , Dizzy’s @ SD Wine & Culinary Center, 200 Harbor Dr., 6pm. Angela Correa , Lestat’s, 3343 Adams Ave., 9pm. Muriel Anderson , Acoustic Music SD, 4650 Chet & the Committee , Patrick’s II, 428 F St., 9pm. Mansfield St., 7:30pm. Glen Fisher’s First Friday Music Club , Dizzy’s @ Doyle Dykes , Old Time Music, 2852 University Rufus Wainwright/Lucy Wainwright Roche , Stacey & the Stimulus Package , Upstart Crow, SD Wine & Culinary Center, 200 Harbor Dr., 7pm. Ave., 7pm. Belly Up, 143 S. Cedros, Solana Beach, 9pm. Seaport Village, 7:30pm. monday • 13 Charles McPherson & Gilbert Castellanos , Julia Sage , Lestat’s, 3343 Adams Ave., 9pm. Gregory Page , Swedenborg Hall, 1531 Tyler Anthology, 1337 India St., 7:30pm. Ave., 8pm. Ron Bell/Gary Seiler , Larry’s Beach Club, 145 Aaron Bowen/Chris Robley , Lestat’s, 3343 Jordan Reimer , The Marquee, 835 25th St., 8pm. S. Tremont, Oceanside, 8pm. Adams Ave., 9pm. Grand Canyon Sundown , Bailey’s BBQ, 2307 Main St., Julian, 8pm. tuesday • 14 thursday • 23 Tommy Dahill , Across the Street @ Mueller College, 4603 Park Blvd., 8:30pm. Adrienne Nims , Julian Libary, 1850 Hwy. 78, Michael Tiernan , Indulge, 4550 La Jolla Village Aaron Bowen , Lestat’s, 3343 Adams Ave., 9pm. Julian, 6pm. Dr., 6pm. Three Chord Justice , Alpine Inn, 2223 Alpine Poway Bluegrass Jam , Templars Hall, Old Blvd., 9pm. Poway Park, 14134 Midland Rd., 6:30pm. wednesday • 15 Joe Rathburn & David Beldock , Milano Coffee Co., 8685 Rio San Diego Dr., 7pm. Novamenco , Anthology, 1337 India St., 7:30pm. sunday • 5 Earl Thomas & the Kings of Rhythm , Anthology, The Flowerthief , Lestat’s, 3343 Adams Ave., 9pm. 1337 India St., 7:30pm. Shady Side Players , Rebecca’s, 3015 Juniper St., 10am. Hot Tuna , Belly Up, 143 S. Cedros, Solana Beach, 8pm. Valley Music Relocation Party w/ California thursday • 16 Rangers/Slidewinders/Kelli Lydell/Vic Gross , Camille Bloom/Nicole Torres/Veronica May , Valley Music, 530 E. Main St., El Cajon, 1pm. Richard Smith & Julie Adams , Wynola Pizza, Lestat’s, 3343 Adams Ave., 9pm. Wil. G , Beach Club Grille, 710 Seacoast Dr., 4355 Hwy. 78, Julian, 6pm. Imperial Beach, 1pm. Doyle Dykes , Old Time Music, 2852 University friday • 24 Traditions of Big Band Jazz w/ Bill Watrous , Ave., 7pm. Carlsbad Community Church, 3150 Jefferson Robin Henkel , Wine Steals, 1953 San Elijo, Mtountain Tribal Gypsies , Wynola Pizza, 4355 St., 2pm. Cardiff, 7pm. Hwy. 78, Julian, 6pm. Christopher Dallman/Gregory Douglass/Syd , Joe Rathburn & Severin Browne , Milano ON!: The Beginnngs of the Electric Sound Lestat’s, 3343 Adams Ave., 9pm. Coffee Co., 8685 Rio San Diego Dr., 7pm. Generation Exhibit & Concert w/ Robin Brian Auger , Anthology, 1337 India St., 7:30pm. Henkel/Steve Nichols/Steve Bernstein/ Ramblin’ Jack Elliott , Acoustic Music SD, 4650 DeForest Thornburgh , Museum of Making monday • 6 Mansfield St., 7:30pm. Music, 5790 Armada Dr., Carlsbad, 7pm. KEV , The Living Room, 2541 San Diego Ave., 7pm. Poway Folk Circle , Templars Hall, Old Poway Barbara Nesbitt , Calypso Cafe, 576 N. Hwy. Park, 14134 Midland Rd., 6:30pm. 101, Encinitas, 7:30pm. Josh Damigo & Rob Deez , Beach Club Grille, 710 Seacoast Dr., Imperial Beach, 7pm. Fundraiser for Spring Harmonica Festival w/ Applebrown Jazz Ensemble , Lestat’s, 3343 Chet & the Committee/James Harman/Billy Adams Ave., 9pm. David Wilcox , Acoustic Music SD, 4650 Watson/Charles Burton & John Frazer , Michele Lunden & Blues Streak , Patrick’s II, Mansfield St., 7:30pm. Humphrey’s Backstage Lounge, 2241 Shelter 428 F St., 9pm. Robert Parker , BookWorks, Flower Hill Mall, Island Dr., 7pm. Kenny Wayne Shepherd , Belly Up, 143 S. Del Mar, 8pm. Beausoleil w/ Michael Doucet/Linnzi Zaorski , Cedros, Solana Beach,, 9pm. Hugh Gaskins & the G String Daddies , Belly Up, 143 S. Cedros, Solana Beach, 8pm. The Riders , First Street Bar, 656 S. Coast Hwy Downtown Cafe, 182 E. Main St., El Cajon, 8pm. Soul Missive/Charlie Imes/John Shipe , Larry’s 101, Encinitas, 9pm. Paul Seaforth w/ Mo’Sax , Dizzy’s @ SD Wine & Beach Club, 145 S. Tremont, Oceanside, 8pm. Culinary Center, 200 Harbor Dr., 8pm. friday • 17 Mod for Marq , Across the Street @ Mueller tuesday • 7 College, 4603 Park Blvd., 8:30pm. KEV/Greg Campbell , Wynola Pizza, 4355 Hwy. Anna Troy/Cyndi Harvell/Northstar Session , Adrienne Nims & Raggle-Taggle , University 78, Julian, 6pm. Lestat’s, 3343 Adams Ave., 9pm. City Library, 4155 Governor Dr., 10am. Robin Henkel , Chateau Orleans, 926 Turquoise St., P.B., 6:30pm.

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