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

July 2004 for Lyle Duplessie Vol. 3, No. 10

what’s inside MARK

Welcome Mat………3 O’CONNOR Mission Statement Contributors THE MAN CAN PLAY Lyle Duplessie Full Circle..…………4 Rose Maddox, Part 3 Recordially, Lou Curtiss Front Porch…………6 Stellita and Dave Lindgren Ray Charles Robert Edwards Classic Bows Meghan La Roque Parlor Showcase...…8 Mark O’Connor Ramblin’...…………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Highway’s Song... …12 Postcard from Nashville Olaf Wieghorst Western Heritage Days Of Note.……………13 Steve Collins Christopher Dale GipsyMenco Robert Edwards Berkley Hart ‘Round About ...... …14 July Music Calendar The Local Seen……15 Photo Page

San Diego Troubadour • July 2004 welcomewelcome matmat

q In Memorium r SAN DIEGO ROUBADOUR Alternative country, Americana, roots, Lyle Duplessie: Keeper of the Vision Tfolk, gospel, and bluegrass music news

MISSION CONTRIBUTORS hen Ellen Duplessie present- SERVICES FOR LYLE DUPLESSIE ed the idea of starting a A memorial will be held on Sunday, To promote, encourage, and FOUNDERS Wnewspaper to her husband in July 11, 3 p.m., at Hospitality Point provide an alternative voice for the Ellen and Lyle Duplessie on Mission Bay, located at the end of great local music that is generally the summer of 2001, a publication overlooked by the mass media; namely Liz Abbott that would be devoted to local music, Quivira Way. You are welcome and the genres of folk, country, roots, Kent Johnson she expected Lyle to resist in a devil’s encouraged to bring your acoustic Americana, gospel, and bluegrass. To instruments (no electricity there) to PUBLISHERS advocate kind of way. Instead, he entertain, educate, and bring together thought it was a great idea and almost play music following the service. In Kent Johnson players, writers, and lovers of these instantly began writing the mission lieu of flowers, please make donations forms; to explore their foundations; and Liz Abbott to: Derek Duplessie Scholarship Fund to expand the audience for these types statement for what was to become the c/o Mount Soledad Presbyterian of music. EDITORIAL/GRAPHICS San Diego Troubadour. This statement Liz Abbott lives in the masthead of every issue. Church, 6551 Soledad Mountain Rd., For advertising rates, call 619/298- La Jolla, CA 92037. For further infor- ADVERTISING/DISTRIBUTION On June 17, the San Diego 8488 or e-mail [email protected]. mation, email [email protected] Kent Johnson Troubadour family received tragic news San Diego Troubadour that Lyle Duplessie, while enjoying a or write to San Diego Troubadour, P.O. Box 164 PHOTOGRAPHY day at the beach with his children, P.O. Box 164, La Jolla, CA 92038. La Jolla, CA 92038 Millie Moreno suffered a heart attack and died. E-mail: [email protected]. Lyle Duplessie, 1953-2004 WRITERS Nobody could have prepared for Sandra Castillo something so shocking, so terrible, band, a caring father, and a brother to especially so soon after losing his wife, SAN DIEGO TROUBADOUR, the local Lou Curtiss his co-disciples, he was a man of char- Ellen, just four months earlier. There source for alternative country, Emily Davidson acter and integrity. They say the meas- was no warning. Lyle was here one Americana, roots, folk, gospel, and Lyle Duplessie ure of a man’s real character is by moment, gone the next. There is no bluegrass music news, is published Phil Harmonic what he would do if he knew he why. monthly and is free of charge. Letters Paul Hormick would never be found out. Lyle To envision a future without Ellen to the editor must be signed and may Mark Jackson Duplessie was a man with conviction, be edited for content. It is not, howev- and Lyle seems almost unbearable. So a man who would always choose to Frederick Leonard

er, guaranteed that they will appear. genuine and loving, Lyle’s strength was e

do the right thing. His sensitivity and i s

Jim McInnes s e in his reserve. He was a quiet man interest in others nurtured strength, l All opinions expressed in SAN DIEGO p Sven-Erik Seaholm u

who had a lot to say. He did not waste D TROUBADOUR, unless otherwise stated, courage, and a finer quality of life in n

José Sinatra e l words, but chose them carefully. Lyle both himself and in others. Most l

are solely the opinion of the writer and do E

D. Dwight Worden : o not represent the opinions of the staff was a man of questions, not answers. important, however, he was a best t o h or management. All rights reserved. John Philip Wyllie A true warrior — God’s warrior per- friend. P ©2004 San Diego Troubadour. haps — he was fair and kind in every We love you, Ellen and Lyle. And Cover photography: Erica Horn way: in kind words, which inspired we’ll meet again. Happy times: Kent Johnson, Liz Abbott, and confidence; in kind thinking, which Lyle Duplessie at son Derek’s eighth grade inspired love; and in kind giving, Liz Abbott and Kent Johnson The San Diego Troubadour is dedicated to the memory of Ellen Duplessie, Publishers, San Diego Troubadour graduation ceremony last year. whose vision inspired the creation of this newspaper. which inspired charity. A loyal hus-

WRITE TO US! We’d love to hear from you! Send your comments, feedback, and suggestions by email to: [email protected] or by snail mail to: San Diego Troubadour, P.O. Box 164, La Jolla, CA 92038-0164.

3 July 2004 • San Diego Troubadour fullfull circlecircle

by Lyle Duplessie and Roy Nichols. She tried her hand in Branson, Missouri, which was a very popular spot for recycled hillbilly stars at part 3 the time. Once there, however, she found that the only ones who made any money y the early ‘70s the complexion of Queen of Hillbilly Swing were the club owners. In a further life had rapidly changed for Rose. attempt to make ends meet, she sold off B Brother Cal had died from a heart all her Nathan Turk cowboy outfits, along attack and her mother Lula soon Rose Maddox with those of brothers Henry and Cal, to followed. She was divorced from Jimmy hillbilly hotshot Marty Stuart. Brogdon. Now in her mid 40s, Rose had In October 1992, brother Fred suc- to modernize her image to look more few were as rootsy as Rose. slipped into a coma, cumbed to heart failure. Now Rose was female country vogue. It became neces- Rose’s career was in the midst remaining unconscious for all that remained of the family band. sary to reinvent herself since popular of a revival, though well out of the next three months. Though she loved Fred, as she did all her tastes in country music had changed. the mainstream, as it took on When word leaked out family, she had learned long before to The image of the hillbilly swing queen underground cult status. about her condition and the reach for the future and not hide in the was long gone. Out went the flashy Annie Rose’s born again vitality fact that she had no health past. In short, she pushed ahead — Oakley cowgirl outfits, replaced by mini- resulted in more compilations insurance, the country skirts and slinky gowns. Rose even that’s all she knew how to do. Again she being reissued by Bear Family music community in changed her short, dark tresses to a teamed up with former Desert Rose Band and even Columbia. California and elsewhere highly coiffed platinum blonde. Outward members and fiddler extraordinaire During this renaissance a began holding benefits on changes came, but her inward soul and Byron Berline to record her 1994 CD $35 series of disasters struck. her behalf as a means to grit still remained. and a Dream. This autobiography, set to Though not yet 40, Donnie suf- By this time country music was music, was nomi- fered a heart attack, which increasingly controlled by marketing n nated for a Grammy o t

required open-heart surgery; y agents, lawyers, and corporation execs, a in the Best l

additional by-pass operations C most of whom had little interest in coun- z Traditional i

would follow. Then in u try music as a form of American expres- R

Bluegrass Album

December, 1981, Rose suffered y sion. The days when artists dealt directly o

R category.

: t with colorful cigar- r On April 15, 1998, A chomping talent brokers Rose Maddox and regional scene boss- passed away at the es were over. Though no age of 72 in longer a headliner, Rose Ashland, Oregon. continued to get plenty of Though awarded a work in small lounges and square in the honky tonks up and down Country Music Hall the West Coast. From this of Fame’s Walkway point on Rose would con- of Stars, she has tinue to record, but only yet to be enshrined for a succession of small as a Country Music independent labels like Hall of Fame mem- Starday, Cathay, Takoma, ber and probably and Arhoolie. never will be. Though the opportuni- Certainly this honor Cover of Rose’s 1967 Starday album. ty for renewed stardom Rose, “the walking miracle,” back in action nine months after her 3-month coma, 1990. has eluded her for had eluded her, Rose still several reasons, all put her all into every per- of which can be formance. She had a traced to her own legacy that reached back feisty independ- decades and legions of ence. Her music fans still showed up when Maddox Brothers and Rose on the Adams Avenue Roots was pure California she performed, and these Festival poster from 1999, a year after Rose’s death country, owing little or folks she couldn’t disap- nothing to Nashville’s point. Increasingly, she music industry. In fact, Rose also became more active could be downright irreverent on the folk festival circuit toward Nashville’s star-mak- as an Americana pioneer. ing process. She could out- The San Diego sing , outperform, and flat out Troubadour’s own Lou outlast any Nashville groomed Curtiss was the first to performer, and indeed her Jay Dee Maness, Paul Bowman, Don Whaley, Rose ca. 1986 introduce Rose to the folk Rose, in mod mini-dress, meets the 1970s head-on. incredible career proves it. festival format in 1976. Her sense of timing, show- two heart attacks, the second of which Rose and brother Fred reunited in sup- defray From that date until 1996, she would per- manship, and delivery, if not almost killed her. Somehow she managed port of the video, performing around the the med- form at many of Lou’s legendary folk fes- instinctual, were at least self to recover by the spring of ‘82, but with Bay Area. They then began doing a host ical tivals, first at SDSU and later on Adams taught. She understood that Donnie’s health still in doubt, she began of gigs throughout the San Joaquin costs. Avenue. About the same time, Chris it’s all about winning the touring with the Vern Williams Band, a Valley. The duo were also guests on Doctors Strachwitz of Arhoolie Records, who was hearts of a loyal audience for bluegrass outfit from northern California. shows by Merle Haggard, Willie Nelson, gave her interested in reissuing all the old Maddox the long haul, which did not In late July, while at home just prior to Waylon Jennings, and Loretta Lynn. Fred only a ten Brothers and Rose recordings, come through gimmicks or leaving for a rodeo gig in Reno, Rose got and Rose were well received and well percent approached her. Rose became an invalu- catering to pop trends but by a call from Donnie’s wife telling her that remembered despite not having per- chance able source in identifying and compiling making honest, uncompro- he had suffered a massive stroke. Rose formed together in almost 30 years. A of sur- these now antique and timeless record- mised music. She could be European tour was even booked, but Rose ca. 1986, Santa Maria, CA ings. was at her son’s hospital bedside when vival, but in Fred had to pull out due to poor health. bold, brassy, and brazen, qualities As the late ‘70s and early ‘80s he passed away on August 1. typical Maddox Rose went, however, and for two weeks that endeared her to roughnecks and approached, Rose spent more and more Rose was devastated by the loss of family style, she defied the odds and was greeted by sell-out crowds of fanat- rednecks, but that made the Nashville time at her home in Ashland, Oregon than her son, but rather than packing it in, she eventually recovered, albeit slowly. ic teenagers. This flurry of activity culmi- elite ill at ease. In short, Nashville is not on the road. Her son Donnie had quit dealt with the pain by putting forth an Rose was released from the hospital nated in 1987 when the two surviving about to bestow glory on someone they touring with her several years earlier incredible spurt of energy. With the Vern in September1989 with evidence of the members of the Maddox Brothers and didn’t create. Ironically, the qualities that when he had taken a bride and started Williams Band backing her up, Rose physical ravages of the ordeal, but men- Rose were honored at a fiftieth anniver- endeared Rose Maddox to the masses raising a family, but he was back to his recorded A Beautiful Bouquet, an album tally she was ready to storm the stages sary tribute by the California Western are the same ones that Nashville can’t chores behind the wheel and behind the of gospel songs. She then recorded the once again. Understandably, gigs Swing Society. abide. Despite all of this, Rose Maddox bass when Rose again received some album Queen of the West with none other became few and far between, but Rose In 1988 Rose recorded an LP with all will remain immortal as an American icon unexpected recognition. First, the movie than Roy Nichols, Emmylou Harris, and was not about to retire. Nor was she for- the members of the Desert Rose Band and folk heroine. With those accolades, Urban Cowboy sparked renewed interest Merle Haggard and his famous band the gotten by those who revered her and sans Chris Hillman. The album consisted who needs a hall of fame anyway? in country music and the cowboy Strangers. Both albums were dedicated who stood in the shadow of her immeas- of some new material and some remakes lifestyle. It is noteworthy to mention that to Donnie. In the late ‘80s I caught a Rose urable legacy. She was invited to appear Note: This is the last article Lyle Duplessie wrote of her Capital hits. Despite the quality of this trend took hold in gay communities Maddox show at the Belly Up Tavern. So in 1990 on a Nashville Now TV show with for the San Diego Troubadour, turned in a week the finished product, inexplicably no label up and down the West Coast. Soon Rose as to perpetuate this bond with her son, Emmylou Harris and the Desert Rose before his untimely death on June 17. issued it until 1996 when the LP, titled The and Donnie found steady, well-paying Rose had none other than Donnie, her Band’s John Jorgenson. She made a fol- Moon Is Rising, was finally released by work in gay bars sporting new country- grandson, playing bass in her new group, low-up appearance with grandson the tiny Country Town label. In June 1989, western décor. She also hit a nerve in the the Foggy Notion Band. Donnie. Then in 1991 she and Fred while driving to a gig in Bakersfield, Rose neo-rockabilly sect of the fresh punk In 1984 a video documentary by San showed up as major figures in a PBS-TV suffered a major heart attack. Somehow rock movement. These rough-edged Francisco folklorist Gail Waldron was documentary called Bakersfield Country. she managed to drive into town and youths were trying to rediscover their released, chronicling the incredible Also on the show were old friends Buck check herself into a hospital. Rose’s roots-rock past, and they soon found that career of the Maddox Brothers and Rose. Owens, Merle Haggard, Red Simpson, iii heart condition worsened and she

4 San Diego Troubadour • July 2004 fullfull circlecircle n o s d r a h c i R

l

Recordially, Lou Curtiss l i B

: o t o h he first time I wrote a 0108); Just Something My 1936-1939 (Rounder Special Series 55- put out five LPs and 26 CDs of vintage P set of liner Uncle Told Me, subtitled 23), which won an Indie (the independ- old-time stuff, starting with Merle Travis, T notes for a Blaggardy Folk Songs ent record label’s version of the Grammy) who has always been a favorite of mine. record, which was an LP from the Southern in 1985 as Best Reissued Record of the From 1990 to 2003 we issued one LP 1 33 /2 disc, was for my United States, which Year. We followed that up with a second and five CDs of Merle Travis material, own festival in 1974. The was more or less our Acuff reissue, titled Fly, Birdie, Fly taken from radio, the movies, soundies, disc was appropriately x-rated number (Rounder Special Series 55-24). And that and live concerts. My favorite is the radio titled San Diego Folk about did it for Rounder except for an stuff, because he always sounds the most Festival ‘74 and I was on occasional track that has shown up on relaxed and easy going. We reissued stuff Lou Curtiss my way. About that time I various anthologies. During this period I from old radio shows like Dinner Bell met Frank Scott who owned helped Sam Chatmon get recorded for Roundup, Hollywood Barn Dance, and Routes CD 22) and the second, Solid Advent records and turned Flying Fish (FF202) and for a label in Italy Harmony Homestead from the late 1940s South (Country Routes CD 25). The final him on to local Texas blues- (Albatross VPA 8408) and one in (Country Routes LP:RFD 9001 and CD Country Routes item was Harley Huggins man Thomas Shaw. The resulting LP, Germany (L&R Records LR 42.032). I also 09, titled Merle Travis 1944-1949 and CD and the Barn Dance Band (Country Routes titled Born in Texas (Advent 2801), came helped Thomas Shaw do one in 12, titled Merle Travis: Unissued Radio CD 27), a Bob Wills farm team band out that same year. Nick Perls, who the Netherlands (Blues Beacon Shows 1944-1948). Other Travis CDs from the Fresno area, featuring lots of ex owned Yazoo and Blue Goose records 63-1001). include Hoedown Shows and Films (CD and future Texas Playboys. also recorded Tom on an LP titled Blind In 1990 I met 14), Turn Your Radio On (CD 20), and last One other item on Country Routes, Lemon’s Buddy (Blue Goose 2008) as well (Rounder 0141); Bruce Bastin in Britain at year’s Boogie Woogie Cowboy (CD 29). though it probably shouldn’t have been, as Mississippi bluesman Sam Chatmon Harry McClintock — Interstate Music and have This is some hot guitar pickin’, particular- was a collection of black vocal groups (John Fahey and I actually recorded Sam Hallelujah, I’m a Bum, worked with ly those first two. called Man, That’s Groovy (Country and sent the tapes to Nick, which he reissued from original I’ve provided material or written liner Routes CD 10, featuring the Golden Gate issued on an LP titled The Mississippi Sheik 78s by this cowboy, notes for other CDs, including Town Hall Quartet, the Ink Spots, the Spirits of (Blue Goose LP 2006). poet, union organizer, Party 1958-1961 (Country Routes CD Rhythm, the Charioteers, and others The next year Frank Scott and I and movie extra who 17), Tex Williams: On the Air 1947-1949 from radio transcriptions). Two live con- recorded a variety of San Diego area wrote such songs as (Country Routes CD 17), Tex Williams and cert collections wind up the issued mate- blues artists, including Tom Shaw, Robert “Big Rock Candy his Western Caravan 1946-1951 (Country rial. The first is Rev. Gary Davis Live at the “Rock Me” Jeffrey, Sam Chatmon, Bonnie Mountain,” “Fireman, Save My Child,” Routes CD 28), Western Swing on the Sign of the Sun 1962 in San Diego. The Jefferson, Tomcat Courtney, Henry Ford and “Ain’t We Crazy?” (Rounder 1009); Radio (Country Routes CD second is a final tribute CD of Sam Thompson, and Louis Major on the LP Glenn Ohrlin — The Wild Buckaroo, which 07), Cliffie Stone’s Radio Chatmon, mostly recorded at Folk Arts San Diego Blues Jam (Advent 2804). included more cowboy songs by this Transcriptions (Country Rare Records in the early ‘70s (Heritage About this time or a year or so later, I Arkansas entertainer (Rounder 0158); Routes CD 08), Rockin’ at CD 03 and Flyright CD 63). And that’s ran into Mark Wilson, a record collector Rich Man, Poor Man: American Country him on a variety Town Hall (Country Routes what’s been issued except for two of the and philosophy professor at UCSD, who songs of Protest, reissued from original of projects for his vari- CD 06), Spade Cooley and early Advent LPs, which have been reis- was responsible for a good bit of the tra- 78s by Uncle Dave Macon, the Monroe ous labels, including his Western on TV (Krazy sued with some extra songs on the ditional recordings issued on the Rounder Brothers, Gene Autry, the Dixon Brothers, Country Routes, Kat CD 14), Joe Maphis Testament Label. They are Thomas Shaw: label out of Cambridge, Massachusetts. Blind Alfred Reed, and Wilmer Wattes Flyright, Krazy Kat, and Born in Texas (Testament TCD5027) and During the years that Mark spent in San and the Lonely Eagles (Rounder 1026). Harlequin, and Heritage. San Diego Blues Jam (Testament TCD Diego, we collaborated on a number of After that, Mark and I produced We’ve dug into the Lou 5029). LP recordings, including Tioga Jim — another LP with Sam Chatmon, titled Curtiss Sound Library’s I just finished the notes to The Women Ranch House Songs and Recitations by Van Sam Chatmon’s Advice (Rounder 2018), extensive collection of vin- of Town Hall, which I’m told will be out in Holyoak, a real working cowboy singer and finally I produced two Roy Acuff reis- tage country music radio the fall on Country Routes. Like all of from Clay Springs, Arizona (Rounder sues for Rounder: Steamboat Whistle Blues shows and over the past 14 years have them, it’s stuff I like a lot and think is worth pre- serving. I keep finding this stuff on the edge of being worn out and the Friends: Live at revamp on the sound Town Hall (Country that Bruce Bastin and Routes RFD 16), Hugh and the guys at Interstate Karl Farr: Hot and Bluesy Music do is nothing 1934-1940 (Country Routes short of amazing. CD 11), Bob Wills Texas You can write for a Playboys Live at Harmony catalog c/o Interstate Park Ballroom (on Country Music Ltd., 20 Endwell Rd., Bexhill-on- Routes LP RFD 9004 and on Sea, East Sussex TN40 IEA, England. Tell CD 21), Bob Wills: Rare California Airshots them you heard about it from Lou. 1945-1946 (Country Routes CD 24), Hank Thompson: Unissued Radio Recordially, Broadcasts 1953 (Country Routes CD 19), Lou Curtiss and a second Hank Thompson CD (same P.S. For those of you who want to see source, different stuff), which was issued and hear Town Hall Party, a good exam- on Flyright CD 948. A second Spade Cooley CD was ple of what country barn dance shows issued on Country Routes CD 30 with were all about, I suggest the series of mostly material from Cooley’s 1945-46 DVDs that have come out on the Bear band. We put out a western swing on Family label. That is, of course, after L.A. radio compilation from the 1940s you’ve listened to the Country Routes and one from the 1950s. The first was Town Hall stuff. called Sunshine State Swing (Country

5 July 2004 • San Diego Troubadour frontfront porchporch

It’s About Stellita and Dave . . . “Finally” o

eventually settle in California. Leaving the took flight. It was on this project that she tain thing or idea, and it’s not there or l l by Sandra Castillo i t s

Midwest proved to be a turning point in began working side by side with Dave working with different people, dealing a C

both their careers. It was the West Coast and some of San Diego’s finest musi- with their personalities. a t seemed as though the question of r d

connection that opened the doors of cians and producers to herald 12 tracks n the evening, being whispered in SC: I think the album is classy. What a S

opportunity for their talents and, ultimate- of faith and opulence. Her debut is a :

does it represent? o excitable, hushed tones — “Who is t o

I ly, the embrace of their lives: a match benevolent departure from the feel-good h she? Who is this performer?” — created Stellita: Accomplishment. Even when you P made in serenades and marriage. chorale of Glassy, in which she sang lead as much fever and cause for celebration do the work, you still tear it down and in a spirited mix of unity and party fueled as the revelry of the event. Dizzy’s, down- ask yourself, “Why did I do this? Why did sizzle. On her latest effort, Stellita graces town’s treasured venue for live music, I do that?” The songs represent love and the role of diva-in-the-making, sans vani- played host to a program of San Diego hit passion. I only write songs that are posi- ty, and waltzes right onto the red carpet. music last year where some of the city’s tive and help bring people together. We talked briefly about the making of finest troubadours paid homage to Jim Finally and the loves and perils of work- SC: If you were to describe the music on Croce, Stephen Bishop, the Cascades, ing together on a project filled with prom- Finally to someone who has yet to listen and more, with a memorable look back at ise, yet so personal. to it, what does it reflect? the songs they made famous. Musical guests Stellita Lindgren, San Diego R&B SC: Talk a little bit about the songs you Dave: It’s a pop and R&B album that’s chanteuse and focus of the audience’s both collaborated on together for Finally. very easy listening. You could sit down by a fire and listen to it with your date and curiosity, and guitarist/husband Dave Stellita: When we first started working have some good music behind you as engaged the crowd with their sweet, together, Dave had me put lyrics to his you enjoy your night. timeless renditions of “Operator” and own music. We had different “Save It for a Rainy Day.” styles musically at that time. With this Stellita: The songs “When I Found You” Stellita and Dave Lindgren Wrapping her warm, sensual vocals Stellita and Dave’s latest effort: Finally album, it was a little different because and “You’re Everything To Me” are about around the eloquent stirrings of Dave’s the songs were ones I had already writ- loving your man and [being] glad he’s in slow-hand sentiments to jazz, it was little ten. I was very adament about how I your life. It’s about love. Royal Honor and Nairobi Sailcat for their In 1997, an ad placed in the San wonder that the pair so beautifully wanted them to be and to sound. invaluable technical expertise), Stellita Diego Reader seeking a female vocalist Finally is a splendid ode to the tapes- enticed the audience with their sound. delivers the magic, while sharing the stir- for Dave’s band Glassy culminated in the SC: Dave, what was it like working on tries of color and emotion laced from the Relaxing alongside Stellita and Dave rings of her heart. spark and courtship of the two, whose Finally? pastiches of amour. It is eleganceand at the Gaslamp District’s fashionable Besides recording, the duo has per- original business beginnings slowly yield- sensuality by design. Comprised mostly Café Lulu, I was privy to their grand, inti- Dave: A lot of work and hours! It was a formed at Humphrey’s Backstage Lounge, ed to the fragrance of romance. It was of love songs such as “You’re Everything mate Sunday afternoon, while rousing lot of fun working with Stellita, trying to the Old Venice Caffe, The Gathering, and the stunning combination of their natural to Me” and “Only You,” Stellita reflects the muses of two confidantes on a mis- come up with music and different ideas Tio Leo’s, all favorite in-spots for music gifts — Dave’s passion for old-school inward to gently convey heart and soul sion. One voice, two hearts, and a and moods to suit her needs. lovers. funk and standard jazz and Stellita’s pen- for her man. The standout track “When I chance was born to touch the world with SC: Stellita, what was it like for you? chant for pop and R&B shimmer — that Found You,” written exclusively for Dave, their songs. Inhabiting a cool and per- groomed them for alliance and the altar. Stellita: Frustrating! (Laughter) No, it is universal and dynamic in its everlast- sonalized style as provocative as her bal- Stellita’s first recording with Dave really was a lot of fun. I mean, it was fun ing message and candor. With a little lads, Stellita is a phenomenon of sorts in and Glassy heightened their individual but at times frustrating. You hear a cer- help from her friends (kudos to producers the spotlight tradition of Sade and Anita ambitions to branch out musically. It was Baker. Both Stellita and Dave hail from only after she decided to leave Glassy musical backgrounds. She spent many that the transition abetted the team to years exercising her vocal prowess in pursue their initial plans of forming a jazz gospel choirs and stage performances and R&B ensemble, which had led them throughout the U.S., while Dave played Robert Edwards: Irish Inspiration to each other in the first place. guitar in various rock and funk ensem- And so it was on this blissful after- bles, including the popular group noon that the couple recalled the Chocolate Shake. It is no coincidence moment that Finally, Stellita’s solo debut, for a New Disk they paved individual destinations to by Paul Hormick his instinct of “less is more” worked for the disk. Many of the tunes feature only In Memorium Edwards’ voice and guitar, and the obert Edwards is a big man, and instrumentals focus on guitar alone. Ray Charles 1930-2004 his hands show the broad devel- Edwards was born and spent his R opment from years of honest early boyhood not far from his Celtic labor. He’s the fellow that gets called inspiration in Liverpool and can when heavy lifting needs to be done. remember remnants of bombed out m he honor of remembering a man as great as l He’s a real guy’s guy. So it might be a bit o

Ray Charles is not one taken lightly by any h buildings flattened in the Blitz in the a surprising to listen to his first commer- e

S northern England industrial town.

self-respecting writer. The task of doing so

k cially released disk, Bittersweet, and hear T i in only a few words is even more daunting. And r Edwards credits part of his musical E

- a collection of sweet reflective ballads. yet I am at a loss to come up with even one that n development and catholic influences to e

v “I was in Ireland. While I was there, Robert Edwards

S the BBC. He says, “There were two radio can begin to describe his personal and professional :

o I really let myself go,” he says. “I contributions to this world. t stations, both government controlled, o

h opened myself up to my feminine side new band, the Beatles. “We were too Certainly his musical offerings are well-docu- P and they played everything. You’d hear young to get in, but we went down to a mented by scores of recordings he made during his and a lot of stuff that had gotten Julie Andrews, Elvis, Petula Clarke. Then place called Wooten Hall and hung lifetime, including such hits as “I Got a Woman,” buried, and let it happen. That’s why you’d hear some symphonic work, then around outside to hear them,” Edwards “Georgia on My Mind,” “What’d I Say,” “Hit the these songs are soft and poignant.” The Goon Show.” Ray has a laugh in Sven’s studio remembers. Road, Jack,” “Hallelujah, I Love Her So,” “Unchain It might be said that Bittersweet has He bought a guitar for about 10 Lured by the promise of prosperity, My Heart,” and a version of “America the Beautiful” He attended the St. Augustine School for the been years in the making. Inexplicably, pounds from a German immigrant who so heartfelt that tears still well up in my eyes upon Edwards’ family moved to the U.S. Deaf and Blind, where he learned to read and write about four years ago, Edwards was lived across the street, bought the intro- hearing it, all these hundreds of listens later. when he was 13, settling in San Diego music in Braille and learned how to play trumpet, drawn to spend time in Ireland. “It was ductory guitar book, and set about to Ray Charles grew up in the segregated South at clarinet, organ, alto sax, and piano. After losing his because an aunt had already moved cold there. I was wearing socks on my learn the songs therein, like “Skip to My the height of the depression. “You hear folks talk- mother at age 15, he played in a few bands here. As every high school band is in hands to keep them warm,” he says. Lou” and “Oh My Darling Clementine”. ing about being poor,” he has said. “Even com- throughout Florida for a couple of years before need of a bass player, Edwards switched The island had a certain effect on him, His richly charactered tenor voice got its pared to other blacks, we were on the bottom of relocating to Seattle, where he had “my own apart- which may have been the cold, but the over to the bass when he was a student the ladder looking up at everyone else. Nothing training in the choir of Saint Margaret’s ment, a piano, a girlfriend, and a Hi-Fi,” If he was charm of Ireland thawed his creativity. at San Diego High School. He played in below us except the ground.” He witnessed the Anfield, an all boys school in a section handicapped, he certainly didn’t seem to be aware The island’s influence reveals itself in the House of Usher, a band that fea- drowning of his brother when he was five, and by of it. of Liverpool. the Celtic character that many of the tured covers by the Byrds, the Beatles, the age of seven he had completely lost his sight. Ray Charles was not only gifted enough to be Quick with a smile and often a joke tunes have. Bob Dylan, and the Lovin’ Spoonful. successful in music, but he was also a true innova- as well, Edwards credits his British sense Playing the bass brought him into The tor, an inadvertent architect of soul music who also Edwards had released a disk previ- of humor to his grandfather, an actor, ously, just handing it out to friends and Early Morning Blues Band, a featured Do not stand at my grave and weep. showed the jazz world a thing or two in the comedian, and old vaudevillian per- act that opened for Steve Miller, Paul I am not there. process. family as gifts. With this new batch of former who entertained his fellow Butterfield Blues Band, and the Velvet I do not sleep. I was lucky enough to accompany my friend songs, however, he felt compelled to Liverpoodlians with traditional English make his first disk for the public. To Underground at San Diego’s version of I am a thousand winds that blow, George Varga to an interview with Charles about a pantomime. Edwards’ father worked for Filmore West, the Hippodrome. I am the diamond glints on snow, year and half ago. George’s last question to him was engineer the recording, he turned to Cunard Line, and as he was so often out Not one to sit on his laurels, I am the sunlight on ripened grain, “How would you like people to remember you 100 Randy Bemis of InnerFocusMusic, to sea, grandpa served as the young years from now?’ Charles was quick to answer. Edwards is already at work on his next I am the gentle autumn’s rain. whom Edwards credits with helping to boys mentor. When you awaken in the morning’s hush “Honestly, what I would love for people to disk. As Bittersweet is in the folk Celtic bring out the natural full sound of the Yes, dear reader — since you may I am the swift uplifting rush say…is that I was sincere. I was honest with my disk. Edwards says, “I’d play the guitar, vein, he anticipates his next effort will of quiet birds in circled flight, have been wondering — Edwards music. I never cheated. I never tried to shortchange and Randy would move the micro- be more world beat in character. I am the soft sars that shine at night. remembers the Beatles when he was a the public. If I was playing to 20,000 or 200 peo- Bittersweet, which is reviewed in this phone to get it just right. All the boy in his hometown. “This is before Do not stand at my grave and cry. ple, I gave the 200 people all I had.” issue on page 13, is available from ambiance is from the microphones; we they got cleaned up, during their I am not there. It is in that spirit that I say for all of us: “Thanks CDbaby.com and InnerFocusMusic.com. I did not die. didn’t add any effects for the sound.” leather jacket phase,” he says. A friend’s Ray, for everything.” Edwards will be performing July 18 at — Anonymous Bemis’ partner at InnerFocusMusic, sister, who was old enough to get into the Music Mart Showcase in Encinitas. — Sven-Erik Seaholm Steve O’Connor, assured Edwards that the clubs, had been raving about this

6 San Diego Troubadour • July 2004 frontfront porchporch

Classic Bows: Instrumental Craftsmanship in San Diego

Story and Photography by Dwight Worden disappeared in San Diego, gobbled up by the Guitar Centers and Chinese imports, s one enters the workshop, the stop by Classic Bows and meet Greg look, feel, and smell of Brazilian Gohde and Lois Bach at 2721 Adams pernambuco wood blends nice- Avenue and you will be pleasantly sur- A prised. ly with the visual richness of white horse tail hair from Russia hanging from a rack. As a high schooler in Chicago, Greg A well-worn workbench, once belonging Gohde played and taught rock and roll to a Polish immigrant master bow maker electric bass and guitar until the fateful in Chicago, sits prominently at the center day when he met August, the grumpy of this old-world work area. The bench is master bow maker who kept his door Classic Bows owners Greg Gohde and Lois Bach now occupied by the old immigrant’s locked, peering suspiciously at customers one-time apprentice and protege, Greg through the glass, often deciding not to thus beginning a lifelong friendship that Watkins (who recently bought a viola Gohde, hard at work at Classic Bows, his let them in if he didn’t like their looks. continues today. Greg went on to study that can be heard on their latest CD), or stringed instrument shop. Not the best of marketing approaches, music and, at his Dad’s urging, account- other prominent figures from the blue- If you think that skilled craftsman- but it fit well with the Polish immigrant’s ing at De Paul University. Through his grass, jazz, country, rock, Celtic, and clas- ship, an eye for detail, and old-style hard view of the world. growing love of violins, violas, and bows, sical worlds. Greg has done work for the work in the production and repair of He let young Greg in on that first he soon developed an appreciation for Dave Matthews Band, the Celtic group quality musical instruments has all but occasion, perhaps because he saw a classical string music as well, but he is Clannad (who called him from Ireland to Greg working in his shop future bow maker in this young man, clear that it was his attraction to the make an appointment!), and for William instruments and bows that led him to Preucil, concert master for the Mainly the music. Mozart event, for whom Greg once Greg studied hard with his Chicago recovered a precious stolen violin Meghan bow maker mentor and in college had through clever sleuth work. developed considerable prowess as a Just as often and as comfortably, La Roque musician on the viola and violin. To make Greg and Lois cater to first timers, old money he continued in his rock band, and young, and to school kids. The shop taught music, and worked other jobs, all not only sells and repairs bows and Gets the while continuing his study of bow instruments but also has connections making and his voracious reading on the with teachers and sells instructional Noticed history of bows, instruments, and their materials available for those who want to makers. Later, he traveled to England learn. Greg and Lois call it the “Cheers of he also plays every instrument on it except for La where he spent two years studying with Music” as the shop has served, and con- Roque’s guitar. another master bow maker as he contin- tinues to serve, as a hang out and gath-

P “‘Starship 27’ is based upon my struggles in

h ued to hone his own considerable skills. ering place for stringed instrument musi- o t

o the music industry. When I first started writing

: Upon returning to Chicago, Greg ven- cians, be they young music students now

H [music] it was a real natural thing and a way for e tured out on his own, making bows and playing as professionals who still drop in a t

h me to be in touch with whatever was being provid- e soon earning a reputation for quality and or the mariachi bands in full regalia who r

E ed to me through the source or spirit,” La Roque l

i craftsmanship. He sold his bows around stop in on Saturday mornings for strings s

e explained. She quickly became aware, however, the U.S. and internationally out of his and chat. that image, perception, and glamour play an first shop, a small workshop/apartment in Greg doesn’t have the time to make by John Philip Wyllie female artists performing on the San Diego circuit important role in the music industry. and for good reason. “That song was based upon my struggle to a 100-unit artist complex on Chicago’s bows anymore, although he consults on north side. occasion, notably in the design of the ife has not been easy for young, up and “I take a lot of risks. I don’t sing my songs for keep in touch with the source while at the same coming singer/songwriter Meghan La someone else. If someone appreciates them I am time being aware of my image. I was living in a lit- When a friend of his sister lured him now famous Coda fiberglass bows. He is L happy and glad that we can share on the journey, tle office space in L.A. at the time and I had holes to San Diego for a visit, it was there he busy now repairing bows and instru- Roque. Having lost her mother at the ten- der age of nine, adversity has been her frequent but I am not trying to please anyone. in my socks, but people on the street were calling met Lois Bach whom he married in 1988. ments, consulting on all matters of companion. Fortunately, so has music. Unfortunately, a lot of artists try to mimic each me a rock star.” Lois was working in television at the time stringed instruments, and in bow re-hair- other. Most great artists take a lot of risks in the “There is a strong spiritual vein running While many female songwriters tend to write as a technical director, a job she held for ing, which explains the beautiful shock of beginning and are scrutinized at first and celebrat- primarily about failed relationships and lost love, through my family. My dad was a minister and we 25 years, but in 1990 they opened white horse tail hair in the workshop. ed later.” La Roque is inspired by a broader range of topics. belonged to a Christian fellowship church. It was Classic Bows on Grape Street, starting Asked what he likes most about the Tristan Prettyman, San Diego’s critically “I’ve written my fair share of heartbreak songs, kind of a tambourine hippy church,” according to with only two violins and 20 of Greg’s shop, he replied, “having a happy cus- La Roque. “My family was driven with an over- acclaimed rising star, has performed several times but I write more about whatever I am going bows. tomer come back and share with me whelming sense of good.” on the same bill as La Roque. So naturally, she is through. When I write songs, it is usually not by Over the 14 years since they how much they love the instrument I “I sang before I could speak and I started play- very familiar with her music. choice. [The inspiration] just comes to me. ing the guitar when I was about 15. Everyone has “Meghan is not like anything I have ever Sometimes I’ll be driving on the road and a lyric or opened, the shop has grown dramatical- sold them or the repair I did for them.” their own path and mine is through music. It has seen,” Prettyman said. “Her music makes me want melody will pop into my head. Other times, I’ll ly, first relocating to a bigger and better Greg and Lois have a nice thing going on always been in my soul.” to float away. She has this sort of ’60s, pure thing wake up in the middle of the night and have some- space on Beech Street, and last year Adams Avenue, which could only happen La Roque grew up listening to a wide variety going on. I don’t know quite how to describe it, thing.” moving to its new and larger location on through their hard work, knowledge, and but it’s real music. It’s not like pre-washed, pro- of styles — everything from Gregorian chant to A dream she had several years ago has had a Adams Avenue. Greg and Lois work in skill. Musicians will appreciate what a duced, pop crap; it’s real and it’s soulful.” profound impact on her career. “I awoke one night modern jazz. She also performed as a youth in sev- the shop full time, selling a variety of vio- great resource this store is for those in Recently, La Roque has been hard at work and felt a surge going through my body,” La Roque eral chamber choirs, vocal ensembles, and on vio- lins, violas, cellos, and, of course, bows, the market to buy a new instrument or recording a follow-up to her 2003 debut album, recalled. “A voice that I think was my mother’s told lin. She trained to be a teacher while studying the- along with Lois’ musically themed gift bow as well as to enjoy a look around to ater arts in college, but her music would not wait. Meghan La Roque. That CD shined on cuts such as me that I was going to take her life to the next level items that she painstaking collects from browse through their selection of music- Basically very shy, she had to overcome her initial “Reality Hoes” where she lampooned reality show and touch people both nationally and internation- around the world. One entering the shop related gift items. insecurity to follow her heart’s ambition. programming and skewered TV’s big, blonde ally. I remember fighting the voice in the dream, “I’ve infused a lot of different influences. I bimbo, Anna Nicole Smith. A second song on that but ever since having it, things have happened. If I is greeted by racks and racks of violins, tend to like deep, passionate music. I’ve always album, “Starship 27,” will be reprised on the new hadn’t had that dream, I would have given up. That violas, cellos, and bows, and by several loved folk music (in particular) because it tells a one. The project is scheduled for a late summer voice is crystal clear now. I don’t doubt it any- cabinets and display cases of Lois’ unique story. Nina Simone is one of my favorite artists. I release. Once that happens, she hopes to tour in more.” gift items. Greg’s workshop is in the support of it with a nationally established act. She don’t sound like her, but she sings from the heart For more information about Meghan La back, where there is a practice or “try also hopes to continue playing locally at such clubs Roque, her soon to be released CD, and her and that is what I am about.” La Roque possesses a out” room for those shopping for bows as the Belly Up, Twiggs, the Martini Lounge in upcoming schedule of performances go to: powerful voice similar to that of Chrissy Hinde of or instruments. Encinitas, and at her local favorite, Lestat’s. www.meghanlaroque.com. the Pretenders, but her style is uniquely her own. The shop is busy Monday through Her percussive style of guitar playing developed “The new CD deals with many of the same Saturday, closed on Sunday and Monday. out of necessity. type of subjects [visited on her debut album]. [Like Top players from the San Diego “A while back, I was playing up in L.A. and I the first one] it has an edge to it, but it is a little noticed that the people there were talking (over her more mellow. We have taken our time with this Symphony and visiting performers can music). So I started punching my guitar and one and it is more meditative. I think this time I be seen in the shop and sometimes stomping my feet (to get their attention). That has am a little more at peace with myself. heard telephoning in a panic because sort of become my trademark without me ever La Roque’s latest offering will have fuller they need a quick repair or adjustment orchestration and the benefit of the studio expertise wanting it to.” on their performance instrument. One of producer David Ybarra (Modern Bakery La Roque doesn’t sound much like any of the might also see Nickel Creek’s Sara Productions). Ybarra not only produces this one,

7 July 2004 • San Diego Troubadour parlorparlor showcaseshowcase P h o t o :

J i m

M c G u i r MARK e O’CONNOR THE MAN CAN PLAY by Paul Hormick

pera singers perform Wagner and Verdi, banjo to find my own way, because that’s pickers play bluegrass, and blues guitarists play what they did. They both had struck the blues. It’s that simple and that’s usually the out on their own path. And they way it stays. Suspicion usually follows when per- saw that quality in me,” he says. It formers step outside their area of expertise. bespeaks his ability to find and stay Grappelli for a violin duo. ClassicalO musicians are thought to be pandering and selling out when true to his own identity that he learned what he could from his mentors After a brief time performing with the southern country rock jazz they perform popular genres, and it is assumed that popular performers are but chose not to follow in their footsteps. He is not a Texas fiddler like fusion band, the Dixie Dregs, O’Connor set up residence in Nashville, the trying to gain some greater respectability when they put on the tie and his first mentor Thomasson, and he was the protégé of Grappelli, the capital of country music. The attention and success was almost immedi- tails and try their hand at Vivaldi. A few, and a very few at that, will suc- king of swing violin, beginning in 1979, yet he did not release a recording ate. He was soon recording sessions with top country talents like Waylon cessfully perform in a setting outside their known genre. One thinks of of swing material until 2001. Jennings, Reba McEntire, Travis Tritt, and Lyle Lovett. the King of Swing, Benny Goodman, who relearned the clarinet later in His life with the violin started at the age of eight when O’Connor He appreciated the success, but playing simplistic and unchalleng- his life to play classical music, and Andre saw the first Johnny Cash television show. ing music in a grueling schedule of recording sessions began to wear on Previn’s jazz performances throughout his Appearing along with Joni Mitchell and

P him. In 1989 he took an artistic and financial risk and turned his back on h career. o Bob Dylan was Doug Kershaw, who struck t o

Nashville. He set out on a series of solo concerts, the only accompani- c

Even among these rare musicians, vio- o a chord with the youngster. O’Connor had u r

t ment to his fiddle being his loosely tailored suit and fedora. The context e linist Mark O’Connor is noteworthy. He has s been studying classical guitar but begged y

o of these concerts, without a band or rhythm section, allowed O’Connor f performed in not just one or two, but in M for a violin for three years after falling

a free reign to improvise, and these off the cuff rhapsodies inspired him to r many musical settings, from the barnyards of k under the spell of the rambunctious Cajun

O

’ try composing in a classical fashion. He sought no formal training, instead fiddlin’ contests to jazz venues and classical C fiddler. After his mother finally bought o n

n studying books on the subject and relying on his accumulated knowledge. concert halls. Keeping this in mind, the o

r him a violin, he took lessons from Barbara

A He says, “I developed my composing style over time. Originally, I remem- r amazing thing — the jaw dropping, astound- c Lamb, who later gained some notoriety h i v ber writing my first caprice. I took something archaic and put my own ing thing — about O’Connor, is the degree e with the group Ranch Romance and with sound into the motif.” The result was his finger-stretching and knuckle- to which he has excelled at every genre and her own solo recordings. And although breaking Caprices 1-6. at each stage of his career. If the Olympics her emphasis was on classical, she was He premiered his Fiddle Concerto with the Santa Fe Symphony in had a decathlon for violin playing, O’Connor insightful enough to recognize his passion 1993 and composed his second concerto for the state of Tennessee’s would walk away with the gold medal. and suggested that the then 11-year-old bicentennial celebrations in 1996. Also in 1996, O’Connor released the As a teen O’Connor won the National O’Connor attend the Old-Time Fiddlers hugely successful (debuting at number one and remaining there for 16 Old-Time Fiddler’s Contest so often he was Contest that year. weeks) Appalachian Waltz, his collaboration with concert bassist Edgar asked to retire from the competition. From At the contest O’Connor met the man Meyer and the world’s preeminent cellist, Yo-Yo Ma. In 2000, with the mid-eighties through the early nineties who was to become one of his two greatest Christopher Eschenbach conducting the Chicago Symphony Orchestra, he was the fiddler in Nashville, winning O’Connor with the trophy he won inn 1974 mentors: Benny Thomasson. O’Connor knew O’Connor paired up with Nadja Salerno-Sonnenberg to premier his Musician of the Year from the Country Music immediately that he wanted to emulate the Double Concerto for Two Violins. The follow up to Appalachian Waltz, Association for two consecutive years and a Grammy for The New Texas-style fiddler’s ability to create a variation on a theme and brilliant Appalachian Journey was released that year as well. Nashville Cats, an instrumental release of “newgrass” with other country phrasing. At another fiddle contest a few months later, Thomasson heard O’Connor knows that with classical music he’s in the realm of music heavyweights. More recently, his jazz performances and classical O’Connor and thought the boy talented. He convinced O’Connor’s Bruckner and Beethoven, that the emphasis of this music is still based on compositions have earned him worldwide acclaim. mother that it would be worthwhile for her to drive her son the 280 its birthplace in Europe. He nonetheless believes that the musical her- Interestingly, O’Connor does not try to be an Isaac Stern when he’s round trip from their home in Seattle to Kalama, Washington, where itage of America is rich enough to sustain its own classical tradition. playing a concerto, nor is he trying to be another Joe Venuti when he’s Thomasson lived, for periodic lessons. “There is a lot of deference to European composers in classical music. I swinging. He’s just plays the violin like Mark O’Connor. “One of the The young boy was a quick study. The next year O’Connor won the things that is going to be my trade secret is that I don’t reinvent the junior division at the Old-Time Fiddlers Contest. Rounder Records took wheel every time I play,” he says. “I don’t flip a switch when I play differ- note of the young competition winner, releasing the twelve-year-old n r o

ent genres or styles. I have a core sound. If I were to play a country track H

O’Connor’s first record, National Junior Fiddling Champion. Two other a c i with a country band in the background, then record a swing, and then record albums, Pickin’ In the Wind and Markology, followed and were r E

: o t

record one of my classical compositions with an orchestra. If you were to released before O’Connor graduated high school. o h take those tracks, strip away the backgrounds, you’d hear me play and a O’Connor had continued to play guitar and had even fronted a P lot of people would not be able to tell what genre I was playing. I’ve cre- fusion rock band in his hometown of Seattle. Keeping up these guitar ated an identity. You can learn to play the violin in a manner that lets chops paid off; after graduation he auditioned and won the guitar slot you do that. There are ways of controlling the bow, vibrato, and crossing that had been freed up when Tony Rice had left the Dave Grisman strings that can lend themselves well to all styles.” Quintet. Grisman’s tour that year included the legendary swing violinist O’Connor developed this belief in himself and his sound early in Stephane Grappelli, and the Frenchman took the younger violinist under his career, crediting his two great teachers for helping him develop his his wing. O’Connor says that Grappelli helped him develop his vibrato self-reliance. “I had two main mentors when I came of age: Benny and showed him how to enhance the singing quality of the violin. At the Thomasson and Stephane Grappelli. What they taught me was that I had end of every show on that tour with Grisman, O’Connor would join O’Connor practices his compositions

8 San Diego Troubadour • July 2004 parlorparlor showcaseshowcase

want to set up a Club of France, Grappelli’s seminal Gypsy jazz ensemble that he co-led model different with guitar legend Django Reinhardt. O’Connor’s trio released a live disk, n

from the European Hot Swing!, in 2001 and In Full Swing, which featured Winton Marsalis r o H

model. We have and Jane Monheit, in 2003. a c i r E

hundreds of years This year O’Connor marks his thirtieth anniversary since his record- : o t o

of musical tradi- ing debut, and he celebrates this milestone with the release of a two-CD h P tion, and there is set compilation of his work. Most of the 19 selections are his folk and a wealth in “newgrass” material, but there are a few classical and jazz numbers as well. American forms of A listen gives the impression of the variety and, at the same time, the music,” he says. consistency of O’Connor’s violin. The classical caprice has a bit of fid- “What I’m doing dling, the jazz might hint of a little Texas inflection, and all the rest holds is taking the fire and delight of Mark O’Connor. O’Connor sums up as he looks American music back on a career that has spanned the gamut, from cornfields to concertos. genres, form, tech- “It’s been a journey,” he says, “but a journey that has produced fruit.” nique – and American senti- ment, which O’Connor with Hot Swing Trio members includes feelings of Jon Burr and Frank Vignola space, movement, Westward expansion, and the issues our country has had over race — and Creativity and Inspiration at using them as a basis for my composition. There is so much to hear and MARK O’CONNOR’S STRING CAMP draw from, and all of these are uniquely American.” For O’Connor, drawing on those American forms starts with the Imagination is more important than knowledge. site as much as the violinists were. I’d be neglectful if I did not address this violin. “It’s from Europe, but I play the violin as though it were a unique- — Albert Einstein need.” O’Connor goes on to say that the other strings “add a really excit- ing dimension to the conference.” ly American instrument. That’s part of my signature,” he says. “I remem- uring the first week in August, Mark O’Connor will be challeng- Besides the mind bending, rigorous schedule, the stellar faculty is ber a classical violinist chiding me once at Vanderbilt, kind of snickering ing the attendees of his Strings Conference at Point Loma instrumental in attracting students to the conference. World-renowned and asking me if I liked playing those open strings. I said, ‘Actually, I like D Nazarene College to think outside the box, outside the triangle, Cape Breton fiddler Natalie MacMaster, award winning classical virtuoso it a lot.’” Although he has received criticism for using some fiddling tech- outside the hexagram, or any other geometric figure for that matter. Catherine Cho, and jazz legend Johnny Frigo are among the 30 plus “I try to teach people to be creative,” says O’Connor. “Whatever they instructors at this year’s conference. Carol Cook and Natalie Hass, the vio- niques in his classical performances, like the use of open strings, most in thought before, I want them to think that all things are possible. I want list and cellist in O’Connor’s Appalachian Waltz trio, as well as Jon Burr, the classical world recognize his great talent. Edgar Meyer told Strings them to begin experimenting. It’s at that point that a teacher can show the who plays the string bass in O’Connor’s magazine, “There has never been a violinist like Mark. He fundamentally student how to be more cre- Hot Swing Trio, will be on faculty was from outside classical music but played with the same level of accom- ative.” as well. Such lack of true creativity During the conference plishment as people in classical music.” had frustrated O’Connor for members of the faculty perform in In some respects O’Connor’s evolution into classical music is unsur- some time. He found himself a nightly concert. And if that prising. As a child growing up in Seattle, his mother played her collec- continually working with musi- much music weren’t enough, tion of classical music records almost constantly, and his first instrument cians who played one type of impromptu jam sessions continue music, with little or no ability, well into the wee hours. was a nylon stringed guitar on which the young Mark took classical les- let alone interest, in music out- Goodman says, “The evening sons. After five years of study, he won a classical guitar competition – not side their specialty. He wanted a entertainment is spectacular. It’s just for his age group but for all categories – when he was just ten years way to break people out of their not one night, but a full week of old. His first violin instructor insisted that O’Connor hold the violin and preconceived notions about it. And with all the jams, there’s music and their instruments. not much sleep.” bow in the proper classical fashion and stressed other classical fundamen- He came up with his fiddle It might be a bit much to tals as well. O’Connor sums up by saying, “I studied and played classical, camp, designing a curriculum ask a group of string players to then switched into this world of fiddle contests and folk [music] and now that would force violinists into attend class all day, jam into the settings outside their particular I’ve come full circle.” night, and then be back up early genre. He says, “The strings con- Students performing at last year’s String Conference the next morning for more of the Perhaps symbolic of his break with the country hits machine, ference lasts for five days. The first two same for five days, but O’Connor O’Connor left Nashville in 1998, settling here in a community outside are spent doing the fiddler’s shuffle, in which, once students are placed came up with the formula from his experience. “I developed the structure San Diego. A busy schedule of recording and performing keeps him on into groups according to ability, they participate in classes of all genres. 11 years ago,” he says. “I got the structure from going to the National The last three days the students can set their own schedule, choosing three Fiddle Contests in Weezer, Idaho. It lasted five days. It was the perfect the road, but he does more than just hang his hat here. He gave a series teachers each day for two-hour sessions. Special classes are set up for amount of time to pace myself, to learn, and to have fun. When they of concert/lectures on the different styles of violin and fiddle at the San beginners.” changed it to six days, it changed. People started to not come. It was too Diego Museum of Art in 2001. He showed his support for music educa- About 200 violinists and 30 violists, cellists, and bassists from all over long, one day too many. You wouldn’t want to stay up all night knowing tion in our schools by performing with a middle-school level all-city band the country will be coming to San Diego to participate in this shuffle that that there was all that much more to get through.” gets bluegrass fiddlers to ponder Bach and Beethoven; classical violinists O’Connor intends these jams to be part of the learning and creative in 2002. And he holds one of his two annual strings conferences here at tappin’ their toes to some Texas fiddling; and everybody finding that there processes. Kellen Zakula, a high school student who plans on being a music Point Loma Nazarene College, the other conference being held in is more that can be done with their instrument than they previously major and who has attended four conferences, three of them in San Diego, Tennessee (see related story). thought. says, “There is a core group of attendees who are always there. Every night Most of O’Connor’s time now is spent composing and performing San Diego Troubadour writer Dwight Worden, who has been to several we get together and jam. These people are incredibly talented and inspir- conferences, says of the shuffle, “In those two days you’re exposed to all ing to me.” his classical work, but he has returned to other of his roots as well. After different styles. It frees you up to get out of your box. It’s exciting. You Concerts, classes, shuffling, or jamming, it’s all part of O’Connor’s way Grappelli’s death in 1997, O’Connor teamed up with bassist Jon Burr and think, ‘Wow! There is so much to learn.’” Babette Goodman, who first of inspiring people to do new things with their instruments. He says, “The guitarist Frank Vignola and performed a mix of music inspired by the Hot attended a conference in 1996 and who now works as an instructor at the whole idea is that someone can walk in on the conference and be hit by conferences, says, “I’ve learned how to learn, and that there is more than something that week. It might be in a class, a jam session, or just in a nice one way to learn,” A classical performer, she credits the camps with rein- conversation, or even just experience the overall atmosphere. Some of the vigorating her work in a symphonic orchestra. conferees have sent us letters and describe those moments when they have Everything about the conference is meant to break down barriers. The had a breakthrough when a bigger world opened up musically.” master class format, in which an instructor works one on one with a stu- dent in front of a passive class, is abandoned. At O’Connor’s String Conference all students are encouraged to participate and try out what they’ve learned as the classes progress. The typical barriers between stu- dents and instructors and amateurs and professionals are abandoned as well. Everyone eats in the same dining hall; even O’Connor pushes his tray through the cafeteria line with everybody else. The first of these gatherings took place 11 years ago at Tennessee’s Montgomery Bell State Park. Due to the increasing popularity of the pro- gram, O’Connor added a second conference here in 2001. Originally called fiddle camp, these gatherings are now called Strings Conferences because the program currently includes instruction for viola, cello, and double bass. O’Connor says, “I saw a need there. Once I had recorded with Yo-Yo Ma I was getting requests from cellists for transcriptions and music for cello. And once I formed my Appalachian Waltz group with Natalie [Hass] and Carol [Cook], violists and cellists were downloading things from my web- Faculty performance at Fiddle Camp O’Connor with Yo-yo Ma and Edgar Meyer

9 July 2004 • San Diego Troubadour ramblin’ramblin’

Bluegrass spent the first of our 15 days getting sounds, setting up the recording space, and finishing CORNER up a late arriving song. Chuck and Cathryn arrived the next morning and after listening by Sven-Erik Seaholm through the previous days results, we made a couple of subtle eq and level adjustments. ANATOMY OF A GANDHI RECORD, by Dwight Worden Cathryn (wo)manned the PC, and Chuck PART TWO, OR HOW I LOST MY and I played until we had a recorded per- Sven-Erik Seaholm MIND IN JUST 15 WORKING DAYS formance (both of us playing simultaneously Get ready for San restaurant, so this event has relocated. I to a click) we felt good about. finally nailed it and we all hi-fived one Diego’s great checked out the new spot and it looks ast month, we began a sort of “fly It was suggested we finish out the song another until I realized that there was an Summergrass good: good acoustics, places to jam, on the wall” analysis of how Chuck so that we could hear something in its com- unrecoverable mistake in the way the tracks Bluegrass Festival, good seating and viewing, and a nice Schiele, Cathryn Beeks, and myself were recorded. We had no choice but to start coming to Vista’s pizza and salad buffet as well as table L pleted form and get a feel for what the even- (collectively known as The Gandhi Method) over. Of course now that I had the added Antique Gas and service. Everyone is welcome to come by tual sound of our demo would be. Well, I’m went about recording our debut release. The burdens of disappointment and knowing I Steam Engine and check it out. Don’t forget to bring very anal retentive when it comes to my already had it and lost it made what was Museum on August your instrument for jamming. two-phase project was to begin as an vocals (surprised?), and I was singing lead on hard to do become nearly impossible to 20, 21, and 22. The acoustic demo and later fleshed out into a this one. Additionally, we have been per- Seaport Village. Virtual Strangers and redo. Three hours later, I finally got an even band lineup looks full-scale production… forming all the slated songs live for months, Chris Hillman Full Deck, two At the risk of immodesty, I’ll tell you except this one. Bottom line is that the rest better performance, but my arm is still hurt- outstanding with of our fine local that I’ve recorded a lot of projects. Several ing three weeks later. On top of it all, I had headliners Chris Hillman, Bluegrass Etc., bluegrass of our six-hour work day was spent record- hundred of them in fact. Some have even arranged to finance all of my Gandhi studio Fragment (from the Czeck and Slovak bands, played ing several vocal takes and editing them and won or been nominated for awards…blah, time by working through every weekend, Republics no less!), the Laurel Canyon recently at the guitars onto a track that we were all sat- which means that I didn’t schedule a single Ramblers, Tim Flannery and Friends, the Seaport Village blah, blah. My point is that I have a great isfied with. As a producer, I like to think I day of rest for myself. Witcher Brothers, Bearfoot, Ron Spears Full Deck at Seaport Village to appreciative deal of experience in helping artists deliver make things easier. As an artist, it turns out, Still, we had a great time just hanging and Within Tradition, and Silverado. audiences. The Strangers played in May, their art and ideas to their audiences. I also I’m a total pain in the ass. Rounding out the program are some of and Full Deck performed in June. Look for dispense a lot of advise and knowledge while Much of the process went pretty much with each other and chasing down the inspi- San Diego’s finest local bluegrass bands, more Seaport Village bluegrass in the fall. serving my client as well as through this col- according to plan, but there were many rations that visited us during the sessions including Lighthouse, Gone Tomorrow, umn. Much of this wisdom (for lack of a bet- unforeseen circumstances that complicated (resulting in five additional pieces of and the 7th Day Buskers. The festival Bluegrass Day at the Fair was held ter word) comes directly from what I’ve things: Chuck and I encountered business- music!), and we did eventually meet our starts on Friday at 2 p.m. and goes until Sunday, June 11, learned from my clients and our mutual stu- related complications that took us out of the goal of capturing our live sound and great Sunday at 6 p.m., with camping, food, at the San Diego dio adventures. Additionally, I’m an artist in studio for a couple of days. Cathryn was suf- performances on the other songs. We man- vendors, and lots of activities. Visit the County Fair with my own right, so it figures that I would have fering from a debilitating pinched nerve in aged to accomplish all of this by not only Summergrass web site for photos and a an exciting band a certain insight and perspective beyond remaining focused but also by providing the video clip from last year’s event as well scramble, blue- her upper back and was subsequently absent that of my role as producer. love and support necessary to create a nur- as info on tickets and everything else you grass karaoke, for a few days. I started off our second week Most of the projects I work on are turing environment for one another. Chuck need to know: www.summergrass.net. and great per- with a sort of pep talk to try and get us to Winners of Band Scramble and Cathryn deserve huge shout-outs for Look for more info on Summergrass in formances by accomplished within a concentrated period pick up the pace a bit, but it backfired unin- competition, Wrong Way Home their artistry and commitment, as well as next month’s San Diego Troubadour too! Lighthouse, one of time. A typical album takes approximately tentionally. Somehow I got myself worked of our top San Diego bands and the four to six weeks on average. I handle the up beyond the level of increased productivi- their ability to hit it out of the park every Summergrass Music Camp for Kids Burnett Family, who traveled from technical and logistical aspects, freeing the ty and went straight into a grumpy funk single time they stepped up to the mic. New this year at Flagstaff, Arizona. Wrong Journey Home, artist to concentrate solely on their perform- Me? I’m still learning. Summergrass is a that rendered all my efforts unusable. This comprising James Rust on tenor guitar, ance. Because I am quite often asked my music camp for kids only pissed me off more, so I eventually Sven-Erik Seaholm is an award-winning Mark Foxworthy on banjo, Becky Green opinion in a variety of situations, I also try taught by Bearfoot. changed seats with Cathryn and spent the recording artist and producer who also on bass, Greg to cultivate and maintain a certain objectivi- writes and performs with The Wild Truth The camp begins rest of the day apologetically recording and Burroughs on when he isn’t working with other artists ty, even while investing myself fully into editing their vocals. with a two-hour guitar, and Don through his company, Kitsch & Sync each project as if it were my own. Easily the most intense and physical class session on Hickox on fid- Production (www.kaspro.com). Previous to the Gandhi Method ses- song we do is “Justice.” It’s played hard and Friday and then dle, won the sions, I had never been able to devote a con- fast, and its flamenco-like flourishes require three-hour class Band Scramble Bearfoot tiguous block of time to my own work. It’s sessions on competition. a high degree of precision to pull off. It’s always been a catch-as-catch can affair, a few Saturday and Sunday, culminating in a Top honors in also groove intensive, so locking to the click hours here, a couple of days there, then back chance for the kids to play on stage with the Bluegrass and each other is crucial. Although Chuck Bearfoot. Kids, ages six to 16, are wel- Karaoke compe- to work for someone else. It’s a rhythm I’ve and I have performed all the songs simulta- Gary wins at karaoke come, from beginners to experts, and tition went to grown accustomed to over the years and I neously to this point, we quickly decided enrollees will receive instruction on all Gary “Rhonda V” Kennedy with his pres- feel like it works well enough, but as alluded this one would be better served by playing the bluegrass instruments and on band entation of “Worried Man Blues.” to in last month’s column, I was eager to my guitar first, then his. It took me about an play. Bearfoot has taught this camp Congratulations to all the winners! finally sit in the artist chair for a while. hour and a half to work up to the right level around the country to great accolades. As detailed in last month’s column, we of power, passion, and concentration, but I For more information and to sign up, go Huck Finn. The Huck Finn Jubilee in to www.summergrass.net and click on Victorville took place June 18-20 with a Bluegrass Camp for Kids. stellar lineup of many of the greats of bluegrass music. Lots of good jamming, OTHER NEWS too. If you haven’t been to Huck Finn, Godfather’s Pizza. The San Diego mark your calendar for next year. Bluegrass Society has opened a new Del McCoury Band. The Del McCoury venue. Starting Tuesday, June 24, the tra- Band, perhaps the top bluegrass band ditional fourth Tuesday event will be held today and winner of essentially every every fourth Tuesday at Godfather’s award to be won, gave a great show in Pizza, from 6-9 p.m., at 5583 Clairemont Escondido on June 29. These boys can Mesa Blvd., just west of the 805, instead flat out play and sing. Whew! It doesn’t of at Shirley’s Kitchen in La Mesa. The get any better than that! owner of Shirleys decided to close the Talk to you next month.

10 San Diego Troubadour • July 2004 ramblin’ramblin’

Hosing Down Radio Daze n

by José Sinatra o

t see you while you work. Radio has

s by Jim McInnes e

W been called the “theater of the mind.”

n

My lovely friend Nodique Deneen recent- o

v Listeners are forced to form their own

s ly, briefly turned my thoughts away from t o

o Haute Couture, mental images of those who they can T

June’s Gloomy Death Tour and back to the :

o only hear. That’s why the vast majority t

Wonders of the Wealthy. You really weren’t o non? h

P of radio personalities (except for me, aware, she asked me, that cops have been turning blind, shaded eyes away from an ille- ‘cuz I’m a seven out of 10 on the web- gal activity that has been poking up more and he old saying goes, “The site Am I Hot or Not?) are fat and ugly. more on the sands and in the surf around clothes make the man.” If That’s why you often hear it said, “He’s Hotel Del Coronado? T got a face made for radio! “That’s why that's a fact, the author of that Jim McInnes Tourists from all over the world love the cliché obviously never worked in radio! we can all dress any friggin’ way we expensive resort, of course. And we want to nobody sees) wear their products. (Granted, the quote may predate the want — usually in a tee-shirt, jeans, make their visits truly enjoyable, ensuring Ya want baseball caps? We get invention of radio, but that’s irrele- boots, a baseball cap, and a jacket (for many future returns. The tourist bureaus and The debonair Mr. Sinatra when we get chilly...like when the stu- them from everywhere — from Aids our very economy require that visitors have vant.) Those of you who know me dio’s air conditioning is set to “ice Walk, The Gulls, Heineken beer, and easy, unlimited access to the unique aspects an otherwise energetic game of Doctor with know that I am anything but a “clothes age”!) the TV show Everybody Loves Raymond. of our often-nifty town while enjoying, at the a well-known female physician in Los horse.” And that goes for almost every I only have a few dozen of them left, very least, all the proverbial comforts of Angeles, she flattered me with a remark of rock and roll radio personality. Radio jocks receive a lifetime supply such candor and surprise that I feel I should because I had to throw out the other home. “Jeepers, Jim, Why is that? “ of clothes. Every few years we’ll get a now milk it for all of its worth. She was 500 to make room for my tee-shirts! CORONADO INVADED BY TOPLESS BATHERS! One of the cool things about being new pair of boots or athletic shoes astonished, she said, that my own left nipple We get tee-shirts from our radio I’m glad the word hasn’t yet reached the in front of a microphone is that given to us by a sponsor who thinks it’s appeared to be an exact twin, visually, of the stations (note to 103.7 The Planet uncounted voyeuristic perverts of our virginal nobody but your fellow employees can cool that these radio “stars” (whom city. And I’m pretty sure that none of them right nipple of a famous female pop star. To promotions: no more white ones, I protect the singer’s identity (at least until the reads the San Diego Troubadour, so if you, look fat in white!!!), from every spon- doctor’s lab verification is accomplished), I’ll dear reader, didn’t know about this already, sor who’s smart enough to make them, call the teen idol Yentirb Sraeps. When the let’s keep it to ourselves, okay? from every movie that comes to a the- Back to Miss Deneen’s revelation to me. doctor’s theory is confirmed as expected, my ater near you, from every record label She said that females who either enjoy going name will once again be linked with that of and band on earth, and from (and for) topless or demand equality (or both) have Ms. Sraeps in news items month after month been frolicking in the occasional rays across just like two or three years ago, and once every major sporting event. I also get the bridge dressed in their one-piece fashion again the focus switches from my voice to ‘em from my wife, who works at a tele- statements, which, like those of their male my body (this time just my chest?!) and that vision station. If I never see another counterparts, cover only areas of the mid- becomes annoying real quick. tee-shirt, it’ll be too soon! body. As always, the apparel differs slightly Donny and Marie have nipples. When the weather is cool, radio I can fight back and make a political from the male versions by requiring about a deejays cover their free tee-shirts with statement at the same time. Since I’d like all third as much material for their manufacture. one of their free satin, nylon, or leather beaches to be like those of Coronado and The bottom line, still, is a notable one: female jackets. Every year the Ford Motor nipples have been enjoying emancipation France and Spain and Iceland, I’ve decided Company flies radio deejays from around the Hotel Del. to act. Until all female nipples in America around the country in or limo’ed out Now, just a second, Hose. Just what does have stopped being treated like social agita- all this have to do with show biz or music, tors, I, in an act of solidarity with the nipples to the desert to test-drive new vehicles. which this column has pledged to expose in of my sisters, will wear circles of black tape In return for damaging scores of new all their beauty and deviance? over my own henceforth in my public per- Ford products, we are rewarded with Aw, c’mon. With due respect and no formances. nice watches, bags, fedoras, and intended offense, even Stevie Wonder would Yes, even José Sinatra has nipples. leather bomber jackets. Although I Superbly designed, secretive and compas- be able to see the connection. But I’ll drop in once had three, I now have only one sionate, perhaps one day they shall feed the an occasional subtle hint if you insist. bomber jacket, which I never wear. It’s world . . . Stevie Wonder has nipples. just cool to have one. When I need a So do Michael and LaToya Jackson In America, once a female begins to windbreaker, I just put on the black (except Michael’s are green, I bet). When develop breasts and her chest area physical- WB nylon jacket, often over my they were very little, Mikey and his older sis- ly loses resemblance to that of a male, our ter could both moonwalk shirtless along culture (in an edict of supernatural, illogical Sopranos bowling shirt...both of which Hollywood Boulevard any time they felt like it. idiocy) declares her nipples dangerous. Not I got from my wife, Sandi (she works in Today, only Michael can legally do that and the beauteous deviation of the expanding TV, remember?). can continue to do it any time he wants to mammary glands, oh no. Just the nipples. In Unfortunately, deejays never seem unless he commits some kind of crime that effect, it is the nipples of the female, nearly to get free pants. I have all of three identical to their male counterparts, that lands him in jail. But he can moonwalk topless pairs of pants — two pairs of blue require the licensing, concern, and regula- in there too, and I’d bet people would fall in denim jeans and one pair of sorta nice tion. Their appearance in public or in maga- love with him all over again. slacks, which I wear when I’m on TV or Jewel has nipples. zines or on network television can actually playing with Modern Rhythm at Assuming the liberation of the wealthy become criminal acts — acts that must be Humphrey’s Backstage Lounge. female nipples in Coronado is a fact and that carefully controlled lest our lunatic nation Miss Deneen wasn’t pulling my own with her head directly to Hell. Well, it’s getting late. It’s time for story, I find myself very happy about the liber- Hey, has anyone checked the destination me to take off my Pinky and the Brain ty aspect but incensed that the reason listed on our current ticket? underwear and crawl into bed, where behind it was entirely capitalistic (we want I’d like to thank you for spending a few Sandi is snoozing in her Sharon them tourist bucks, darnit) and devoid of moments of your valuable life reading this Osbourne Show pajamas. column, and I especially thank the publisher intellectual concerns. As I’ve always seen it, Bonne nuit, mes amis! America’s cultural/legal take on nudity is for having the nipples to print it. such that we’re the laughing stock of much of the world, the other countries chuckling nm@POKc secretly at our insanity so as not to offend the self-styled Rulers of the Planet. Fleetwood Mac has nipples. Lots of them. During a brief rest period at half time in Phil Harmonic sez:

“A man’s dying is more the survivors’ affair than his own.

— Thomas Mann

11 July 2004 • San Diego Troubadour thethe highway’shighway’s songsong s e l w o n K

a l e g n A

s o t o h P Aby Emily DavidsonPostcardstarted. Sincefrom then, things have calmed Nashvillewaitresses called me honey. It was a really down quite a bit. I am happily self- nice place. It was someplace to go and get employed and live in an apartment on on with my life. I came here to play an Diego was in flames when I head- Music Row. I’ve met new people. And, music. It seemed that if I was really going ed home to Nashville last year. It was finally, I’m writing again. I recently sat to pursue a career in music I had to go a strange ending to an even stranger S down with some local singer songwriters somewhere where there was a viable com- phase of life. There was no logical reason to gather their thoughts on the Nashville mercial community.” for my moving nor much of a reason to music scene. After recording a four-track to take stay. I had lost my job and spent six Joe Nolan came to Nashville for a visit around town to record labels and publish- months wandering, trying to figure out and never left. Originally from Detroit, he ers, Joe wound up meeting people who what to do next. After an intense battle found the South to be very different. He knew other people who might be interest- with my ego, I wound up back where I says, “Everybody seemed nice and the ed, and that eventually landed him a deal with Black and White Publishing. According to Joe, “That’s pretty normal here. They’re very open to songwriters and musicians here in Nashville, especial- legendary music venue. “And in that week makers too, but it’s a bit like writing by ly if they’ve heard your stuff and they like I met all these really amazing people here. numbers. But I enjoy it because I learn A Taste of the Old West it. You’re their bread and butter and I came for two nights and stayed for six from it.” they’re happy to give you access to them. weeks,” she says. Lemmie Stone is working on his first by Mark C. Jackson the rest of the day performing in the museum. That’s one of the great things about It took some time but Edwina eventu- album, which is due out later this year. After Alyssa Jane shared her wonderful cow- Nashville. The bad thing for ally moved to Nashville in Lemmie, who hails from the small Kansas me is that now most of love Old West gunfights! I love the sud- girl poetry, Mountain Echo took the stage to March of last year. community of Crestline, says that he was them are looking for, den blast of a pistol going off and perform some great cowboy songs. Then Ironically, she landed a “blown away by the songwriting and how like anyone in the somebody yelling, “Get off the street, came the sad part. publishing deal with the audience respected the songs on his business, big money. theI Hole in the Wall Gang’s in town and I had booked the Big Rigs, a fine honky- Warner Chappell in first trip to Nashville years ago.” Through And, in Nashville, they’re looking for trouble with the tonk country band fronted by Lyle Duplessie London right before friends of friends, Lemmie was introduced big money now the move, which to his current producer, Roger Moutenot, Winchester widows!” Before you know it, on bass and his son Derek on pedal steel gui- means something turned out to be a who has mixed and/or produced albums guns are blazing. When the smoke clears, the tar. (Lyle was also the co-founder of this publi- that Kenny Chesney great experience for with the likes of Lou Reed, Elvis Costello, only one standing is a poor old skinny cowboy cation.) On Thursday, June 17, Lyle died sud- can break at num- her. Says Edwina, Gillian Welch, Shawn Colvin, Roseanne with his pants down around his ankles. Now, I denly of a heart attack. Peter Bolland and I ber one tomorrow. “I’ve met a lot of Cash, and others. Lemmie credits persist- know that in real Western times, it didn’t hap- first met Lyle eight years ago when we invited And if it isn’t that, known songwriters ence and “not burning bridges” as the key pen like that. In fact, there were very few him to play bass in the Jackson-Bolland and then they don’t through Warner to making connections and getting where actual gunfights. But on the weekend of June had maintained strong, musical friendships know what to do Chappell, but I you want to be. 19-20, the legends and mythology of the Old ever since. The saturday of the festival Danny with it.” also write a lot By the time this article is published, West came alive in El Cajon. Cress, Lyle’s long time friend and drummer, Edwina Hayes, with my friends. Edwina Hayes will have left Nashville for The Wieghorst Western Heritage Days was scheduled to play with the Coyote a native of There are quite a England where she has just signed a began last year as a one-day event to cele- Problem, the Big Rigs, and the Mark Jackson Yorkshire, England, few songwriters record deal with Warner Brothers London. brate our country’s great westward movement Band! Under the circumstances, my band and came to the U.S. in the building For more information on Edwina and the on holiday for a during the nineteenth century. The festival is I decided to play a few songs that Lyle used where I live and we’ll London acoustic scene visit www.edwina- cross-country tour. She held on Rea Street, site of the Wieghorst to perform. Then, with Kent Johnston and Liz go over to each others’ apart- hayes.com. Joe Nolan’s music can be rolled into Nashville on a Greyhound bus, Western Heritage Museum, which is dedicat- Abbott helping on vocals and Peter on guitar, ments and drink coffee and write, and I heard on 88 radio stations worldwide, hoping to reenact what she had seen in ed to Olaf Wieghorst, an internationally known we performed “Knocking on Heaven’s Door.” really like that. They are usually people from Tunisia to Los Angeles. Visit Joe’s the movie A Thing Called Love. Edwina I’ve met through word of mouth and peo- website at www.joenolan.com. To hear artist whose drawings and paintings captured We all left the stage in tears. missed the set at the Bluebird Café that ple I’ve gone up to after watching them Lemmie Stone, go to the spirit of triumph and hardship of this Up next was Roadhouse with Frank night but decided to stick around another play. I’ve written with some of the hit www.lemmiestone.com. migration with grace and grandeur. Growing Williamson, a band with great songs and a week to fulfill her dream of playing at the up in Oklahoma City, I had seen Wieghorst’s great sound, which took the edge off a bit. paintings at the National Cowboy Hall of Fame The Mark Jackson Band took the stage to fin- many times and at the Gilcrease Gallery in ish the night with good dancing and even bet- Tulsa. The first time I visited the Wieghorst ter barbecue! Museum, I felt right at home. I became Sunday was filled with more gunfights, involved with the event last year when my Indian dancing, axe throwing, tall tales from band performed for the dance and the barbe- mountain men, and a flag presentation by the cue. This year, I was hired to book the music. Buffalo Soldiers. The bands Bow Willow, The event featured music, cowboy poetry, Mountain Echo, and High Strung played fine Native American dancing, Old West gunfights, cowboy songs throughout the day in keeping and lectures about the lives of the Mountain with the the spirit of the West. As worn out as Men and Buffalo Soldiers. There was also an I was on Sunday Indian village with tepees and Indian artists evening, I was from all over Southern California. A small already planning Western town was set up next to the Indian for next year. Village, complete with staged shootouts. As So, bless you long as someone posted bail, you could have Olaf, wherev- one of your friends or family arrested and put er you are. in jail. A Mountain Man Camp could be found Thanks for behind the main stage and what a camp it the great was! Along with displays of original antiques paint- from the 1800s and axe throwing contests, ings and these guys used only authentic materials, a fine utensils, and dress dating back to 1840 or festival. thereabouts. Saturday morning came and I was excited and anxious! To open the festival, internation- ally known Native American dancer Eric Runningpath cleansed his dancers with sage smoke and asked for blessings from the Great Spirit. Then the U.S. Postal Service presented the museum with a commemorative replica of the new John Wayne stamp. For many years, Wieghorst and Wayne were good friends. The music began on the main stage with my old friend Peter Bolland and the Coyote Problem whose three-piece band really got the festival going with their unique brand of western country rock. On the small stage, Tim Chandler soothed the crowd with his peaceful Indian flute. When he was finished, he spent

12 San Diego Troubadour • July 2004 ofof notenote

Steve Collins Christopher GipsyMenco Robert Berkley Hart Alien Holiday Dale Perfection Edwards Twelve by Frederick Leonard Pick Me Up by Frederick Leonard Bittersweet by Phil Harmonic This five-cut CD from Steve It takes balls to call your Calman Hart and Jeff Berkley, Collins begins with a cover by Frederick Leonard debut release Perfection, especial- by Paul Hormick two of San Diego’s most respect- showing a screaming baby wear- ly when you enter the bullring of ed and distinguished songwrit- ing Photoshopped shades in Christopher Dale opens a new Flamenco and Spanish guitar Delivered with a rich, strong ers, are two individual talents space. Hmmm. As I open the CD season on his own self by ditch- styles. voice and relaxed, beautiful who have combined to form the I found three panels with pic- ing the “Scorch” persona much Led by NovaMenco rhythm phrasing, Bittersweet is an aptly duo, Berkley Hart. Not once do tures of Steve, two panels con- in the same way Bowie was guitarist defector Sal Hanna, titled, reflective compilation of these veterans ever “take away.” taining lyrics to the title track, always leaving his old self stand- who steps out as the lead for the ballads and love songs from They only add and enhance. In and a web address that doesn’t ing around after every record. first time, GipsyMenco is a mix English born San Diegan Robert this case, the whole is greater work. The only credits I could Reinvented, Mr. Dale has recruit- of Flamenco, jazz, and Arabic Edwards. than the sum of its parts in this find were for the photographer. ed a new army of local musicians influences. Open the lid on this This disk is not the musings of case. Their latest CD Twelve con- So I’ll assume Steve played such as Jeff Berkley (who pro- clay pot and you will find per- an aging rocker like Bob Seeger, tains 14 songs that are either everything, except camera. duced the effort and plays gui- cussive guitars, romantic whose ‘70’s hits such as “Night deep and moving, fun and It’s a pretty decent recording tar), Brian “Nucci” Cantrell melodies, and upbeat and exotic Moves” and “Against the Wind” bouncy, or incredibly clever as in with pretty decent songs. (drums), David J. Carpenter rhythms that have a way of trig- show us a man who is left want- the title song, “Twelve.” The Nothing too scary or unconven- (bass), The Gandhi Method gering all the good stuff inside ing as he looks back on the chorus counts to 12 using tional. While it remains a good (backing vocals), Ben Moore you. energies and appetites that now rhyming words: WONder, TUne, job, I would say it has an equal (keys), and Peter Bolland (gui- On one hand, I can hear this diminish within him. Edwards’ REAson, beFORE, I’VE, SICK, dosage of very good chops to an tars) among others. music played loud in a tech club years have counted for more HAVIN’, LATE, I Never, TENded, equal dosage of anemia. He The 11-song CD begins with a on its danceability alone. On the than a few more gray hairs. The LIVE IN, HELL. Pure genius, I’d sings well, hits his notes, and hot little number called “High,” other, I routinely play it over unhurried pacing of the first say. plays guitar in tune and on time. which draws the innuendo-paral- weekend morning coffees and a song, “On the Wire,” sets the Not only do their two well- The tunes are good, and cover a lels of falling in love vs. the bliss newspaper, softly in the back- tone for the whole disk with the defined vocal styles mesh to cre- variety of common styles, rang- and affection of California’s ground. I like the way it brings refrain “I’m letting go.” No ate a distinctive sound, but also ing from the opening 4/4 rocker favorite illegal veggie. It’s a trip- meaning to the filtered sunshine longer a slave to his passions, their virtuosity in arrangement, “Idowanna” (as in “I Don’t Want py rock solid opener that oughta blowing through my morning here is a man who knows the instrumentation, and harmonies To”) to the rolling acoustic short have everyone on their feet windows. And, poetically speak- liberation of accepting and set their songs apart. If you liked ballad in 6/8, “Sing Me Your screaming in the spirit of that ing, it makes a perfect sound- enjoying his maturity. their first CD, Wreck and Sow, Song.” The arrangements are good loving buzz. It’s by far the track for a romantic cocktail The title track, “Bittersweet,” then this one is right up your appropriate, contemporary, and heaviest punch thrown on the cruise ‘round the Western contemplates the preciousness alley. solid but not necessarily inven- CD. But you’ll still find the goods Mediterranean. of life, intermixing the apprecia- Calman Hart and Jeff Berkley tive. in worthy gems such as “Double Now, I’m not perfect, so tion of simple joys and the natu- either wrote or co-wrote seven Actually, this is kinda driving Time,” Too Easy,” and “Every therefore, I’m not qualified to ral world with the love for songs each, one together. “BFD” me nuts, because A. he rocks. time We Say Goodbye.” attest to what perfection is. I am another. And “Darlin’” is one of was written by Don Henry and And I like it . . . wanna like it Gritty guitars on top of an comfortable, however, with the the shortest love songs possible Craig Carothers, who is one of more. But B. it sounds a lot like acoustic foundation is pretty notions of what exceptional and although complete and full my favorite songwriters from the Dave Matthews at times. Lotsa much the sound here. It’s famil- stellar are. This record is excep- nonetheless. Edwards knows that Portland, Oregon area. Dave moves here. It’s one thing iar sounding, done so in a way tional. It has juevos. The playing he so successfully conveys the I truly believe that Berkley Hart to bear reference, but it’s dis- that is grounding. But it also has and the arrangements are acute- joy and playfulness of the tune will have their day. Whether you tracting if the references are enough sonic surprises peppered ly pristine. Every bar is an enjoy- that additional verses or chorus hear them live or just listen to glowing on the sleeve. When he throughout to keep the listener able experience. With the aid of would only diminish its poignan- their CD — if you can tell the steers away from the Dave thing alert by way of its variety of drum machines and digital cy. He uses this “less is more” difference — their music brings now and then, it lands on the material, a snappy sit-in roster, sequencing, the sheen is modern approach throughout the entire pure pleasure to your audio corporate KPRI-John Mayer-what- and the overall attitude for pro- underneath, lending a certain disk. Interspersed among the senses. Berkley Hart, as perform- the-marketing-department- duction and technique. freedom in the old-world atti- ballads are short instrumentals – ers and their overall signature thinks-cookie-cutter sound. The Pick Me Up is definitely worth tude of all the guitars, melodies, some Irish in flavor, others sound, have definitely matured lyrics are okay but would be “on investigating, and you can do so and other exotic goodies sailing bluesy – giving pause and letting into one class act. They are pro- the money” if he would render at www.ChristopherDaleMusic.com. over the top. With an eloquent the lyrics of the previous song lific and have worked very hard the trick of poetic irony via com- grip, Hanna peels off one lovely settle in the listener’s conscious- to create something that has municating “higher ground” melody after another with a ness. turned out to be very special. messages through pop culture touch that’s like pulling petals Appropriately, after revealing imagery with just a little more from a “love me/love’s me not” himself so openly, Edwards oomph. daisy. thanks and bids farewell to his Guitar players ought to like listeners with a traditional Irish this record: GipsyMenco is “all blessing set to music. The man” about their guitar playing. straightforward sentiment closes The ladies will love it. It’s a very, Bittersweet with a benediction of very sexy record supported with hope and love. such titles as “French Kiss,” Coqueta,” “Estoria De Amor,” “Night in Tarifa,” and “Love Bite.” Ooh. It’s records like these that make people who detest insipid corporate radio turn that radio off. It kicks butt and turns you on at the same time. Get this CD.

13 July 2004 • San Diego Troubadour ‘round‘round aboutabout

Go-Gos/Jon Heintz/Tristan Prettyman, 4th & B, 8pm. The Nervous/Little World, Lestat’s, 9pm. WEEKLY JULY CALENDAR monday • 26 every sunday 7th Day Buskers (11th, 25th)/Gully, Farmers Ani DiFranco/Andrew Bird, Open Air Market, DMV parking lot, Hillcrest, 9am. Theatre, SDSU, 8pm. Recital Hall, 6:30pm. Connie Allen, Old Town Trolley Stage, Twigg thursday • 1 Skelpin, Templar’s Hall, Old Poway Park, monday • 19 St. & San Diego Ave., noon-5pm. 7pm. Info: 858/566-4040. tuesday • 27 Traditional Irish Music, Tom Giblin’s Pub, Rachael Sage/Beezeley/AM/Michael LECTURE: Rhythm Sections of the Big 640 Grand Ave., Carlsbad, 3pm. Tiernan, Twiggs, 8:30pm. With Intent, Metaphor Cafe, Escondido, Band Era, Museum of Making Music, John Fogerty, Embarcadero Marina Park 8pm. Carlsbad, 1pm. South, 8pm. Irish Dance, Dublin Square, 554 Fifth Ave., The Temptations, Humphrey’s, Shelter 3pm. Island, 8pm. Jim Bianco/Jack the Original/Mick Celtic Open Mic, Rosie & Joe’s, 7986 Overman/Chris Hobson, Twiggs, 8:30pm. Celtic Ensemble, Twiggs, 4pm. Rip Carson, Tio Leo’s, 9pm. Armour St., 7:30pm. 858/573-6721. wednesday • 28 Blue Rockit & Guest, Tio Leo’s, 9pm. Highland Way, R. O’Sullivan’s, Grand Ave., Carol Ames/Truckee Brothers, Java Joe’s High Society Jazz Band, Tio Leo’s, 7pm. Escondido, 4pm. Pub, 6344 El Cajon Blvd., 9pm. tuesday • 20 Tristan Prettyman & Friends, Belly Up Traditional Irish Music & Dance w/ Gully/Bartender’s Bible, Casbah, 9pm. sunday • 11 Boz Scaggs, Humphrey’s, Shelter Island, Tavern, Solana Beach, 8:30pm. Cobblestone, 5-6:30pm/Boxty Band, 6:30- 10pm., The Field, 544 Fifth Ave. Pete Thurston, Lestat’s, 9pm. Pat Bianchi w/ Jacques Lesure/Chuck 7:30pm. McPherson/Daniel Jackson, Dizzy’s, thursday • 29 Joe Rathburn, The Galley, 550 Marina Pkwy, 7pm. wednesday • 21 Chula Vista, 5-9pm. friday • 2 Butch O’Sullivan, Dark Thirty Judy Collins/Rita Coolidge/Suzanne Miff’s Jam Night, Java Joe’s, 6344 El Cajon Vega, Humphrey’s, Shelter Island, 7pm. Terry Evans, Magee Park, Carlsbad, 6pm. Productions, Lakeside, 7:30pm. Info: High Society Jazz Band, Tio Leo’s, 7pm. Blvd., 6-9pm. 619/443-9612. Sue Palmer, Bookworks, Flower Hill Mall, Jazz Roots w/ Lou Curtiss, 9-10:30pm, KSDS (88.3 FM). Del Mar, 8pm. Indigo Girls, Humphrey’s, Shelter Island, thursday • 22 friday • 30 8pm. The Bluegrass Special w/ Wayne Rice, 10- Two of Us, Metaphor Cafe, Escondido, Fiona Wong, Twiggs, 8:30pm. Sue Palmer Trolley Barn Park, Adams midnight, KSON (97.3 FM). 8pm. Sue Palmer, Hop in the Hood, 7th & Ave. & Florida St., 6pm. Pennsylvania Ave, Hillcrest, 10pm. Rachael Sage/Kerrie Caldwell/Ashley Apecial EFX, Poinsettia Park, Hidden every monday Matte/Toria/Quincy, Twiggs, 8:30pm. friday • 23 Valley Rd., Carlsbad, 6pm. Connie Allen, Old Town Trolley Stage, Twigg Band in Black, Showcase Stage, Del monday • 12 Cat-illacs, Trolley Barn Park, Adams Ave. Greg Campbell/Leigh Taylor, Tabloid St. & San Diego Ave., noon-5pm. & Florida St., 6pm. Mar Fairgrounds, 9pm. Sarah McLachlan, Sports Arena, 8pm. Coffee, 9225 Carlton Hills Blvd., Santee, Open Mic Night, Rosie O’Grady’s, Normal Steve Poltz, Lestat’s, 9pm. Fattburger, Poinsettia Park, Hidden Valley 7pm. Heights, 7pm. Rd., Carlsbad, 6pm. Al Green/Average White Band, Viejas Open Mic Night, Lestat’s, 7:30pm. tuesday • 13 Poco/America, Humphrey’s, Shelter Casino, 7:30pm. saturday • 3 Island, 7pm. Summer Organ Festival, Organ Pavillion, Youssou N’Dour/Lila Downs, Humphrey’s, Ashley Matte/Shane Mack, Twiggs, Balboa Park, 7:30pm. Steve White, Flower Show Stage, Del Shelter Island, 7pm. Peppertree, Tabloid Coffee, 9225 Carlton 8:30pm. Mar Fairgrounds, 5pm. Hills Blvd., Santee, 7pm. Big Daddy Orchestra, Tio Leo’s, 9pm. every tuesday Simeon Flick/Matthew Stewart/Alpha wednesday • 14 GrooveLily, Acoustic Music San Diego, José Sinatra & Troy Dante Inferno, Connie Allen, Old Town Trolley Stage, Twigg Ray, 824 Avenida Taxco, Vista, 7pm. Info: 4650 Mansfield St., 7:30pm. Winston’s, 9pm. St. & San Diego Ave., noon-5pm. 760/295-7402. High Society Jazz Band, Tio Leo’s, 7pm. Peter Sprague & Friends, Dizzy’s, 8pm. Deirde Flint, Lestat’s, 9pm. Open Mic Night, Casa Picante, 10757 Burnt Earlies, Metaphor Cafe, Escondido, Woodside Ave., Santee, 7:30-9:30pm. 8pm. The Coyote Problem/Tristan Prettyman/ thursday • 15 Late Night Waiting/Sweet James, Traditional Irish Music, The Ould Sod, 7pm. Rachael Sage/Sacha Sacket/Free saturday • 31 Modulations, documentary film about Twiggs, 8:30pm. Traditional Irish Music, Blarney Stone, Dominguez/Collin Elliott, Twiggs, 8:30pm. electronic music, Museum of Making The Joey Show, Tio Leo’s, 9pm. Sue Palmer, Gay Pride, Balboa Park, Clairemont, 8:30pm. José Sinatra & Troy Dante Inferno, Music, Carlsbad, 7pm. 3:15pm. Abbie Huxley, Lestat’s, 9pm. Open Mic Night w/ Sage Gentle-Wing, Lestat’s, 9pm. Thomas Lee/Chris Seals/Gayle, Twiggs, Harvey & 52nd St. Jive, Chula Vista Beachcomber, Mission Beach, 8:30pm. 8:30pm. Community Park, 5:30pm. sunday • 4 Acoustic Underground w/ Lisa Sanders/ saturday • 24 Mark Jackson, Summer Spirit Jam for every wednesday Peggy Watson/Ryan Hicks/Jocelyn Yard, Children’s Museum Benefit, East County Steve White, Finish Line Stage, Del Mar All Day Sacred Harp Sing, Porter House, Pride of Erin Ceili Dancers, Rm. 204, Casa Lestat’s, 9pm. Performing Arts Center, El Cajon, 6:30pm. del Prado, Balboa Park, 7pm. Fairgrounds, 4:30pm. Old Poway Park, 10am. Info: 858/566-4040. Lowen & Navarro, Acoustic Music SD, Sue Palmer Supper Club w/ Deejha Marie Rev. Horton Heat/Detroit Cobras/Forty Hank Show, Pine Hills Lodge, Julian, 6:30pm (dinner)/8pm (showtime). 4650 Mansfield St., 7:30pm. 619/303-8176. & Sharon Shufelt Caffe Calabria, 3933 30th Fives, Belly Up Tavern, Solana Beach, friday • 16 St., 6-8pm. , 9pm. Hoot at the Park w/ S.D. Folk Song Opossums of Truth CD Release, Garfield Gatos Papacitos, Trolley Barn Park, Open Mic Night, Metaphor Cafe, Adams Ave. & Florida St., 6pm. Society, Templar’s Hall, Old Poway Park, Theater, Lawrence Family JCC, 4126 7pm. Info: 858/566-4040. Executive Dr., La Jolla, 8pm. Escondido, 8pm. monday • 5 Yavaz, Magee Park, Carlsbad, 6pm. GrooveLily, Acoustic Music SD, 4650 Rheanna Downey/Krister Axel/Dave’s Open Mic Night, The Packing House, 125 S. Main St., Fallbrook, 8pm. Celtic Open Mic, Rosie & Joe’s, 7986 Patty Hall, Tabloid Coffee, 9225 Carlton Mansfield St., 7:30pm. 619/303-8176. Son/Shining Thru, Twiggs, 8:30pm. Armour St., 7:30pm. 858/573-6721. Hills Blvd., Santee, 7pm. Highland Way, R. O’Sullivan’s, Grand Ave., Cameron Ash/Jen Knight/Terra Barefoot Hockie Goalie, Tio Leo’s, 9pm. John Bosley, Golden Goose, 10001 Maine Escondido, 8pm. Naomi/Will Edwards, Twiggs, 8:30pm. s, 9pm. St., Lakeside, 7:30pm. Split Infinity, Lestat’ Open Mic Night, Twiggs, 8:30pm. wednesday • 7 Horace Silver Tribute w/ Gilbert Etta James/Earl Thomas, Humphrey’s, Castellanos, Emb Highland Way, Tom Giblin’s Pub, 640 Grand Lucinda Williams/Lisa Sanders, Shelter Island, 8pm. Ave., Carlsbad, 8:30pm. Humphrey’s, Shelter Island, 7pm. Flying Putos, Tio Leo’s, 9pm. Martin Storrow/Mark Jackson, Twiggs, Hatchet Brothers, The Ould Sod, 9pm. High Society Jazz Band, Tio Leo’s, 7pm. Baja Blues Boys, Patrick’s, Poway, 9pm. 8:30pm. Live Taping of “San Diego’s Finest” TV Gipsy Kings, Embarcadero Marina Park Big Sandy & Flyrite Boys, Casbah, 9pm. Dehra Dun, Lestat’s, 9pm. show, Lestat’s, 9pm. South, 8pm. Fremonts, Tio Leo’s, 9pm. sunday • 25 every thursday thursday • 8 Anya Marina/Emerson Band, Lestat’s, Open Mic Night Just Java Cafe, 285 Third 9pm. Cindi Lauper, Humphrey’s, Shelter Island, Ave., Chula Vista,, 7-10pm. Carol Ames/Dave Howard/Peggy 7:30pm. Watson, Humphrey’s, Shelter Island, 8pm. Tony Cummings, Blarney Stone, Clairemont, saturday • 17 The Weepies/Carlos Olmeda, Dizzy’s, 8:30pm. (also Fri. & Sat.) Midwest Dilemma/Brett Wagner/Until 8pm. Rockabilly Thursdays w/ Hot Rod Lincoln, Then, Twiggs, 8:30pm. Allison Lonsdale (6pm)/Berkley Hart (9pm), Lestat’s. Don Henley, Embarcadero Marina Park Tio Leo’s, 5302 Napa St., 9pm. Lucy’s Falling, Lestat’s, 9pm. South, 8pm. Brehon Law, Tom Giblin’s Pub, 640 Grand Cactus, Cafe Elysa, Carlsbad, 7:30pm. Ave., Carlsbad, 9pm (also Fri. & Sat.). friday • 9 American Blues Revue w/ Nathan James/Ben Hernandez, Dizzy’s, 8pm. every friday Sue Palmer, Magee Park, Carlsbad, 6pm. Band in Black, Parrot Eyes Cafe, Connie Allen, Old Town Trolley Stage, Twigg Boogiemen, Trolley Barn Park, Adams Oceanside Harbor, 8pm. St. & San Diego Ave., noon-5pm. Ave. & Florida St., 6pm. Rebeca Randle/Jane/Jim Bianco, California Rangers, McCabe’s, Oceanside, Harvey & 52nd St. Jive, Mission Hills Twiggs, 8:30pm. 4:30-9pm. Park, 6pm. Bastards of Glory/Todd Stedman & Aliah Selah & Friends, Exotic Bamboo, 1475 Steve Anderson, Tabloid Coffee, 9225 Fattones/Trayler, Tio Leo’s, 9pm. University Ave., 8pm. Carlton Hills Blvd., Santee, 7pm. Irish Folk Music, The Ould Sod, 9pm. Jamie Laval Trio, Acoustic Music SD, sunday • 18 Open Mic Night, Egyptian Tea Room & 4650 Mansfield St., 7:30pm. 619/303-8176. Smoking Parlour, 4644 College Ave., 9pm. Mark Jackson, Hooley’s Irish Pub, 2955 Lite the Night, Metaphor Cafe, Jamacha Rd., Rancho San Diego, 6pm. Escondido, 8pm. every saturday John Mayer, Coors Amphitheater, Chula Connie Allen, Old Town Trolley Stage, Twigg Amy Obenski/Curtis Peoples/Tim Vista, 7pm. Mudd/Dave’s Son, Twiggs, 8:30pm. St. & San Diego Ave., noon-5pm. Linda Ronstadt, Humphrey’s, Shelter Blazers, Tio Leo’s, 9pm. Open Mic Night, Coffee Bean & Tea Leaf, Island, 8pm. 9015 Mira Mesa Blvd., 8pm. Robin Henkel, Lestat’s, 9pm. Michael Miller/Tim & Josh, Lestat’s, Talent Showcase w/ Larry Robinson & the 9pm. Train Wreck Band, The Packing House, 125 Robert Edwards, Music Mart, Solana S. Main St., Fallbrook, 8pm. Beach. Call for info. Christian/Gospel Open Mic, El Cajon. Info: saturday • 10 J.D., 619/246-7060. Benny & Swampgators, Balboa Park

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15 NEW THIS YEAR:Three-Day Kids Music Camp!! Onsite Music Workshops (included in your admission)! Raffle Prizes (including new instruments from Taylor Guitars, Deering Banjo, Gibson and much more)! Lots of Jamming! Food & Craft Vendors! Plenty of onsite parking and Dry Camping!

Summergrass San Diego 2004 Ticket Order Form

Name ______Camping Information: On-site dry camping spaces are available at $40 each for the period (or any portion) from Wed., 8/18 at 3 P.M.through Mon., 8/23 at noon. Optional electric power for Thursday Street Address ______evening through 6 P.M.Sunday is available by reservation at $75 additional per campsite. If you are order- ing camping, please provide information below. Campsite limit is one passenger vehicle, one RV,one tent City ______State _____ Zip ______Email______with three adults and children. If you wish to camp near a friend, we will attempt to accommodate (but do not guarantee) only if all requests are received at the same time. Please indicate if you require medical Day Phone (______) Evening Phone ______( ) or handicapped consideration. Include specific disability information that will allow best placement. Required for camping:Vehicle license(s): State and Number. Recreational vehicle: State______Number______Passenger vehicle: State______Number______If tent camping, check here:______or for recreational vehicles, provide information below. RV Type (pop-up, tag-along trailer, motor home, fifth wheel):______RV Length:______feet, RV Width:______feet with pop-out(s) or slide-out(s) extended Mail this form, your check payable to “Summergrass” and include a business-size S.A.S.E. to: Summergrass San Diego 2004 Tickets ATTN: Judy Hass, 9930 Dichondra Court, San Diego, CA 92131-1806 Questions? Visit our website at www.summergrass.net or call (858) 679-4854. The 40-acre Antique Gas & Steam Engine Museum is located at 2040 North Santa Fe in San Diego County, Vista, California. It is north of Route 78 between I-5 in Oceanside and I-15 in Escondido. Sorry, no pets in Festival Area! (But okay on leash in campground. Please clean up droppings promptly.) Driving directions will be provided with tickets.