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

June 2004 Vol. 3, No. 9

what’s inside

Welcome Mat ………3 Mission Statement SAM Contributors Spring Harp Fest Full Circle.. …………4 Rose Maddox, Part 2 HINTON Recordially, Lou Curtiss Front Porch …………6 A Lifetime of Fred Gerlach, Part 2 Aisling Twiggs Summer BBQ Series Achievement Old Home Week at Roots Fest Parlor Showcase... …8 Sam Hinton Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Highway’s Song... … 12 Brave Combo Of Note. ……………13 Anna Troy The Cat Mary Michael Tiernan Robert Spencer Simeon Flick ‘Round About ...... … 14 June Music Calendar The Local Seen ……15 Photo Page Phil Harmonic Sez Q “I love music, and I love the humanity of music and the fact that it shows that we’re all basically the same.” — Sam Hinton San Diego Troubadour • June 2004 wweellccoommee mmaatt

including KPRI, La Mesa Guitar Center, Spring Harp Fest: The Best and Henry’s SAN DIEGO Marketplace, the ROUBADOUR group has been able Alternative country, Americana, roots, Tfolk, gospel, and bluegrass music news Harmonica Party in Town! to meet its initial goal of purchasing 12 key - Story and photography by Millie Moreno boards and offering begin - ning piano lessons for MISSION CONTRIBUTORS ast month I decided to attend the Fifth kids in the Girls Club Summer Program. They To promote, encourage, and FOUNDERS Annual Spring Harp Fest, also known provide an alternative voice for the Las the Harmonica Festival. Located in are now working toward Lyle Duplessie (Publisher Emeritus) great local music that is generally Harry Griffen Park in La Mesa, the festival was purchasing 200 harmoni - overlooked by the mass media; namely Ellen Duplessie more than I expected. What an incredible event! cas and offering harmonica the genres of folk, country, roots, Liz Abbott I love harmonicas and the way they sound, workshops at the Girls Americana, gospel, and bluegrass. To Kent Johnson which is what prompted me to attend. However, Club’s 30th Street location. entertain, educate, and bring together I must admit that as a stranger to the event and The group hopes to offer each players, writers, and lovers of these PUBLISHERS not knowing what to expect, I thought, “Okay, child an opportunity for forms; to explore their foundations; and Kent Johnson I’ll get a few shots for the S.D. Troubadour , and musical expression to expand the audience for these types Liz Abbott then I’ll get the heck out of here so I can have and perhaps gener - of music. some real fun elsewhere and enjoy my week - ate an interest in the EDITORIAL/GRAPHICS end!” Two hours later I found myself on stage music we adults For advertising rates, call 619/298- with a harmonica in my mouth, taking part in know as the blues. 8488 or e-mail [email protected]. Liz Abbott the long-awaited event of the day: The Concurrently the ADVERTISING/DISTRIBUTION San Diego Troubadour Unknown Players Jam ... group hopes to help P.O. Box 164 Kent Johnson Although the park was very crowded, I phone, which, when disassem - promote local harmoni - ca musicians by increas - La Jolla, CA 92038 PHOTOGRAPHY found a parking spot and slowly made my way, bled, revealed a harmonica E-mail: [email protected]. camera in hand, to the festival. As I strolled within its depths. I had such a ing visibility and provid - Millie Moreno toward the event, just a five-minute skip good time while I was there. I ing a venue. SAN DIEGO TROUBADOUR, the local Paul Grupp through the park, I was happy to see families played with the dogs, got hit in the When it was time for and pets frolicking nearby. Everyone was so the event’s finale, the source for alternative country, WRITERS head by a frisbee, and had bubbles blown all Americana, roots, folk, gospel, and friendly, smiling, and happy; they seemed con - over my camera and lens. That’s right, mutt- World Famous Unknown bluegrass music news, is published Lou Curtiss tent just to be present. Players Jam contest called all amateur harmoni - ca players in the audience to take the stage. monthly and is free of charge. Letters Lyle Duplessie I finally arrived and was surprised to find a little outdoor community Accompanied by one of the bands featured dur - to the editor must be signed and may Phil Harmonic amphitheater and a very large stage, ing the show that represented an eclectic mix of be edited for content. It is not, howev - Paul Hormick not to mention quite an ample sound blues musicians, all from other bands, I watched er, guaranteed that they will appear. John Hyatt system. As soon as I heard the music, I people of all ages, shapes, and sizes, including All opinions expressed in SAN DIEGO Frederick Leonard thought, “Yeah, that’s what I’m talkin’ men, women, and children from three to 70+ years old, take a crack at winning. TROUBADOUR, unless otherwise stated, Jim McInnes ’bout!” Some good old-fashioned blues are solely the opinion of the writer and do music! No mainstream music, no con - After each contender had a chance Millie Moreno not represent the opinions of the staff trived marketing, no music that oozes to strut his or her stuff, they all or management. All rights reserved. Tim Mudd commercialism. took center stage during the vot - Cameron (that’s ing process. The audience served ©2004 San Diego Troubadour. Sven-Erik Seaholm as both judge and jury. This year what I call my cam - Founders John Frazier, Budd José Sinatra winner Dan McDowell was pre - era) started clicking Willis, and Chet Cannon D. Dwight Worden away and I got sented with a gold and green John Philip Wyllie some great shots of engraved trophy. the musicians I’m grateful to everyone at the Cover photography: Peter Figen there, festival for their kind - including ness and hospitality. It San Diego Troubadour Billy was such a blast, I can’t Watson, wait for next year’s Harp Johnny Fest! The San WRITE TO US! Mastro of DiegoTroubadour and I the would like to sincerely We’d love to hear from you! Send your Mama’s thank, Chet, John, and comments, feedback, and suggestions by The San Diego Troubadour is dedicated Boys, Budd, not only for help - email to: [email protected] to the memory of Ellen Duplessie , whose Display of antique instruments Harmonica Billy Watson ing local music and local or by snail mail to: San Diego vision inspired the creation of this Jack, Ted Staak, and many others. musicians but also for Troubadour, P.O. Box 164, newspaper. lovers! Harry Griffen Park Amateur and professional blues and har - their support and dedi - La Jolla, CA 92038-0164. allows dogs! monica musicians came from far and near Founded by Chet Cannon, cation to the children to watch and perform. I got the feeling I John Frazier, and Budd and the community. It is was in the company of musicians who Willis, the Spring Harp Fest the teamwork of gra - loved to play simply because they love the began as a private support cious individuals such as you who keep things music. For them, this was not just another group for the Blues in the vital by reminding people and organizations of humdrum gig they went to just to get a Schools Program. Since 2002 the importance of music in the community and paycheck, but rather these musicians really Winner Dan McDowell the event has been a fundrais - in the schools. Musicians who support their fel - felt the music. It moved them. It moved others, er for the Girls Club Music Program, which is low musicians give the local music community and before I knew it, the music moved me ... aimed at teaching girls to be responsible indi - the strength it needs to survive. out into the parking lot because I had one too viduals and productive members of society in For more information about the Spring Harp many. Just kidding. I couldn’t help but notice addition to increasing the visibility of some very Fest, to get on the mailing list, or to become a that the musicians were cared for by a booth of talented blues harmonica musicians. Over the sponsor or performer at next year’s event, email women who provided home-made cookies and last five years, their activities have morphed into Chet Cannon at [email protected]. Spring brownies, sodas, and bottled water — all free of an annual event, featuring talent from all over Fest is a Big Blue World Production. charge. The Harmonical Festival is an alcohol- the U.S. Thanks to more than 60 sponsors, free event, sponsored by local businesses. Admission is free. From 11 a.m. until 6:30p.m., parents sat in the amphitheater under the warm California sun, while their children, visible and safe, played in the park behind the stage. While peo - ple sat in lawn chairs and had a picnic on the grass, they were entertained by some of the state’s best blues harmonica players. Everyone was clapping their hands and cuttin’ a rug! It was like a 1960’s love-in or a mini Roots Festival that everyone, from Harp Fest virgins to Harp Fest pros, automatically felt a part of. I found here a mutual admiration society that won over every individual within ear shot. In addition to the music, there were several booths present. One displayed and sold antique harmonicas, while another featured an old saxo - Spring Harp Fest’s Harry Griffen Park in La Mesa

3 June 2004 • San Diego Troubadour ffuullll cciirrccllee

by Lyle Duplessie the spark was gone. Lula would continue to shadow Rose, who would retain brother Cal on guitar. Now all eyes were on Rose. PART TWO Queen of Hillbilly Swing In 1956 Rose scored a smash hit with he war years of 1941-1945 proved to the song “I Love a Tall Man.” Momentum be defining ones for Rose. Her broth - from the record was so substantial that T ers Fred and Cal were drafted in Rose Maddox Rose was invited to guest on the Grand Ole early 1942. A shell of the Maddox Brothers Opry . Dressed in a provocative cowgirl out - and Rose continued with Don and, occa - This was originally intended to be a two-part story but has to define the borders of country music/Americana, and fit to match the slightly naughty lyrics of the sional band mate, brother Cliff. With Don on managed to take on a life of its own. Rather than her contributions are at its roots and interwoven song, Rose worked the audience into a tizzy fiddle and Cliff on guitar, Rose played limit it, I have found that I’m better off letting through its branches. So you readers who are while the conservative Opry managers upright bass. Within a year, Don too was in went apoplectic. Rose was an instant Opry Rose’s story take me where it wants to go. interested in Rose Maddox as an American the service. Cliff avoided military duty due sensation and soon became a member of to ongoing health problems. Mother Lula Rose Maddox’s life as a musical force was original and musical pioneer can look the show’s cast of stars. Rose, Cal, and Lula then thrust a mandolin into the hands of lit - too far ranging, too colorful, and often too forward to another installation following set up residence in Nashville. She was per - tle brother Henry, and he was ordered to painful for a cursory overview. She helped this one next month. forming every Friday and Saturday night for learn it. the regional Opry T.V. show. It wasn’t long, Radio shows for the McClatchy network however, before she was pulled from these were put on hold, but this makeshift trio appearances resulting from Opry politics continued to find work playing the and jealousies centering around her new- California club circuit. Rose was being Bakersfield sound, backing such luminar - found popularity. Rose and family jumped in forced into the forefront without the benefit ies as Lefty Frizzell, Wynn Stewart, and their Cadillac and Cal drove them back to and support of her regular bandmates. Merle Haggard. California. Nevertheless, she embraced the challenge. In 1946 the band was signed to 4-Star On her return to California Rose Rose would learn that she was a born per - Records. This label was notorious for swin - attempted to expand her artistic parame - former, and not merely window dressing or dling artists. Still, the Maddox Brothers and ters by recording a pop, a gospel, and even a cute curiosity of the Maddox Brothers Rose managed to use it to their a bluegrass album with Bill Monroe. Rose band. It was during this time that the own advantage. Then, as now, was proud of the results, but rather than increasingly eccentric Lula rushed the 16- selling records was the goal. But enlarging her audience, it appears that she year-old Rose into a disastrous marriage. the band’s strength rested in its only confused radio program directors. The groom was army sergeant Enoch ability as a LIVE act. None were Adding further trauma to this chaotic peri - Byford Hale, or “E.B.”, a man several years stellar musicians, yet the band od was her son, Donnie. Now in his teens, her senior. Heretofore, jealously guarded by drew crowds in the thousands the boy had been raised in a succession of Lula, Rose was now being thrown boarding schools and summer camps. He into the deep end of a relationship was ready to come home, but Rose wasn’t. that she was not prepared for and Rose and E.B. Hale on their wedding day, 1943 At this time brother Don had bought a cat - didn’t want. So protected had Rose tle ranch in Ashland, Oregon. Donnie went been, that the evening before the to live at his uncle’s spread. At least for the wedding Lula and older sister Alta sat time being, this would provide a temporary Rose down and gave her a crash solution in dealing with her increasingly course in her wifely honeymoon obli - rebellious son. gations. Rose was aghast at the A much more difficult situation than her idea—how could such things be! son was that of her mother. Without the Eleven months after the marriage, Promo shot of the band in their Nathan Turk finery, late 1940s band, Rose became the focus of all of Rose was with child. E.B. promptly Lula’s control and eccentricities. The final blamed it on a neighbor and deserted painful break came in 1958. Rose had met his pregnant wife. Arguably, E.B. Jimmy Brogdon, owner of the Wheel Club Rose and Fred on the road, early 1950s wasn’t anymore prepared for matri - in Oceanside. Brogdon was well connected Rose and Bob Wills, mid-1950s mony than Rose. Nine months later in the music industry and his club regularly Rose gave birth to her only child, hosted such luminaries as George Jones, Donnie. Johnny Cash, Willie Nelson, Roger Miller, A short six months after her son’s birth and the up-and-coming Merle Haggard. Rose learned that Roy Acuff was in L.A. Brogdon would now host another star: auditioning for a girl singer. She got an Rose. It didn’t take long before Brogdon audition, but not the job. Soon thereafter and Rose were in love. To Lula, this was a she also tried out for Bob Wills’ Texas tabu of the highest order. Despite Lula’s Playboys line up. Though well known by threats, the couple married in 1959. A bitter, Wills, who had relocated to the San angry, and irreconcilable Lula was finally Fernando Valley during the war years, Rose forced out of her daughter’s life, joining was again rejected. Though not told at the Donnie on Don’s cattle ranch. time, this rejection was not based on any Cal and Rose backstage at the Opry with 1959 also brought an end to Rose’s con - lack of talent or ability on her part. Wills Rosie and Retta, mid-1950s Hawkshow Hawkins, 1956 tract with Columbia. She was quickly knew that to get Rose he would also be Nashville. What should have been a snapped up by Capitol, a country friendly getting the overbearing Lula. Shunned by Columbia promo for Rose’s solo career, healthy rivalry between the two sales even further. Economics 101 teaches label at the time. In short order, Capitol national headliners like Acuff and Wills, the mid-1950s regions would turn into a bitter win - that measured scarcity of a commodity quickly released her first single, “What ever plucky Rose was sought out by region - ner-take-all war in a few short years. The makes it more valued. The band was any - Makes Me Hang Around?” with flip side al acts like Arky Stark and Dave Stogner, due to its on-stage antics. Early recordings West Coast had produced such stars as thing but scarce, so why buy the cow when “Gambler’s Love.” While Nashville produc - but more for her considerable skills as a sound undisciplined and raucous, while Gene Autry, Tex Ritter, Spade Cooley, Merle you get the milk for free? ers like Chet Atkins were sanitizing country bass player, not as a group spark plug. their jokes sounded embarrassingly corny. Travis, and Tex Williams. These entertain - Rock ‘n’ roll and the new direction in music with lush production, Rose’s produc - As professionally frustrating and per - Still, the group had unquestionable timing ers and artists shared equal star billing country music also took its toll. Arguably, er at Capitol, Ken Nelson, gave Rose free sonally painful as the war years were for and stage presence. Their contract with 4- with the Opry’s Roy Acuff, Ernest Tubb, and the band has been credited for birthing the reign. Guys like Nelson understood that a Rose, her purpose and goals had come into Star became a way for the band to push its Red Foley. What gave Nashville its ultimate rockabilly school of rock ‘n’ roll. For years battle was raging for the heart and soul of focus. She was driven to make music and live performances and personal appear - edge was Hank Williams’ Opry debut in they had blended country and R&B. Adding country music. It was the Nashville sound she knew it. She had also developed a con - ances. This became particularly true when June, 1949. Distrust and misgivings about Fred Maddox’s slap-styled bass and Rose’s versus that of the West Coast, or more fidence in her own ability to perform—with the label managed to secure 15-minute the band’s only Opry appearance were wiggling and jiggling, the band had been specifically, the Bakersfield sound, which or without her brothers. transcripted radio shows aired nightly on mutual, and it was never asked back, while doing rockabilly ten years before Elvis. But was rowdy, with the metallic bite of a 1945 brought the end to the war and the XERB. This border radio giant, broadcasting the band didn’t care to return. It found Opry popular focus was on the headliner—the Fender Telecaster and the punch of drums return of Fred, Cal, and Don. The family out of Rosarita Beach, had the power to musicians snobbish and its reception less Hank Williams, the Elvis, the Buddy Holly. and bass, accented with pedal steel guitar. band was quickly resurrected. The new reach every nook and cranny of air space than warm by the powers that be. So much The band concept was minimized and Artists like Rose, Red Simpson, Wynn addition of Henry on mandolin made the across the western U.S. The band used this for Southern hospitality! would remain so until the Beatles. The only Stewart, Tommy Collins, Buck Owens, and band more potent than ever. The immediate situation to promote all their live shows. The band’s colorful Nathan Turk duds person with that name recognition and star Merle Haggard campaigned for this hard- post war years also brought new amplified Lula certainly understood this fact and and their showmanship proved, once again, potential in the Maddox Brothers and Rose scrabble sound. These folks could play a instruments. Soon the Maddox Brothers accordingly sold a fortune of sundry band that this was an outfit geared for live per - was Rose herself. In fact, she already had a joint like Blackboard Cafe on a Friday or and Rose were known as not only the most paraphernalia at every show. In short order formance, not recording. In 1953 the band solo contract with Columbia, concurrent Saturday night to a pack of hell-raising colorful hillbilly band but also the loudest. the band was motoring cross country in left 4-Star for Columbia. Although there with that of the band. ranch hands and roughnecks, then come Its musical repertoire changed too. People style in a fleet of four elegant, new was no marked bump in record sales with 1956 marked the end of the Maddox Monday record the same music without wanted to dance, so the band abandoned Cadillacs and living in homes in Hollywood the move, the big label name did open Brothers and Rose as a band. It also reservation. Moreover, these artists were its folksy roots and adopted a hot-rodded and Beverly Hills. doors. Rejected by the Opry , they neverthe - marked the beginning of an uncompro - willing underdogs in this fight. R&B sound. They augmented this sound In February of 1949 the Maddox less became stars on other regional live mised solo career for Rose. Except for Fred, with a succession of “hired hands”—steel Brothers and Rose were big enough to radio shows— Louisiana Hay Ride , all the brothers were ready to try their hand Continued on page 12. guitarist Bud Duncan, guitarists Jimmy appear on the Grand Ole Opry . Indeed, rep - Hometown Jamboree , and Town Hall Party . at something else. Fred, Don, and Henry Winkle and Gene LeMasters, and even utation proved bigger than record sales, They blazed a trail across television, radio, would continue to find work up and down gave 16 year old Roy Nichols his first real but the band couldn’t be ignored. California and on jukeboxes nationwide. Since they the coast for a few more years. They even gig. Nichols, master of the Telecaster, went at that time was equally as viable in its rep - were everywhere across the broadcast made an ill-fated attempt at replacing Rose on to become the cornerstone of the resentation of country music as was media, ironically they hurt their record with Henry’s wife Retta. But without Rose n 4 San Diego Troubadour • June 2004 ffuullll cciirrccllee n o s d r a h c i R

Recordially, Lou Curtiss l l i B

: o t o h Rosie and Me Rose appeared at folk and bluegrass fes - P I guess I first heard Rose Maddox on tivals all over the country during the follow - Town Hall Party sometime around 1953. ing 25 years, appearing in San Diego for She was calling herself the Sweetheart of the last time on May 4, 1996 at the 23rd Country Swing in those days and perform - Adams Avenue Roots Festival. (Note: San ing with brothers Cal, Henry, Fred, and Cliff Diego Troubadour writer Paul Hormick as the Maddox Brothers and Rose. I was a played bass in her band that year.) I talked 14-year-old kid when I went to the Town to her once on the phone after that festival Hall with my folks for the first time. (Over a (just a short inquiry about her health) and Lou Curtiss ten year period, I was probably at Town Hall received a book about her life called Ramblin’ Rose more than a hundred times.) I was in the mail, which was demanded, taken, or expected to be given impressed enough to start looking for them inscribed “To Lou, my friend. With love, anything. Rose always simply does what she on the radio. It didn’t take long for me to Rose Maddox.” must, and has always done that better than find them on XERB out of Rosarito Beach, Rose was one of the great ladies of just about anyone else.” I remember seeing on an L.A. station (I forget which one), and country music. I place her right up there her at a club where she was provided with live right in my own South Bay neighbor - with Patsy Cline, Molly O’Day, Wilma Lee a less than perfect backup band. She turned hood. They would be at the 21 Club in Cooper, and Wanda Jackson, but Rose around and finally, in exasperation, said, National City where I could stand in the heads that list. Woody Guthrie called the “Can’t none of you play hillbilly?” turning alley at the side of the stage and listen or Maddox Brothers and Rose the “best hill - the second rate backup into the humorous even go inside if I promised not to drink country string band in these 48 states of part of the show. Rose working her magic at a dance hall, 1947 since I was underage. ours” back in 1949, singling out Rose and It’s kind of strange that today Rose is I got to know Rose and Fred a little, and her brothers as “the only band on the musi - he One Rose Rose Maddox Sings considered an important cog of the country Cal used to call me “the little bastard.” T and ple who are curious about old country cal trail today to master a range wide Bluegrass sound from the Bakersfield area, since she Henry mostly ignored me (Fred used to call , plus a fine gospel album, which roads and people who are persuasive on enough to do “Milk Cow Blues” as well as she always called Rosie’s Revival Hour . the telephone.” It’s a great feeling when was also an important part of our city. In Henry “the working girls’ friend” and I Sister Bessie Smith and “Tramp on the fact, she made her home here during a few guess he was.) and Cliff had left by this During the next few years I was going to you find one your musical heroes to be as Street,” in a way that outdoes the classic college, playing music myself and in gener - complimentary as Rose was. of the peak years of her career. This was time to form his own group, whom I saw Carter Family.” one special lady. She won’t be forgotten. once at Town Hall . The guitar player in the al widening my musical tastes, and, while Rose went on to a second career with In all my dealings with Rose, like the Recordially, band was Roy Nichols who mostly palled Rose’s records remained in my collection, I Chris Strachwitz’ Arhoolie Records, who closing of her book says, “she has never Lou Curtiss around with Henry and Cal, so I never got didn’t get a chance to see her again for a reissued many of the Maddox Brothers and to know him very well. while. Rose’s early 4-Star stuff and did some new The Maddox Brothers and Rose played In 1975 my parents, George and recordings as well, which led to the Bear at other places in San Diego, including the Mardelle Curtiss, were on vacation, driving Family box sets of the Maddox Brothers Bostonia Ballroom east of El Cajon. I saw up the West Coast and through the little and Rose’s Columbia sides and Rose’s early them twice there, once on a bill with Bob town of Medford, Oregon. My Dad always Capitol sides. ( I understand that the Wills and his Texas Playboys when Rose got liked to take old country roads “to find out Maddox Brothers and Rose’s complete 4- up and sang a tune or two with Bob, and where they went.” That is just what he was Star recordings will soon be available on another time at an ice skating place down - doing when he saw the name Rose Maddox the Bear Family label as well.) Arhoolie has town when they shared the bill with Ernest written on a mailbox. Remembering that I also issued three CDs of the Maddox Tubb. I think I saw them once in a parade was interested in Rose in the old days and Brothers and Rose’s radio transcription — maybe the Mother Goose Parade in El that I was now doing a festival that had sides. All anyone could want and, of course, Cajon — and once at the Del Mar Fair. already featured country musicians from the I want it all. By the late 1950s the Maddox Brothers same era — like Merle Travis, Cousin Emmy, and Rose were out on the road. I remember Bill Monroe, and Cliff Carlisle — Dad wrote seeing them on Doye O’Dell’s Western down the address and brought it back to Varieties television show around 1957 for me. the last time. They had sold their interest in After I had written to Rose, she sent the two 21 Clubs (the other one was in back a letter saying she had recently retired Oceanside) and by late 1958, they had quit from music but she might consider it, since performing altogether. she had never played at a folk festival Around 1962 when Rose was starting a before. I called her and we talked for about solo career, I saw her a couple of times at an hour. I told her about the boy in his Town Hall with her brother Cal and solo early teens who listened to her and her with her new band at the Westerner, a club brothers, and she told me about being a in National City. Opening for her was a teenager herself when she started singing young guy named Buck Owens, with whom on the radio in Modesto during the 1930s. she had recorded a duet (i.e., two-sided) She talked about doing shows with Woody hit: “Loose Talk” and “Mental Cruelty.” Guthrie when he lived in California and Owens wouldn’t last long as an opening how he gave the Maddox Brothers and act, as he was on the way up with two or Rose their first big hit, “The Philadelphia three hits already under his belt (One of Lawyer.” By the end of the conversation, I’d them, “Excuse Me, I Think I’ve Got a talked Rose into playing at the ninth San Heartache,” went to number two.) and was Diego Folk Festival. She also performed at just a year away from his incredible run of the tenth festival and by that time had a ten number one hits in a year and a half. new LP out and a revived career. That year Rose was doing alright herself during that she told me that she was grateful to me for time with a number three hit, “Sing a Little getting her going again. I told her the cred - Song of Heartache,” and classic LPs, such as it should go to my Dad for writing down that address. She then said, “Bless the peo -

5 June 2004 • San Diego Troubadour ffrroonntt ppoorrcchh

An Interview with Fred Gerlach, Part Two Fred Gerlach, master of the 12-string guitar, is perhaps best known for his style of playing in the Leadbelly tradition. Part Two of Lou Curtiss’ interview with Gerlach continues with more tales of 12-strings, people he hung out with, and folk music.

was living and breathing Leadbelly’s music and went on like a triphammer which is a big double bass 12-string. It music [in the early ‘50s], and the while he played melody with that bass has the sound that I want. I records I did for Folkways and Audio beat or against that bass beat. This coor - I first came across Leadbelly on an Video were Leadbelly’s music, which I dination takes years [to learn]. old 78 record I picked up in a shop near copied as close as I could get. I remember driving in an old a movie theater I went to regularly. Up Leadbelly’s music gave ‘46 Chrysler on New York until that time, I only knew some backup me my start. I tried to City’s West side and I chords on the guitar, but when I heard pick other songs said, “That’s it.” I that walkin’ bass, which I had played on and do them as if stopped the car, piano but had never heard on a guitar, Leadbelly had got the guitar especially a 12-string. Three years later I done them. I out of the trunk, recorded for Moe Asch at Folkways tried to carry and said, Records. That was in 1953 and I was real - on the style on because I’d ly getting into Leadbelly at that point. 12-string guitar watched Big Bill Now remember, I only have sec - and even built Broonzy play it, ond-hand information about Leadbelly, my own 12- “That’s what which I consider good because it comes The Villagers: (l. to r.) Gerlach, Erik Darling, Ethel (last name unknown), Guy Carawan strings because Leadbelly is doin’.” from his widow, Martha, and his niece, you couldn’t get a It’s a shame that the Tiny. Tiny was the real force behind those dance. Sometimes it was to live music, Artists because nobody in New York had good one in those only surviving films of people who strove to keep his memory sometimes to records. Then Woody went done this but them. The folk world was days. I remember seeing Leadbelly show him play - alive. Her place was full of people on a out to California and stayed at Will Geer’s small and concentrated and People’s H r Leadbelly’s old 12-string Stella. uddie Ledbette ing two of his simplest tunes — regular basis who had known Leadbelly ranch in Topanga Canyon where he slept Artists had all the action. Sonny Terry At that time, it was considered a big gui - “Cotton Fields” and “Rock Island Line.” — people like Woody Guthrie, Rev. Gary in an aircraft packing crate. That’s and Brownie McGee were there and we tar. I saw it upstairs in Martha Ledbetter’s Too bad there isn’t a film of him playing Davis, Cisco Houston, and his buddy Woody. I’ve seen him sit down in a chair packed the hall with some 700 people, apartment. I asked if I could look at it. I “Fannin Street” or any of the other more Manny, who travelled the country with and five minutes later, he’s asleep. When which in 1954 was a sizeable crowd for a wouldn’t play it. I revered it and thought difficult tunes. The music Leadbelly plays him when he wasn’t with Woody. he wakes up half an hour later, he’s ready folk music concert. We put on two such at the time that I had no business playing leads to some common ground that Cisco often needed to have some - to go. He’s a real gypsy. He wrote me a events with one exception. I belonged to it. However, I was a draftsman, you comes out when you play it. The higher one with him, especially after he went big, long rambling letter from Florida a group called The Jewish Young remember, and I went ahead and detail- forms of playing are something else. blind and that was after he left New York Folksingers led by Bob DeCormier. The measured it. (I still have the plans.) For instance, I’m Croatian. As a kid I usually Manny in and it’s a real tribute 40-man chorus was asked to be on a Eventually I built a 12-string guitar that used to play an instrument called the bis - those years. I’ll never “... Woody went out to Leadbelly. A lot People’s Song program. Leon Bibb saw was a lot bigger and held up better. ernica. It’s a small instrument somewhat forget the last time I better than I could me at the concert and asked whether I Now, on to the origin of the 12- like a four-string guitar. It’s a lead instru - saw Cisco. It was on a to California and write or say. had my 12-string with me. I said I did, so string guitar. The 12-string, regardless of ment. The rhythm, chords, and har - New York subway, I first came to the he invited me on stage to do a few num - who plays it, even if they’ve never heard monies are close to what I’ve heard in and I couldn’t speak stayed at Will Geer’s West Coast in 1951, bers, which was the only time I per - anyone else play it, will come up with Mexican, German, and even Irish music. to him, even though then went back to formed at a People’s Artists function. And certain similarities by themselves because Add to that African music. I remember he was a friend of ranch in Topanga New York three times that was my sort of Last Hurrah in New the form of the instrument is there—the hearing some African music and the tune mine. I just didn’t to see my daughter. I York City, because I came West soon octave sound from the doubled strings; was “John Henry.” I think certain things know what to say. Canyon where he love California, espe - afterward, first to Los Angeles and even - the heavy strings (fourth, fifth, sixth) are in music are universal. I don’t remem - cially after living in tually to San Diego. octave; the first, second, and third, as In the ‘50s I only met a few others ber what year it was slept in an aircraft New York City, where I came to San Diego during the late Leadbelly played it, are doubled. Now, I who played the 12-string. When I met that I played the the grass is replaced ‘50s. I lived in Pacific Beach with three also play the third as an octave but I did - Newport Folk Festival packing crate.” by garbage cans. Back other guys right on the beach — so n’t know that he doubled the third. I but the very moment in New York, Frank close, you could put your big toe into played a lot of things but couldn’t under - I was on stage, Neil Hamilton, me, a gal the sand. We paid about 18 bucks a stand why it didn’t sound right, so I Armstrong walked on the moon. People named Ethel, and Erik Darling formed a month each for rent. I drove a Plymouth eventually caught on by listening to him. were watching it on a television back - group called The Villagers and put on a convertible and was playing with Judy I learned some tunes before I heard stage. I was there in Newport to do a concert in the Croatian Workers Hall. This Henske at the Upper Cellar for five dollars Leadbelly play them and they still came Leadbelly memorial and it was not a was at a time when nobody put on con - a night and three glasses of apple cider. out sounding like him. There are other good gig. Too many people, too much certs in New York City except People’s A guy named Hadley Bachelder would things he played that I could not come back biting, and too much competition. Artists. People’s Artists was Irwin Silber, come and sit in sometimes. Every third up with myself, but I studied them any - The same thing happened when I was who didn’t like me because I stood up day or so, I’d go to a smorgasbord and way. The three original numbers I asked to do the music for the Leadbelly for seeing that Martha and Tiny and load up. The rest of the time it was ham - learned—his “Gallows Pole,” “Fannin’ movie. The people who hired me knew Leadbelly’s memory be taken care of. In burgers and Ripple. Street,” and “Good Morning Blues”—are nothin’ about Leadbelly’s music. They those days Tiny and Martha weren’t too unique; they are what I used as a spring - had me interview Robert Mosley and well off. So The Villagers put on this con - Continued on page 12. board for all my future stuff. I got some Isaac Hayes, who did the singing. They cert, which was an affront to People’s tips from watching Big Bill Broonzy. Gerlach playing chess in the ‘50s also had me interview James Earl Jones Leadbelly played a style of two voic - who listened to me play guitar and sug - es on a bass beat with the thumb and Jesse Fuller in the Bay Area, he played gested that I teach him to do that but the other, an alternate voice on the tre - mostly slide. I sold Pete Seeger his first then decided probably not. I told him ble with his fingers or contrapuntal. I 12-string (a beautifully made Italian that was a good thing because it had don’t want to get too technical, but this Gullio), which I bought from Pietro taken me 20 years. So after I’d done all style was a plectrum “bass-plunk bass- Carboni in [Greenwich] Village. It looked the pre-movie interviews and gotten the plunk,” but because he was able to do real nice but had a horrible sound. Pete program of songs together, they called the thumb beat, it underlined all his used that guitar in his recording of “The me one day and told me they had found Bells of Rhymney.” That’s how 12-strings a guy who played 12-string guitar better are different from other instruments than I, so I was replaced by Dick Rosmini. n o s n when you get those overtones going like Now, about Woody Guthrie. I met h o J

t he does on “Bells.” That’s a 12-string Woody at Tiny’s. He had just come back n e K

number. to New York from Florida with Anneke : o t o

h Once I was doing a gig with Odetta [Van Kirk, Woody’s third wife] and he P in upstate New York at a weekend resort. stayed for a time, like I mentioned, at my I’d only seen four 12-string guitars up to house on Jerome Avenue. We went down this point, so I got my room, went to Tiny’s almost every night and played upstairs, and there on the bed was a 12- together. I remember we had a really big string that didn’t play well. That was a argument about this Chaplin movie common problem. You’d get a beautiful Limelight . I don’t even remember what it instrument that didn’t have the big was about or what side I was on, but sound you needed, and it wasn’t durable that was the only disagreement I ever enough to last. So I started building 12- had with him. We’d go on down to strings. It took about 15 guitars before I Tiny’s and empty out the furniture, roll Fred Gerlach in San Diego, 2003 developed the one that I have now, the bed against the wall, and then we’d

6 San Diego Troubadour • June 2004 ffrroonntt ppoorrcchh

A Taste of Ireland : Music, Old Home Week Prevailed at the Dance, and Culture Adams Avenue Roots Festival and other organizations for many years. by John Hyatt t l

The concept of Aisling began in her u

by John Philip Wyllie a v father’s language class. “He wanted to do o C

vision of storytelling returns to the e

something that would impact San Diego with or self-described “old folkies” Jon v e

stage when the Aisling Troupe t S

the Irish language,” she says. “We looked at Adams and Larry Hanks, May’s Adams :

remounts its popular Gaelic/English o t A several existing plays, but none of them suit - o Avenue Roots Festival was more than production of Aisling . This delightful roman - h F P ed our purposes. So I said, ‘I can write one tic tale of courtly intrigue, seasoned with just another opportunity to perform and hear myself.’” She decided on a nondescript, music and dance, highlights the deep and live music. It was more like a family reunion. mythological, pre-Christian setting in Ireland rich cultural heritage of Ireland. The play is Having known festival organizer Lou Curtiss to enhance the imagination of the audience. presented in Gaelic (Irish) with English for many years, they were both delighted to be “A palace in a kingdom allows a wide variety translation. back in San Diego once again, playing some of of characters and lets the imagination flow Author Patricia Page, a resident of North the same songs they shared in the 1960s. unencumbered by preconceived ideas,” Page Park, is a first-generation Irish-American “I first met Lou at a music camp near adds. Since aisling means vision or dream, it whose ancestry comes from Dublin and the Fresno around 1965 or 1966,” Adams aptly sets the stage. The bilingual Irish/ counties of Mayo and Leitrum. Influenced by Author Patricia Page plays the princess explained. “And I played at his festival here in English presentation is a rare way to present her father, Tomas Page, and uncle, David San Diego twice before, once in 1971 and an Irish play, providing a showcase of Irish Page, who were instrumental in shaping the ago after the first production of the play. A again in 1987. We all owe Lou a big one for culture, including, language, music, dance, early San Diego Irish music scene more than non-profit organization dedicated to preserv - this, if for nothing else than at least to have storytelling, and song. 30 years ago, she has been active in the local ing and promoting Irish culture, the troupe brought all our old friends together,” Adams The Aisling Troupe was formed two years Irish community in dance, language, theater emerged from the language classes held by said after delighting a sparse Hawley and Tomas Page at the House of Ireland. Adams Stage crowd with a quirky combina - “Language is the lifeblood of a culture,” says tion of show tunes, lullabies, and early 20th- Page. “Without it, the culture will die.” century ditties. Jon Adams This one-time performance of Aisling will Influenced by artists such as Burl Ives and the Weavers in the 1950s, and later by the

be held Saturday, June 26, 7 p.m. at the East t l u

County Performing Arts Center in El Cajon. Kingston Trio, Adams began playing at par - a v o

For ticket information, contact the box office ties, campfires, and coffeehouses in the early C

e

1960s. Now a retired graphic artist, Adams v at 619/440-2277 or visit their website at e t S

www.ecpac.com. Information on the Aisling has more time to perform the folk music he : o t o

Troupe can be found at www.aislingtroupe.com. has always enjoyed. An interpreter rather h The cast takes a bow than a songwriter, Adams often injects his P own brand of humor into the music of artists such as Raffi, Peter Allsop, and Sam Hinton. Adams reminisces, “ The one single per - son who probably inspired more singalongs than everyone else combined is that WHAT’S COOKING? Weavers’ banjo-player, Pete Seeger. When I was 19, Pete Seeger himself played in the auditorium of Fresno City College, where I Twiggs Summer was attending classes (art major) only a few blocks away from my house. Not only did Pete play amazingly fine instruments, but he sang with such obvious enthusiasm and heart, that Barbeque Series when he led a chorus, everyone sang. Bear in mind that I was acquainted with a large num - by Tim Mudd people do you think we’re having over?” ber in the audience—these were people who, Larry Hanks she inquired. I was grilling those words for if they’d been forewarned that they’d be stripes. Sometimes they’re very strong ones o you remember that really hot her later on. singing aloud in harmony with a suspected when I am moved in that direction. I also do a Santa Ana weekend we had at the What transpired was a delightful after - “Communist,” would have instead spent the few old ballads, a smattering of Americana, and a lot of cowboy songs. I tend to be end of February? There I was sitting noon with more than 50 people adorning evening in the nearest Air Raid Shelter. D attracted to songs from the late 1800s through at Twiggs in University Heights with my the floors of our house and patio — a little Nevertheless, there we all were, singing the early 1900s rather than the more ancient girlfriend, Amy, enjoying the glorious sun - more than the 20-odd we’d originally invit - heartily along with Mr. Seeger, and we left Appalachian tunes,” Hanks said. Also similar shine. I had a gig coming up that evening ed. Everyone brought their own meat, veg - that place as different people than when we went in. to Adams, Hanks credited Sam Hinton as a at Twiggs’ Green Room and we were chat - etables, and drinks while we provided the be bringing it, but for dessert, we’ll all be My high school pal, who I went with to major musical influence and has also been ting about how nice it would be to have chips, dips, and salads. The grill was open heading over to the Twiggs Green Room for this life-polarizing event, went right out and influenced by the many artists he has gotten some friends over for a lazy barbeque and a and the food was good. As the sun went something sweet and an outstanding line- got himself a Seeger Model Vega Banjo, to know over the years. few beers before the show. down, everyone decided to head over and up of live entertainment. along with the “How To” instruction book and Having known many of the artists on hand At that moment, along walks Johnny check out the show at Twiggs and that was For this first of three installments, records. Before you could say “Go Tell Aunt since the 1960s, Hanks thought it was inter - Cicolella, the man behind the Green the best part. Johnny and I couldn’t have Garrett Bodman will be opening the night Rhody” 50 times without a mistake, we were esting to see how their music has changed. Room’s musical greatness. After exchanging been happier, and it gave us a great idea: “A lot of us folkies were pretty dogmatic in with a short set followed by full sets from in a trio, singing anything we could agree greetings, I told Johnny what we were plan - Why don’t we actually organize one of the 1960s. We spent a lot of time trying to Aaron Bowen, Ted Ehr, and Tim Mudd upon, anyplace that failed to lock the doors. ning and invited him along. “Sounds these shindigs once a month during the define folk music. That no longer has anything (that’s me). As with anything of this nature, Singularly, Pete Seeger managed to represent good,” was his reply. “I’ll bring some steaks. summer? Wouldn’t it be a great opportuni - to do with the way I choose my material. you’ll want to stick around for the finale, the broadest spectrum of music with ties to Mind if I invite some friends?” Suddenly ty for similar performers to hang out and what America is made of—plus all the social Sometimes I will put one verse from one ver - which could include an exchange of musi - our relaxed Saturday morning musings share their friends and fans? conscience that was (and still is, basically) sion of a song together with another verse cal chops among the artists and the highly became a full-blown action plan. At this Ladies and Gentlemen, please welcome missing in our daily lives. Bob Zimmerman, from a different version if it helps to tell the probable appearance of some very special point we didn’t even own a grill, and Amy to the stage, the Twiggs Summer Barbeque who took Dylan Thomas’ name in honorarium, story better. I think everybody evolves in their guests. All of this will wrap up around 10 made the fatal mistake of sending me off to Series. Kicking off at 2 p.m., Sunday, June 6, developed a new kind of poetry, under which taste. Some people focus more narrowly on p.m., so that you’ll be nicely tucked in bed purchase one ... solo. you’re invited to bring your own meat/veg - he put the “wheels” of music. Seeger sang their specific interests while others branch for a good rest and sweet dreams of a day out. People in general, though, tend to Just over an hour later I returned with etables and drinks, and we’ll do the rest. For those, as did the Byrds, the Jefferson well spent before you have to face Monday. become more tasteful and interesting.” the Black Behemoth — a gleaming charcoal- appetizers, enjoy a few drinks and some Airplane, and many others. The Twiggs Summer Barbeque Series is Like Adams, Hanks has reached a point in fueled symbol of manhood. “Just how many pleasant company. As an entree, well, you’ll While Adams was performing on one all part of a stellar week of incredible live stage, Larry Hanks was entertaining from his life where he wants to devote more time music from some of San Diego’s finest another. With his wide-brimmed hat and long to his music, not so much for commercial pur - acoustic artists. Friday, June 4, sees the graying beard he looked like a cross between poses, but more for the enjoyment that it return of Jim Bianco to the Green Room Leon Redbone and ZZ Top. His deep baritone brings him. with Action Folksinger, Lauren DeRose, and voice and understated style, however, were “There was a stretch when I didn’t play at Proper Villains. Warming up on Saturday, more reminiscent of the former than the latter. all. Music for me at this point is a hobby, but I June 5, for the BBQ Series set, Ted Ehr will “I lived in the Pacific Northwest for 25 am trying to revive it again as a full-time or at be playing alongside a second night in a years and live in the Bay Area now, but I used least part-time craft or trade. I recently re- released an album I recorded in 1984, and last row for Jim Bianco, Alicia, and J. Scott to come down to play at the festival many fall I released a second one along with an old Bergman. times in the 1960s and 1970s when it was at buddy of mine from Bellingham, Washington. We’re already working on the line up for SDSU. I’ve played at this one for the last three It’s on Dandelion Records and is available the second and third barbecues in July and years,” Hanks said. Like Adams, Hanks has written only a mostly through me. I am back to learning new August, so keep your eyes and ears open. handful of songs and prefers performing songs and reviving some of the old ones I For further information, email info@tim - music from various musical genres. used to do. I’m just glad there are people that mudd.com. “I do a lot of political songs of various still want to hear it.”

7 June 2004 • San Diego Troubadour ppaarrlloorr sshhoowwccaassee

SAM HINTON A Lifetime of Achievement by Paul Hormick

f you grew up in San Diego, chances are your classroom adult blacks who lived in and would have been treated to a visit by a man who played around the small town because guitar and sang funny folk songs. You wouldn’t have eas - “they took me as I was,” he ily forgotten this engaging man, because when he sang says. They accepted his interest his songs, history came alive. That man would have been in music and natural history, Sam Hinton, probably San Diego’s (and the country’s) even encouraging him at times. mIost respected and beloved folk music historians, who has Hinton says, “There was a black delighted both young and old for more than 50 years. His stature man, Big Jim was his name. in the folk music community reaches far and wide and goes back This was when armadillos were many years. Just go to the massive folk music website-resource first coming up from Mexico into Back in 1937, 35 cents paid admission to an afternoon or Mudcat.org and type in Sam Hinton’s name. You’ll pull up pages Texas, and Big Jim got an armadillo for me.” Because of intense evening at a movie palace. With their plush carpets and marble and pages from their email forum, written by people who have racial animosity among his peers and even his family, Hinton had balustrades, these gilded, rococo theaters offered refuges of fanta - given credit to Hinton for teaching them a song or for influencing to socialize on the sly with the people who accepted him. The sy where one could escape from the hardships of life during the them in some way. sting of racial hatred is Great Depression. The curtain would rise for As a child growing up in Oklahoma, something Hinton has two full-length features of love and adventure, where he was born, and Texas, where his been aware of from a “I would have to the stage hands rolling out the electronic family later moved, Hinton absorbed what very early age. His speakers to accommodate “talkies,” the new was all around him: an abundance of natu - seven-year-old eyes saw explain to the sensation. Between the first and second movie ral beauty and wildlife and a wide-ranging the race riots that tore a live vaudeville show would dazzle audiences diversity of musical styles, which gave apart Tulsa in 1921. “I audiences that with dancers, jugglers, and men in evening shape and direction to his interests. He remember my parents coats sawing beautiful women in half. Also was drawn to the music of the common took us up to a hilltop. I I was singing sharing the stage was a young man with a pen - folk and soaked up all that he could. He remember seeing a nywhistle, harmonica, and guitar, who per - was also a precocious instrumentalist and church burning,” he folk songs.” formed in hundreds of shows and rode the recalls, “Mama used to love to tell people says. rails to all but two of the 48 states. how she took me to Jenkins Music Store in In 1934 Hinton headed “I sang folk music before it was popular,” says Hinton about Tulsa when I was five years old and bought off to Texas A&M to study zoology, the time he spent with Major Bowes. This was long before the me a harmonica. She said I was playing supporting himself with work as a Kingston Trio or the names Peter, Paul, and Mary had more than “Turkey in the Straw” before we got out of musician, sign painter, and calligra - biblical significance. “I would have to explain to the audiences that the store.” Later, when he was eight years pher, and even sold snake venom to a I was singing folk songs,” he says. old, his grandfather bought him a button pharmaceutical company. After two After a couple of years with the vaudeville company, however, accordion. years at the agricultural college, he By the time he was old enough for hitchhiked to Washington D.C., where high school, Hinton’s family moved to his parents and sisters had moved. Crockett, Texas, but not before he decided Mining the cornucopia of sheet music to learn every song in the world. Around from the 1800s that his mother had that time his sister sent him a copy of Carl collected (Hinton’s mother was a Sandburg’s American Songbag , published in music teacher), Hinton formed an 1927. In it were several songs Hinton ensemble with his sisters. Calling already knew, which seemed to validate themselves the Texas Trio, they per - his musical pursuits. He picked up the formed old-time and folk music. east Texas-Louisiana music that floated “Texas Sam Hinton” — folk singer and novelty In 1937 Hinton’s father loaded his around the area, learning Cajun music on his instrumentalist, 1937. children in the family car and drove them button accordion. He also grew to appreciate the musical tradi - up to New York City to appear on Major Bowes’ Original Amateur tions of the black people who lived there, particularly the gospels Hour , a popular national radio talent show. They made enough of and spirituals. He says his interest in religious music may have an impression that they were asked to make a return performance, been part of one of his early aspirations to become a preacher. the usual precursor to being hired with the review. Hinton was sur - He admired his black neighbors for more than just their prised, however, when Bowes offered the 19-year-old an opportuni - music. “I never felt comfortable with other boys my own age when ty to join his revue right on the air. Billed as “Texas Sam Hinton” I was in high school,” says Hinton. He felt more at home with the — folk singer and novelty instrumentalist, he spent the next two Hinton on San Diego’s KSDO radio station, 1948. years on the road with the Major Bowes’ Transcontinental Revue.

8 San Diego Troubadour • June 2004 ppaarrlloorr sshhoowwccaassee

Columbia bought it up,” recalls Hinton. Unfortunately, this hap - pened at a time when Joe McCarthy was in the Senate and the Un- American Activities Committee was in the House. Because of the menace from these and the Red hysteria in general, Columbia dropped Hinton’s recording, and it appears that the song got its author, Vern Partlow, fired from his job as a jour - nalist. Hinton was listed with the California Un- American Activities Committee and believes he may have lost a few musical gigs because of the Red baiting. Notwithstanding, his recording of the tune was released in the early 1960s on the Newport Broadside label. As though he Hinton at Scripps Aquarium, 1950 weren’t busy enough, Major Bowes’ Transcontinental Revue, Sam Hiinton circled, third from left. Hinton has authored three books on marine biology, one of them for children. As an artist, he illustrated two of his books and two books by other authors. He has produced more than 1,200 install - Hinton felt a strong calling back to his other love: the living sci - years ago, a group comprised of music lovers who regularly gath - ments of “The Ocean World,” a weekly newspaper feature. He is a ences. With his parents now settled in a suburb of Los Angeles, he ered at the Old Time Café in Leucadia to listen and perform folk deft calligrapher who furnished all the calligraphy for the Rise Up enrolled at UCLA to pursue a degree in zoology. Once while out in music. This group, now called the San Diego Folk Heritage, honors Singing songbook. As an instructor, Hinton has taught college the desert studying reptiles, Hinton heard him, having rechristened their annual spring courses in music, folklore, art, science, and geography. In the early that John Steinbeck was at one of the event The Sam Hinton Folk Heritage 1990s he spent two years on the board of directors for Sing Out! Okie camps in the area. Being a great Festival. magazine and served as director of the Idyllwild School of Music fan of Steinbeck’s, Hinton got up his Kent Johnson, cofounder and pub - and the Arts. He has recorded five albums of folksongs and is fea - nerve and went over to meet him. He lisher of the San Diego Troubadour , loves to tured on several recordings of the now legendary Newport Folk was also introduced to Woody Guthrie tell the story about an experience he had Festivals. who also happened to be there. following Hinton’s performance at the In 1940 Hinton married Leslie Forster. Talented in her own Hinton continued to play music Adams Avenue Street Fair in 2000. Johnson right as an artist and classically trained violist, Leslie settled with on the side while a student at UCLA, wanted to introduce Derek Duplessie, Sam in La Jolla to be close to his work at the aquarium. While liv - appearing in the long-running musical already a talented singer-songwriter in his ing in Palm Springs, the Hintons became acquainted with Albert revue Meet the People and performing in own right then at the age of 12, to Hinton. Frey, the famed architect who designed their spacious yet comfort - the local schools. He soon realized As the two of them approached the stage able home in La Jolla Shores, where the couple still lives. Both of that the kind of music he played to say hello to Hinton, Chris Hillman, of their children make their livelihood with words. Son Matt is a seemed to be just right for children. the Byrds, Flying Burrito Brothers, and rodeo announcer and writer, and their daughter, Leanne, is chair Later on he began to regard folk Desert Rose Band fame, was climbing the of the linguistics department at the University of California, music as an expression of history, stairs to the stage for his performance. Berkeley. which helped him tailor his song Just when Johnson and Duplessie reached At 87 Hinton’s bright eyes and smile persist. Though he selection to the period of history a the stairs, Hinton was coming down and ceased to perform two years ago, Hinton is still working with his particular class was studying. Hillman was going up. Hillman turned to music. He has 1,650 songs committed to memory and is currently After graduating from UCLA in Hinton and said, “Sam, I just have to say recording all of them. There is much more to learn about Hinton 1941, Hinton became director of the you were one of my idols when I was grow - and his amazing life at his web site, samhinton.org. Palm Springs Desert Museum, then left Drawing of Woody Guthrie by Sam Hinton ing up.” Johnson felt as if he’d just wit - to take a job as an editor/illustrator at the nessed a significant University of California Division of War Research in San Diego. In moment in history. 1947 Hinton was named curator of the Aquarium-Museum at Johnson also describes Hinton’s Scripps Institution of Oceanography in La Jolla where he served indulgence with an audience or class - for 18 years. In 1965, Hinton moved to the upper campus and room. He says, “I first met Sam when I became assistant director, and two years later associate director, was taking a child development class at of UCSD’s Relations with Schools, which took him all over the San Diego City College back in 1998. I state of California and other states as well, visiting high school offered to pick him up and bring him to classrooms to promote the university. Chris Vitas, San Diego’s ver - the class. He was there for an hour and a satile violinist, recalls that Hinton incorporated music into his half, singing songs and showing the stu - promotion of UCSD. “I remember he came to my high school to dents his different instruments. It was talk about the university. He had a harmonica and a little concert just amazing.” guitar. He sang folk songs and Pete Seeger songs,” he says. A flexi - Pennywhistles, accordions, guitars, ble work schedule allowed Hinton to work extra hours so he could and songs can be a lot of fun, but they take the time to perform at folk concerts and festivals. can sometimes cause trouble, at least for With friendships that go back decades, the names of such some people. In the early 1950s Hinton American folk music icons as Gene Ritchie and Jack Elliot roll off made a recording of “Talking Atomic Hinton’s tongue easily. As a friend of Pete Seeger, patriarch of Blues.” “Others had already recorded the American folk music, since the 1940s, he credits Seeger for sug - song. The Sons of the Pioneers had a ver - gesting that he (Hinton) drop some of the novelty schtick from his sion of it. But I was the first person to performance. Today Hinton is considered a folk icon in his own have a hit with that song. I recorded it on right. He founded the San Diego Folk Song Society more than 50 ABC Eagle and once it got popular, Hinton in the 1960s, singing his way through the schools

9 June 2004 • San Diego Troubadour rraammbblliinn’’

Bluegrass Chuck’s guitars, facing each other from opposites sides of the room. CORNER For both guitars, the “sweet spot” where the guitar sounds best had to first be identi - by Sven-Erik Seaholm by Dwight Worden fied by listening to the guitar as it’s being played. Usually you’ll find an area about the Anatomy of a GandHI Record size of a large grapefruit where the optimal tone is coming off the guitar’s soundboard. n a recording project, there are many sit - Sven-Erik Seaholm Chuck’s was located on the lower bout (the uations where you can achieve the part where the guitar’s shape is widest), and desired result in a number of ways. Both guitars were also plugged into direct I mine was the on upper bout. boxes (or DI’s) because we always play that Consequently, there is no “only one way” or For Chuck, who’s preferred guitar tone is “the best way,” just whatever works for your way live, so it would seem to be part of our snappy and bright with a slight bump at 500 current situation. Why not follow me sonic signature as well. I listened to the gui - hz for a percussive low mid, I set up a con - “around the office,” and we’ll document tars as Chuck played them and layered the denser mic, the Shure KSM44. It’s very accu - most of what transpires along the way as mic’d and DI’d signals for the guitars and rate but adds a slight sweetness in the highs best a tired mind can at the end of a long, got what we felt was a cool sound. and lows. I ran that mic into an Avalon productive day. In the control room where the computer 737sp Preamp/EQ/Compressor and the con - The assignment at hand is a “demo to and monitors (Event 20/20 passives and sole I use, the Berringer 9000 Eurodesk. It’s album” project for a cool band I’m in called Tannoy Reveal powered) are, I set up a mic not pretty if you overdrive the Eurodesk’s The Gandhi Method. We have two acoustic for vocals, the SE Electronics se5500 tube preamps, but if you work with the trim pots guitars, played by Chuck Schiele and myself. mic, and ran it into a ProSonus Eureka to get no distortion on the strongest hits, it’s We also sing lead and harmonies along with Preamp/EQ/Compressor (previously as clean as Denny’s on health inspection day. reviewed in this column). I set the compres - Hi bluegrassers! This month’s column, in you simply lurk around, you may never be Cathryn Beeks, who also plays some small Back to Chuck’s guitar. After setting the sor for a slower attack to let the consonants response to many requests, is an instructional asked to take a solo break or to call a tune. hand percussion. We’re in the process of Avalon’s compressor to a high threshold to get through untouched and again set the overview of bluegrass jamming etiquette. I 3. BE IN TUNE recording Monday through Friday for three take down the level on his hardest hits, I hope you learn something! Tune your instrument before approaching the weeks, a total of 15 days. Our first task is to threshold high to compress as lightly as pos - added some attack and sparkle at 10k, some BLUEGRASS JAMMING ETIQUETTE jam. Unless you have perfect pitch, use an get the sound of our live set onto some discs sible, using a 3:1 ratio. Not only will this presence at 1.9k, and a little cut at 320hz to Jamming is an essential part of bluegrass and electronic tuner. Even the best are not wel - we need for booking purposes and maybe mic probably be what we use for every vocal clear out some muddiness. occurs at every festival and at virtually every come if they’re out of tune! some website-only Mp3s. Later, we’ll add take, it will also double as a talkback mic so For my guitar, I selected a dynamic mic, other bluegrass event. In fact, jamming may 4. HOW THE CIRCLE W ORKS some other overdubs on the songs we feel whoever’s in the control room can converse an SM57 Beta. I like to play pretty hard and well be the central aspect of modern bluegrass A. The Kick Off . Generally, one person in the need filling out. I doubt we’ll finish it all in with the performers in the main room with - music. And, it is certainly true that jammers are prefer a darker sound, so the bottomy circle picks a tune, including its name and that time, but at least we’ll have it all down out having to push a talkback mic button. the financial lifeblood of the bluegrass industry. the key it’s in. That person then starts the thump and mid-range aggression of this the way we perform it live. After all that was accomplished, we ran Jammers buy most of the instruments, strings, tune, setting the timing and rhythm with an microphone suits my style nicely. I ran the through the tune a couple more times, capos, and other accessories; they also buy DAY ONE: intro. Today was one of the coolest mic into an ART TubePac Preamp/ recorded it, and burned CDs for the three of most concert and festival tickets. B. Playing the first verse . The person calling days I’ve ever had in the studio. Chuck and Compressor with a high threshold so that With many musical art forms, there is a us to listen to before returning to work for the song plays the entire tune through only Cathryn showed up with all their stuff small group of professional players who per - I’m only getting about 3dB of gain reduction DAY TWO, which is where we’ll pick it up once. If it’s an instrumental, two A parts and around 1 p.m. I’d been slowly setting up lit - form and a large group of audience members at most, and then into the board, where I next month. two B parts are usually played. If it’s a song, who listen, with very little crossover. In blue - tle stations for us all around the living room eq’d for a slightly meatier sound that blends the leader sings the first verse and chorus, grass, however, most everyone plays at festi - (remember, vibe is king), so that everything while the other jammers play rhythm if it’s well with the other guitar. vals and events, some on stage but mostly in was comfortable and conveniently located an instrumental and rhythm and fills if it’s a the parking and camping areas. Many festival song. Remember, the rest of the circle sup - and situated. I explained to them that I was goers never even visit the main stage areas but ports the person playing or singing lead. Do always the one running around plugging spend their entire time either participating in or not play too loudly or too “fancy.” Save the things and checking stuff, and that I really listening to a jam. And don’t be surprised to fancy stuff and volume for your turn to wanted to slow down to an artistic pace just see big stage stars in these jams when they’re play/sing lead. not on stage. It is part of the ethic and culture this once. For the first order of business we of bluegrass to jam, and even the best of the C. Passing the Tune . After the first verse, the decided to finish a song I’d been working on seasoned veterans join in. tune is passed to the next person in the cir - called “Crawl Back Down.” It had two verses A few years ago when I attended the cle. Pay attention to which way the circle is and a chorus completed, so Chuck and Wintergrass Bluegrass Festival in Tacoma, going so you know when your turn comes. Cathryn set about working through some When it does, play it through one complete Washington, the headline act, which had been chord and melody options for a bridge. cycle if the tune is instrumental, then pass it sold out for weeks, was the 25-year reunion of Before long, they had all the music and the David Grissman Quartet with all of the orig - to the next person and play rhythm again. If lyrics too. Cool! Writing in the studio! How inal players, including David “Dawg” Grissman the tune is a song, keep your eye on the decadent on mandolin, Tony Rice on guitar, Darol Anger person who called the tune because that ! We took a break and went shop - on fiddle, and Todd Phillips on bass. It was person will indicate where the instrumental ping for the week’s supplies (the purchase of impossible to get a ticket for this show, but the breaks are. Pay attention to whether breaks Nutella was involved) and returned to the night before you could have jammed, chatted, are being played based on the verse or the studio to run through our new song a bunch and rubbed shoulders with David “Dawg” chorus and play accordingly. more times. Then I set up mics on me and The studio where the master performs his magic Grissman himself, since he was playing in a D. The Ending . When the tune has come full hotel lobby jamming circle well into the night! circle, the leader plays it one more time if So, what is the etiquette for jamming and it’s an instrumental and puts an ending on it. how does one participate? Here are a few sim - If it’s a singing song, that person sings the before the tune starts that you will sing sound great, and no one else is doing fills,” jammers don’t know the tune, maybe sing ple rules to ensure that you have a great time, last chorus, or maybe the last verse and tenor, baritone, or bass. If the song starts get off your high horse! The others are two verses and choruses and then pass it, that the music is good, and that you will be a chorus, and ends it. Circle members usually before you get a chance to say anything, being polite and letting you take a few fills. which will give the group twice as long to welcome addition to a jamming circle. join in the ending riff. you need to listen. If no one is singing a Reciprocate and drop back to rhythm so hear and learn the melody before they are 1. A PPROACHING A JAM E. The next tune caller . After completing one harmony part that you can sing, then join in. they can play fills too. Finally, you can play asked to play it. You should also decide how Listen to a song or two discreetly from outside song cycle, the role of the lead song caller If someone else is already singing that part, a little bit behind the singing, but be cau - many solo breaks occur before you sing the circle. Note which instruments are already is passed to the next person in the circle it is best to stay out. And, it is almost never tious — never play too loud and try to stay another verse. present and decide whether yours will con - who will call a new tune, thus starting the a good idea to sing along with the lead. off the melody notes as these are likely to Leaving a Jam . It is nice, although not required, tribute or be in the way. For example, if there is cycle all over again. This continues until Remember, singing in a way that conflicts conflict with the singer, especially if you to indicate when you are leaving and thank the a bass in the jam and you are a bass player, everyone has had a chance to call a tune. with what the tune caller is doing is as bad play fiddle or dobro, which are closer to the group for letting you participate. If introduc - move on. One bass per jam is the rule. If you Caveat: It doesn’t always work this way. You as stepping on someone else’s instrumental human voice. tions haven’t already happened, you are likely are a guitar, mandolin, fiddle, or dobro player, will often find a jam with a core of two to break! Tip: Have a couple of standard tunes H. Be Ready . Be ready when it’s your turn. If to find out the names of your fellow jammers there is probably room for you even if your five folks who know each other well and under your belt and be ready to go. you do not know the tune, if it’s too fast, or and to do some handshaking at this point. This instrument is already represented, but if there have worked up some material, while a G. When to Play . Like knowing when to sing, you don’t want to take the lead you can is an important part of jamming and breaks the are already three or more of your instrument, it handful of others sit in on the jam. Often knowing when and when not to play is very pass on taking a solo break, but make sure ice for the next time. Follow these rules and is best to move on. If you are a banjo player, these insiders will call the tunes or only important. On instrumental tunes led by you tell the person next to you in advance . you will quickly become a sought after jammer. two banjos, maybe three if the players are pass the lead role to another insider. This is somebody else, the rest of the circle plays It is very annoying if the person next to you Break them and you may wonder why you are “sensitive,” is about the limit. somewhat impolite, but it’s best to just go rhythm. Generally, one does not play fills on doesn’t start when it is their turn or says not welcome! Listen to the style and type of music being with the flow. Many times it’s more fun to someone else’s instrumental break. You “pass” after the verse as started. Likewise, played. Is it primarily a singing jam? An instru - play with a group that knows what they’re should also play at a low volume so the lead when it comes your turn to call a tune, be mental jam? Traditional bluegrass? New grass? doing. And, if you are polite and make a player can be heard easily. On a song, ready. Think of one in ahead of time. Don’t Old time? Will your playing fit in? Make a judg - positive contribution to the music, you’ll unless asked to do the kick-off, circle play - wait until the last minute. eventually be asked to take a turn at lead. ment before you jump in and find you don’t fit. ers either stay out or play simple rhythm. I. Include Everyone . When you are the tune 2. ASK TO JOIN F. When to Sing . When to sing and when not When singing is going on, play a quiet caller, announce the name and key of the Asking to join is important, especially if you to sing are very important. If you called the rhythm, never so loud that the singer can’t tune, note when everyone is ready (i.e., don’t know anyone in the jam. Wait until a tune tune, you are expected to sing the lead and be heard. It is also appropriate to play “fills” capos on, banjo strings in place), and set ends and then ask if you might join. This will know the words to the verses and chorus. If between singing phrases. But pay attention the pace with a kickoff. Then, “direct” the almost always get you a yes, unless what you call the tune and would rather sing har - to who else is playing fills. If six instruments tune around the circle. My strategy, which I might look like a jam circle is actually a band mony, you must say so before the tune all play fills at the same time, there is no recommend, is to sing one verse and cho - scheduled to go on stage warming up , in which starts and solicit someone else who is able rhythm left and the fill noise will be out of rus and then pass the tune for a solo break case you will be glad you asked in advance! to sing the lead. If you didn’t call the tune control. And, don’t hog all the fills. If you to the next person if you think everyone By asking you make sure you are welcome. If and want to sing along, let the group know play a few fills and think “this is cool, I knows the tune. If it appears many of the

10 San Diego Troubadour • June 2004 rraammbblliinn’’

Hosing Down Radio Daze n

by José Sinatra o

t code key in hand, headphones on, listening to

s by Jim McInnes e

W and transmitting ethereal dots and dashes

n

Before I fell asleep last night, I found o

v worldwide. I was hooked. At 16, I got a trans -

s myself praying to the wind. I wanted back t o mitter that allowed me to actually talk on the o

T So You Want to Be

the caution I had thrown its way so long : ham frequencies, allowing me to learn to o t

ago. o h a Radio “Star”? communicate. Before I turned 17, I auditioned P As of this moment, I haven’t seen its for and won the privilege of being the morn - hide nor its hair, and the possibility of its ing announcer at my high school with a cap - perpetual absence is beginning to frighten have been on the radio virtually all of tive daily audience of 2,500 kids. me. my adult life. I did my first broadcast a I began college at 17 on the strength of This lack of order in the landscape of few days after turning 18, and about I my mathematics abilities, but I really chose Jim McInnes my life tends to dull my plow. But plod on I 8,000 more since then. So I'm often asked, Lawrence University because it had an actual will, and I can only hope that the innocent “How do I get into broadcasting?” 10,000 watt FM radio station staffed by stu - vines I may uproot will find their way back Lemme ‘splain it to you... free of charge, so Diego to return to Madison, I took a reel-to- into worthy service. dents. While at that college, I spent every The debonair Mr. Sinatra you won’t be suckered by so-called “broad - reel tape of one of my shows to the (original) Am I the only one who will go to his waking moment, as well as many sleeping casting schools.” KPRI studios at 7th and Ash. It was on a grave insisting that a certain celebrated But still, there’s that trouble in Iraq. I hours, at the radio station. I flunked out, but You have to be obsessed! Sunday but luckily the front door was open (for more than four decades) Las Vegas hear very little music coming from those not before losing my broadcasting virginity. I If being an entertainer (Radio is near the and someone took my tape, promising that icon is now and always has been a quarters these days. Only a lot of humilia - ended up going to a couple of junior colleges bottom of the show biz ladder, but it’s still a female? And: was the promising career of tion and lies and death until we finally to get my GPA up enough so that I could the boss would hear it. All I talked about with part of that ladder!) is not your driving a truly blessed genius — in this case a learn that there were no good guys actually get a degree in broadcasting, which I my girlfriend on our 2,000 mile trip home was force...your very reason for being...stop read - gorgeous British chanteuse/composer — involved to begin with. earned from Southern Illinois University. how much I loved San Diego and how I knew When Pat Robertson, earlier this ing now. virtually kneecapped in this country by A college degree is a good thing to I’d never get a gig there. month, advised his viewers that the American record executives upon their have, but with no commercial experience in Expect the unexpected! obscenities committed by our soldiers are learning the truly sleazy autobiographic your field, it’s only a foot in the door. Two weeks after we got back to Wisconsin in no way as grave as (or even comparable nature of her magnificent debut album, It’s who you know! I got a call from Mike Harrison, program direc - over 25 years ago? to) the obscenities flowing daily on our tor of (the original) KPRI, asking whether I’d very own Internet (where our focus should After five months of various dead-end jobs And I am momentarily appeased. — Chrysler assembly line worker, draftsman, like to come to the West Coast to do the 10 Keeping secret the identities of the cultur - be, said he), I felt justified for never yet a.m.-3 p.m. weekday show for the princely having invested in his “reciprocity” scam. sheet-metal worker — and calling radio sta - al icons noted above is proof enough that sum of $550 a month — about $3,000 a year Or even a personal computer, come to tions and begging to do anything to get start - my caution is beginning to come back. Yes. less than I was getting at WIBA-FM. Naturally I think of it. Ah, that was caution.... ed, I got a call from a former college radio What you don’t know has little chance of said yes because I was gonna move to I’ll bet it’s about time for some more chum who was running a hip FM station in hurting you ... but if you insist, please don’t California, which was the dream of many a color-coded alerts to urge the public into Madison, Wisconsin. Their weekend deejay hesitate to ask me directly, and we’ll both S.D. Troubadour another malleable state of fear (and was fired for mainlining acid, often missing his Midwesterner ( editor Liz finally know just how cautious I can be. Abbott, for example). I put in 10 months at I’ve started a movie program with the hence, manipulation). Something is defi - airshift, and their salesman was clueless about 15-year-old Jimmy as a young dweeb with (the original) KPRI before KGB called, asking fine (as in finest) folks at Winston’s in nitely going wrong within the higher levels the whole hippie culture. They needed some - his ham radio me to become their new morning host the Ocean-Peace-Beach at 4 p.m. on Thursday of our government. Just like yesterday. one to take on both positions. I couldn’t (and next day! I agreed but demanded a pay afternoons. This is a free opportunity (but But caution, even now seeping slowly still can’t) sell anything to anyone but I knew When I was 14, my parents gave me a raise — to $600 a month, which I obviously it’s 21 and up) to catch some of the over - back into my celebrity cells, forbids any all about this “underground” music and had a shortwave radio. I tuned into broadcasts from looked gems of cinematic history, present - spade-calling at this proverbial juncture. little on-air experience, so I got my first paying got — and spent the next 28 years, five all over the world —from places I’d never ed on a (fairly) big screen and run with But it’s something everybody must job. I made $3.00 an hour doing two eight- months and 11 days on 101.5. heard of — cities like Sofia, Bulgaria, and real film on a real projector the way know, early. Still blowing in the wind. hour airshifts on weekends, plus a 10 percent The saying in my business is: You haven’t And the wind, dear friends, is ready. Quito, Ecuador. I’d also tune in to regular peo - movies used to be shown everywhere. No commission on whatever business I brought to worked in radio unless you’ve been fired. It Grace it with your heartfelt gift. I assure ple talking back and forth, like on the phone, video. Really. Again, it’s absolutely free (to the station. I was considered a success when took almost 30 years, but as of October 11, you, you’ll get it back when you need it. only they were on the air. I found out those quote Zappa’s best album), and the sched - my first month’s pay amounted to $360! 2002, I can say that I’ve worked in radio. I still See you at Winston’s on Thursdays. guys were called “hams,” or amateur radio ule for June will focus on the musical Wow! Almost $90 a week! I was so happy I left love what I do. I feel both blessed and lucky We’ll listen to the music of the spheres, operators. Ooooh! I wanted to do that! So I aspects of the movies being shown. In my efficiency apartment and moved into a real and am very happy to continue to practice my caution be damned. looked into what it took to become a ham other words, the selections will illustrate apartment with a couple other staffers who craft six days a week, now on 103.7 The radio operator: passing a test encompassing a how a well-wrought musical score could shared my love of rock and roll and cannabis. Planet! often redeem what otherwise might have knowledge of basic electronics, a thorough We didn’t care about money because it was I wanted to write more but this already been a questionable enterprise. Or they understanding of FCC rules, and fluency in the music that mattered. We loved being poor looks like a wank-fest. The point is that if you may be examples of an enterprise that in Morse code (the absolute basic mode of radio and famous. have a dream, do everything legally possible itself was practically foolproof, yet the pro - communications). So, at age 15, I got my ham I visited San Diego that summer and fell in to achieve that dream. It’s gonna be hard ducer or director’s choice of composer lift - radio license and officially became a geek! I you really want it love with the city. I also loved what I heard on work, but you’ll do it if ! ed the work itself onto the highest plane of spent hours every day sitting before my radios, art’s own heaven. (the original) KPRI 106.5. On the day I left San

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

Roll Out the Barrel : Brave Combo Delivers Polka with a Twist by Paul Hormick music of the sixties pushed aside jazz, cities and industrial towns back east who They sometimes shoehorn and ballroom dancing, and the most graceful knew how to keep the crowd happy by claw-hammer standards and pop “Ladies and Gentlemen, The of dances, the polka. Perhaps it’s fitting, playing a rumba, a cha-cha, a swing, tunes into one of the styles loved Beatles!” With those words Ed Sullivan then, that the band at the forefront of then that new hit by the Captain and by the band. They have recorded thus unleashed the pounding pubescent polka for the last 25 years should call Tennille “just for the kids.” As a matter of “People Are Strange,” the hearts of millions of teenage girls and themselves Brave Combo. Unafraid to get fact, among their schedule of concerts Doors hit, as a horah and made lodged himself permanently into the down with a good mazurka, these men and performances, Brave Combo still a cha-cha out of the Christmas sonic iconography of the baby boomer know that there is more to this music than plays wedding receptions. classic “Oh Holy Night.” They generation. Unknowingly, Sullivan was beer, ill-fitting polyester, and bowling. They don’t just tip their hats to these even recorded a CD with Tiny also taking part in what turned out to be Formed in the late seventies and different styles. Their tangos would Tim of obscure ditties from a dark chapter in the history of American subject to several personnel changes please any crowd in Buenos Aires. When the 1920s and 1930s. along the way, the one constant of the they cha-cha, they really do go cha cha Definitely not wearing a music. The day after the four lads from Be not afra band is their commitment to making fun, cha. If the polka they’re playing is from uniform and playing saxo - id. Rece Liverpool expressed the chaste desire of nt conce rt poster wanting to hold hands and related the life-affirming music. Carl Fitch, the only Slovakia, it’s ornate; if it’s from Poland, phone, clarinet, and flute is for Brav e Combo story of a young girl’s love in the triple remaining founding member, explains the it’s sweet; and all the American polkas Jeffrey Barnes. Bubba Hernandez sings magic of the music the band makes. He are high spirited and robust. Members of and plays bass and tuba. Danny O’Brian affirmative, the guitar replaced the stole the kishke, you can find out more says, “The beautiful thing about polka Brave Combo grew up with rock music, plays the trumpet, and the band’s drum - accordion in this country as the most about the band at www.bravecombo.com . music is its adherence, its strict adher - giving some of their interpretations a mer is Alan Emmert. Carl Finch sings and popular instrument. Brave Combo at Winston’s, 1921 ence, to a tension-and-release policy. more driving edge than what you might plays guitar and piano. And, oh, by the American music was never the Bacon St., Ocean Beach, on June 16. same. Thereafter, during the sixties, You’ve got the verse that kind of builds get from the recordings of Fred Waring way, he also plays accordion. If you want accordion players were overrun by the the tension, then you just slam into the and his Pennsylvanians or Frankie to roll out the barrels and find out who Stones, the Animals, and the rest of the chorus section, and it’s like fireworks; it’s Yankovic and his Yanks. For example, British invasion. Accordions did not fly fireworks you can almost see. And it’s a their intro to “The Merry Wanderer” with the Jefferson Airplane or Iron life-supporting thing, and when you’re sounds like it might have Butterfly. The Great Society had a place actually at a dance and that moment come from punkers for everyone, except for accordion play - happens, it’s really an amazing thing.” who had just ers. So great was the sea of change that Although polkas and waltzes from found their at the megaconcert Woodstock— only both sides of the Atlantic are their main - amphetamine five and a half years after the Beatles stay, the band’s repertoire includes other supply. premiered on Ed Sullivan — there is no popular dances as well. They evidence that an accordion was any - might remind you of wedding where to be found. bands from big The rock

Fred Gerlach, continued from page 6. fee houses that went broke after travelling a couple hundred miles and showing up to a Once I talked Judy into going up to L.A. closed door. and auditioning at the Ash Grove. Ed Pearl Bob Stone, who owned the Upper Cellar hated me, but I thought maybe he’d give her here in San Diego, also owned or managed a a chance. Well, they liked her and took her place, whose name I can’t remember, in aside and said, “You can work with our house Hermosa Beach. He hired me to do six shows guitarist.” But Judy said, “No. Fred and I are a a night, five numbers per show, which made team and we sound good together.” So they me the house guitarist. During the six months had to take me too. Part of the deal we signed I played there, they would bring in a headline said that we’d do commercials — that’s L.A. act and I played in between, just solo on a you know — and I wound up doing commer - stool about five feet from the espresso cials for Mattel toys for this guy named Rick machine. One night while I was on stage play - Allen. We called him Ra, because he was like a ing my Martin dreadnought, [the espresso god to us. The commercial was for a toy called machine] was workin’ and steamin’. The steam Rose Maddox, continued from page 4. part of her stomach. Her voice suffered from and loyal friend. Despite her release from the Sidewinder. I wrote a special song and got so thick, it lifted the bridge right off the extreme over use. Her appearance reflected Capitol, Rose continued to tour extensively, recorded it for them and everything was all guitar right there on stage for all to see. That In 1963 Cashbox magazine named Rose the unraveling of her personal, professional, and she needed someone to support her in right except they didn’t like my voice. They was before epoxy and the steam just did it in. Top Female Country Vocalist. All the years of physical, and emotional state. this grueling task. Donnie wanted and scored said I sounded like a dirty old man. So they hard work had paid off, but on the down side That was the only time in all the years I’ve In 1964 Rose’s stint at Capitol was over. the job. The two kept each other accountable got someone else to sing and I had to make it was taking its toll. Extended time away from Though Rose’s condition played a part in this to some degree, and their newly discovered been playing that I had a secure gig. Six the commercial all over again. And I got paid home and husband was destroying her mar - decision, the label was also changing its love for each other healed years of neglect months, six nights a week, five shows a night, all over again, which I think was $1,400 both riage. Guilt over her son’s increasingly rebel - emphasis. Being owned by the British EMI and misuse on the part of both mother and son. five songs per show. times. I had no idea there was that kind of lious activities, including going AWOL from label, which was putting the Beatles on vinyl, By this time Rose was a seasoned vet - I’ve been sort of hibernating these past money in it and now I had become corrupted. the navy, and Lula’s downward spiral into older country artists like Rose were deemed eran with experience stretching through few years doing just a spot here and there. My dementia following the ugly split with her So that was my shot with Judy. I also played as dead weight. Capitol was poised to make four decades. Her career had predated and hand is awfully strong and I think I’m playing mother, haunted Rose. She became increas - millions off the Fab Four’s American releases. outdistanced the likes of Patsy Montana with Odetta. as well as I ever have. ingly difficult to work with. Rumors of pill pop - The label’s efforts and energy needed to and Kitty Wells. Now in her early thirties Coffee housing was always a meager liv - I recorded a third LP for John Fahey’s ping, “bennies” to be exact, were wide focus on the Beatles and all the other band’s she had to fend off relative newcomers like ing if you worked solo, so I always tried to Takoma label sometime in the late ‘60s. He spread. Flings with various men who she and industry-related activities that would fol - Jean Shepard, Skeeter Davis, Wanda throw in a few backup gigs like with Judy or wanted an all instrumental LP, so I gave him shared billings with, including Jerry Lee low. Being supplanted by this new musical Jackson, Patsy Cline, Loretta Lynn, and Odetta. That would get you in the bigger what he wanted. I still have the masters of the Lewis, were whispered about. wave only exacerbated Rose’s volatile state Tammy Wynette. Rose, like no other clubs and the concerts where you could make audio-video record, which was recorded in my Understandably, years of suppression by of being. woman, opened the door and pioneered the some money. One time I was contacted by a Lula and extended time away from her hus - Following Donnie’s disastrous stint in the way for the women who followed. Sadly, living room — and should be reissued, accord - guy from a folk festival up in Berkeley who band resulted in a very wild Rose. She was navy, a bittersweet reunion and friendship few gave her the credit she deserved, and ing to Lou [Curtiss] — and of course the sent me $35 to cover my transportation. afflicted with severe stomach ulcers that blossomed between these very wounded many shunned and disparaged her. Folkways material is available from Unfortunately, he called later to say the festival were too long ignored and later misdiag - souls. Besides being Rose’s son, Donnie End of Part Two. Final installment next month. Smithsonian Folkways in Washington D.C. nosed, which eventually led to the removal of became her bass player, driver, companion, had been cancelled. I also played several cof -

12 San Diego Troubadour • June 2004 ooff nnoottee

Anna Troy The Cat Mary Michael Robert Simeon Flick Dollhouse ...no unwanted (or Tiernan Spencer Soliloquy unfamiliar) passages! by Phil Harmonic Still Listening Memoirs of Robert by Frederick Leonard After perusing through Anna by Sven-Erik Seaholm Simeon Flick steps forth with Troy’s six-song CD, it’s easy to by Frederick Leonard Spencer an eight-song collection of understand why a major record Using words to describe the exceptionally smart, well execut - label was interested in The Troys. music of The Cat Mary Glee Michael Tiernan introduces by Frederick Leonard ed, and infectiously catchy pop She is an excellent songwriter, Club is a bit like describing a himself to the local scene with tunes. The first thing he men - with lyrics that run deep into the shade of purple to a blind per - an introspective heart turned This self-produced 12-tune tions in his credits is, “ Soliloquy emotion of experience and feel - son. Not that you, dear readers, inside out. Lyrically speaking, collection of solo acoustic work was spontaneously recorded ing. Combine that with catchy are unable to “see” it, only that he’s all about soul matters and ain’t bad. Produced at with forgiving minimalism ...” melodies and phrasing and the unique and original sound of anything aside from fashions, Grossmont College, Robert Well put. together they produce good this disc is largely due to the trends, scoping out the action, Spencer (a transplant from New But wow! songs. On “Dollhouse” she sum of its widely disparate (and or driving too fast. Still Listening Hampshire) teams up with For a guy who became a states, “...the words they reach sometimes seemingly incongru - is an appropriate title and Brandon Sullivan for the co-pro - singer-songwriter at a time in my ears, but my mind looks to ous) influences: lilting fiddles and remains so in its own innuendo. duction of Memoirs . history when the planet is satu - the floor.” The second track, rubbery acoustic slide guitars It is the perfect title. One could expect to hear the rated with a gazillion singer- “Telephone,” reveals an influ - weave together with haunting The songs, smart and deeply typical coffeehouse sound, songwriters, Simeon Flick is one ence of one of the best, if not upright bass, stabbing piano, sensitive, move you. They make which has become one of the of the few with such distinction, the best , local singer-songwriters: and aggressively brushed drums you think about yourself, your staples in the local music scene. it makes him one of the few Gregory Page. On “Time Goes into a spiraling tapestry of jazz life, and the God that exists in Armed with an acoustic guitar flowers worth picking, by natural By,” she uses a clever convention extensions and funky, almost the details therein. The guitar is and a distinct tenor voice, he law, in the vast garden-meadows of elongating time. You can feel Cajun-like rhythms. If forced to played in wonderful balance pitches poetic accountings of of music talent. the seconds taking longer than utilize comparisons, I might sug - between economical simplicity things observed in his life, laying I remember introducing “One Thousand One” as it takes gest that it sounds a bit like and subtle flashiness in a way a few of his own feelings on the myself to Jason Mraz for the first a full two minutes just to sing Zappa and Mingus being guided that doesn’t feel as though he’s line as well. The songs are a little time. He was still unknown at verse one. Same with the second through the swamps of Louisiana showing you all he knows. He referenced, but at the same time the time and starving like every - verse. Two verses, sung just by a charming and refined plays in standard and alternate he’s stickin’ his neck out a little, body else. I just shook his hand, once, and you are four minutes (albeit slightly demented) south - tunings with an equal dosage of discovering his own originality. introduced myself, and told him into the song. And it works! ern storyteller. modesty, maturity, and profi - You won’t find a shredder I’ve been trying to do what he There are two more tracks by Perhaps it’s songwriter/gui - ciency. Chord structures are here, but you’ll find well-con - does for about 20 years, and Troy. The sixth and last track was tarist/vocalist Andrew Markham’s beautifully constructed, with structed songs. At the beginning that he had “it.” He looked at written by Gregory Page. lyrics themselves that hold the sub-melodies lacing their way of his musical journey, he’s me funny when I told him, “You The songs on this CD are raw, truest description. Like the music through the progressions, which going for it with the kind of con - should be outta here by now. It with only one voice and guitar, that accompanies them, they’re indicate a deeper understanding fidence that indicates his growth shouldn’t be long before the but they pulsate with an essence comprised of equal parts of of how words and music come into a formidable writer. His world knows you’re big time.” and come across full and power - humor, intelligence, irony, and a together to mean one ultimate introspection demonstrates that This music is different and not ful as Troy’s delivery ranges from mischievous poetic obliqueness thing. It is refreshing that noth - he’s looking, listening, and feel - written for the attention of little gutsy to delicate with a style all that continually intrigues one ing on this work reaches out to ing intently the worldly details girls. But I have the same thing her own. Watching her perform moment and subverts the next. slap you with musical prowess, that make you different from to say to Flick: “Dude, you’re at Dizzy’s BobFest was impressive Imagery abounds, encourag - even though it shows up in sub - me. Some of the metaphors are outta here.” and memorable. ing the listener to picture the tle ways. He knows what not to good although a little preco - “Trey Downs,” the second Dollhouse CD Release will be “scent of dung and jasmine,” play. He knows where it goes cious, obvious, and trite at track, took about five seconds held at Lestats June 6. Sharing “rain-grim Sabbath Sunday(s),” and dispenses exactly the right times. Life will help him out for me to love it. It’s a perfect the bill with Anna Troy will be and the hissing of a thrown carv - dosage in order to get the (more there. Yet still, he’s honest in his hit. Gregory Page, Angela Correa, ing fork, while unerringly retain - important) point across. The thinking and in his delivery of The whole CD is brilliant; and Chris Carpenter. ing the thread of the rich stories effect is one of genuine honesty the things he’s thinking. And however I don’t have enough he unfurls. It’s to the band’s from a dude who has chosen that is the strength of this CD. space to go on about each tune. credit that when Markham him - lonelier roads and simple things The last line of his spoken piece, Every single track is remarkable self abandons melody for spoken to make him right in his own “Snapshots,” especially reveals in its originality, range of materi - word on the verses of “Pass The skin and in his world. the mature insight of an impor - al (it kicks Jason’s ass in this Filling Station” and stops singing There is a rootsy tone to the tant writer on the way: “every department), chops, maturity in BeNeFIt For altogether for two instrumentals, CD. I can hear Berkley Hart cov - person is a poet — some just arrangement and production, the narratives are still vivid. ering“My Own Two Legs,” never find their poem.” and most important: serious SaGe GeNtLe-WING Top-tier musical talent is which harkens the Blue Ridge The sound quality is okay. It mojo. June 6, noon-5pm what is required for music this thing. “West Coast Life” offers a never strays from the production far-reaching, and you can’t do different perspective to the usual value established in every song, hot Monkey Love Cafe much better than the brothers homogenous glory of sunshine which amounts to guitar, over - 5960 el Cajon Blvd. • 619/582-5908 paradise. The equations he ren - dubbed guitar, voice, over - ✰✰✰✰✰✰✰ Dow (Ken on bass, Kevin on drums) and Steve “Hoops” ders between geographical sea - dubbed voice manufactured by hosted by José Sinatra Snyder on piano for a creatively sons and seasons of the heart is the same methodology. It works FeatUrING fluid rhythm section. Melissa astonishing. out fine, but a change in tech - It’s not often you hear a CD nique might exploit the talent a Lyle & derek duplessie Jimmie & Luisa Patton Harley helps hold things togeth - that obviously has its own heart little more successfully. There is a heather Marie & Johnny Gregory Page er nicely with alternately supple on the line with such obvious cameo piano appearance, by rick Felan Steve White and wailing violin lines, and conviction in the good work that exception, in “Driving Blind.” Louie and Morin Joey harris Markham shows he can converse equally well on guitar. it is. If that matters to you, then This is no landmark effort, but $10 at the door This is probably the best Michael Tiernan’s 14-song CD it’s a helluva start. record San Diego will yield this just might start talking to you, year. too.

13 June 2004 • San Diego Troubadour ‘‘rroouunndd aabboouutt

WEEKLY

every sunday june calendar 7th Day Buskers , Farmers Market, DMV parking lot, Hillcrest, 9am-1pm. Connie Allen , Old Town Trolley Stage, Twigg St. & San Diego Ave., noon-5pm. Aimee Mann , Belly Up Tavern, Solana KEV/JimEarp/TomBoyer , Lestat’s, 9pm. Traditional Irish Music , Tom Giblin’s Pub, tuesday • 1 Beach, 9:15pm. friday • 25 640 Grand Ave., Carlsbad, 3pm. Art of Guitar Making Exhibit , Geisel Daniel , Metaphor Cafe, Escondido, 8pm. Mark Jackson , Concerts on the Green, Irish Dance , Dublin Square, 554 Fifth Ave., Library, UCSD, thru June. 858/534-8074. friday • 18 Prescott Promenade, El Cajon, 5:30pm. 3pm. Chris Carpenter/Curtis Peoples/Ashley Creedence Clearwater Revisited , Del Dennis Roger Reed , Bluegrass/Folk Club Matte/Nikhil Korula Band , Twiggs, Jus Jer Gontang , Tabloid Coffee, 9225-27 Celtic Ensemble , Twiggs, 4pm. Mar Fair. Info: 858/792-4252. Mtg., Round Table Pizza, 1161 E. 8:30pm. Carlton Hills Blvd., Santee, 7pm. Traditional Irish Music & Dance w/ Washington, Escondido, 7pm. Sue Palmer , Concerts on the Green, Cobblestone, 5-6:30pm/Boxty Band, 6:30- Kevin Tinkle , Lestat’s, 9pm. Leigh Taylor Band , Metaphor Cafe, High Society Jazz Band , Tio Leo’s, 5302 Prescott Promenade, El Cajon, 5:30pm. Escondido, 8pm. 10pm., The Field, 544 Fifth Ave. Christopher Dale/Fryday Band/Gandhi Napa St., 7pm. The Darrels , Tabloid Coffee, 9225-27 Joe Rathburn , The Galley, 550 Marina Pkwy, Method , Tio Leo’s, 5302 Napa St., 9pm. Peter Sprague & Friends , Dizzy’s, 8pm. Carlton Hills Blvd., Santee, 7pm. Chula Vista, 5-9pm. Band in Black (Johnny Cash tribute), Coyote Problem/Lauren DeRose/ Wynton Marsalis/Peter Cincotti , Miff’s Jam Night , Java Joe’s, 6344 El Cajon thursday • 3 Longshots Saloon, 843 Grand Ave. San Mermaid’s Journey/Chritiane Lucas , Humphrey’s by the Bay, Shelter Island, Blvd., 6-9pm. Marcos, 9:30pm. Twiggs, 8:30pm. The Band in Black , Jolly Roger, 1900 7:30pm. Jazz Roots w/ Lou Curtiss ,9-10:30pm, KSDS Harbor Dr. North, Oceanside, 6:30pm. The Joey Show The Quimbys , Metaphor Cafe, Escondido, , Tio Leo’s, 5302 Napa St., (88.3 FM). Sage Gentle-Wing , Gelato Vero, 7pm. saturday • 12 8pm. 9pm. The Bluegrass Special w/ Wayne Rice , 10- Gregory Page & Tom Brosseau midnight, KSON (97.3 FM). Dave Howard/Coyote Problem , House Christopher Dean , La Jolla Festival of the Meghan LaRoque/Tristan Prettyman/Greg , Lestat’s, Concert, 8pm. Tickets and info: Arts, La Jolla Country Day School, Lamboy/Annie Bethancourt/Alex Esther , 9pm. [email protected] 10:30am. Twiggs, 8:30pm. Sue Palmer , Croce’s Top Hat, 9:30pm. every monday Beezeley/Renata Youngblood/Toria , Limelighters , Acoustic Music San Diego, Jack the Original/Befred , Lestat’s, 9pm. Connie Allen , Old Town Trolley Stage, Twigg Twiggs, 8:30pm. St. & San Diego Ave., noon-5pm. 4650 Mansfield St., 7:30pm. Tickets and Big Daddy Orchestra , Tio Leo’s, 5302 saturday • 26 Open Mic Night , Rosie O’Grady’s, Normal Pete Thurston , Lestat’s, 9pm. info: 619/303-8176. Napa St., 9pm. Aisling , East County Performing Arts Ctr., Heights, 7pm. Dennis Roger Reed , San Dieguito United El Cajon, 7pm. Info: 619/440-2277. Methodist Church, 170 Calle Magdalena, Open Mic Night , Lestat’s, 7:30pm. friday • 4 Encinitas, 7:30pm. 858/566-4040. saturday • 19 Peggy Watson , San Dieguito United Methodist Church, 170 Calle Magdalena, tuesday Sage Gentle-Wing , People’s Co-op, Janet Rucci Band , Metaphor Cafe, Mark Jackson , Weighorst Western every Encinitas, 7:30pm. 858/566-4040. Ocean Beach, 5pm. Escondido, 8pm. Heritage Days, El Cajon, 6pm. Info: Connie Allen , Old Town Trolley Stage, Twigg 619/590-3431. Nathan James & Ben Hernandez/The St. & San Diego Ave., noon-5pm. John Bosley , Tabloid Coffee, 9225-27 Asylum Street Spankers , La Paloma Fremonts/Double Fives , Dizzy’s, 8pm. Carlton Hills Blvd., Santee, 7pm. Theater, Encinitas, 8pm. Tickets @ Lou’s John Stewart , Dark Thirty Productions, Open Mic Night , Casa Picante, 10757 Woodside Ave., Santee, 7:30-9:30pm. New City Sinfonia Concert , 1st Unitarian Records, www.lapalomatheater.com, Lakeside, 7:30pm. Info: 619/443-9622. Cameron Ash/Will Edwards/Jen Knight/ Emerson Band Church, Hillcrest, 7:30pm. 760/944-6027. Eliza Gilkyson , Acoustic Music San , Twiggs, 8:30pm. Traditional Irish Music , The Ould Sod, Normal Heights, 7pm. The Two of Us , Metaphor Cafe, Hugh Gaskins/Jessica Hoop/Cameron Diego, 4650 Mansfield St., 7:30pm. Tickets Saba/J. Turtle/Adrienne , Lestat’s, 9pm. Escondido, 8pm. Ash/Surrey Lane/Jack the Original , and info: 619/303-8176. Sue Palmer/Blue Largo , Tio Leo’s, 9pm. Comedy Night , Lestat’s, 7:30pm. Twiggs, 8:30pm. Jim Bianco/Lauren DeRose/Proper Hossein Omoumi , Neurosciences Institute, Traditional Irish Music , Blarney Stone, Villains/Action Folk Singer , Twiggs, Comedy Rant , Lestat’s, 9pm. 10640 John Jay Hopkins Dr., 8pm. sunday • 27 Clairemont, 8:30pm. 8:30pm. Coyote Problem/Dave Howard , Coaster Eve Selis CD Release , Museum of Open Mic Night w/ Sage Gentle-Wing , Alfred Howard & K23 Orchestra/On the Saloon, Mission Beach, 9pm. Contemporary Art, La Jolla, 8pm. Peter Mulvey , Acoustic Music San Beachcomber, Mission Beach, 8:30pm. Diego, 4650 Mansfield St., 7:30pm. Tickets One , Lestat’s, 9pm. Rebeca Randle/Dave’s Son/Alison Block , The Blazers , Tio Leo’s, 5302 Napa St., 9pm. and info: 619/303-8176. Twiggs, 8:30pm. every wednesday The Shelleys , Lestat’s, 9pm. Emerson Band/Trevor Davis Pride of Erin Ceili Dancers , Rm. 204, Casa saturday • 5 , Lestat’s, del Prado, Balboa Park, 7pm. sunday • 13 9pm. International Village Celebration , Sue Palmer Supper Club w/ Deejha Marie Cecilio & Kapono , Humphrey’s by the The Fremonts/Gia’s Fix , Tio Leo’s, 5302 monday • 28 University Ave. & Fairmount, 10am-5pm. Bay, Shelter Island, 7pm. & Sharon Shufelt , Caffe Calabria, 3933 30th Napa St., 9pm. St., 6-8pm. Mark Jackson , Wynola Pizza, Julian, Summer Organ Monday Eve Concert , Kenny Chesney/Rascal Flatts/Uncle Balboa Park. Info: 619/702-8138. 6pm. Kracker , Coors Amphitheatre, Chula Open Mic Night , Metaphor Cafe, Escondido, 8pm. Mark Spoelstra , Templar’s Hall, Old Vista, 7:30pm. sunday • 20 Poway Park, 7:30pm. 858/566-4040. Velvet Gypsy , Egyptian Tea Room & Jason Mraz , Copley Symphony Hall, 1245 tuesday • 29 Open Mic Night , The Packing House, 125 S. Main St., Fallbrook, 8pm. Geoff Muldaur , Acoustic Music San Smoking Parlour, 4644 College Ave., 7th Ave., 7:30pm. Info: 619/235-0804. Del McCoury Band , North County Baptist Diego, 4650 Mansfield St., 7:30pm. Tickets 8:30pm. Summer Solstice Dance/Multimedia Church, 221 W. 7th, Escondido, 7:30pm. Open Mic Night , Twiggs, 8:30pm. and info: 619/303-8176. Truckee Brothers/LOAM , Lestat’s, 9pm. Activation , 3255 Fifth Ave., 8pm. 760/489-1080. Highland Way , Tom Giblin’s Pub, 640 Grand Ave., Carlsbad, 8:30pm. Jim Bianco/Krister Axel/Alicia The Walking/Val Emmich , Lestat’s, 9pm. Nice & Easy Swing Band , Metaphor Lockett/Ted Ehr/J. Scott Bergman , Cafe, Escondido, 8pm. Live Taping of San Diego’s Finest TV Show , Twiggs, 8:30pm. monday • 14 Lestat’s, 9pm. Baja Blues Boys , Patrick’s Irish Pub, Jewel , Humphrey’s by the Bay, Shelter monday • 21 Hatchet Brothers , The Ould Sod, 9pm. Poway, 9pm. Island, 7:30pm. Bach Supper/Organ Concert w/ Robert wednesday • 30 every thursday Uncle Jesus CD Release , Tio Leo’s, 5302 Plimpton , Balboa Park. Info: 619/702-8138. Short Attention Span Chamber Music Napa St., 9pm. tuesday • 15 Series , Geisel Library, UCSD, 12:30pm. Open Mic Night , Just Java Cafe, 285 Third Coyote Problem , OB Farmers Market, 5pm. Ave., Chula Vista, 7-10pm. Anya Marina/Bushwalla , Lestat’s, 9pm. Gary Jules , Belly Up Tavern, Solana tuesday • 22 High Society Jazz Band , Tio Leo’s, 5302 Tony Cummings , Blarney Stone, Clairemont, Beach, 8pm. Joan Baez/Steve Earle & Bluegrass Napa St., 7pm. 8:30pm. (also Fri. & Sat.) sunday • 6 Dukes , Humphrey’s by the Bay, Shelter Island, 7:30pm. Rockabilly Thursdays w/ Hot Rod Lincoln , Sage Gentle-Wing Benefit w/ Derek wednesday • 16 Tio Leo’s, 5302 Napa St., 9pm. Duplessie/Gregory Page/Steve White/ High Society Jazz Band , Tio Leo’s, 5302 Brehon Law , Tom Giblin’s Pub, 640 Grand Joey Harris , Hot Monkey Love Cafe, 5960 Napa St., 7pm. wednesday • 23 Ave., Carlsbad, 9pm (also Fri. & Sat.). El Cajon Blvd., noon-5pm. Mary Chapin Carpenter/Jim Lauderdale , High Society Jazz Band , Tio Leo’s, 5302 Acoustic Underground , Lestats, 9pm. Coyote Problem/Dave Howard , Temecula Humphrey’s by the Bay, Shelter Island, Napa St., 7pm. Pat Mulley , Egyptian Tea Room & Smoking Valley Balloon & Wine Festival, 3:30pm. 7:30pm. Parlour, 4644 College Ave., 9:30pm. John Jorgenson , gypsy jazz guitarist, Brave Combo , Winston’s, 1921 Bacon St., thursday • 24 Dizzy’s, 7pm. Ocean Beach. every friday Aaron Bowen/Ted Ehr/Tim Mudd/Garrett Keb’ Mo/Leo Kottke , Humphrey’s by the Connie Allen , Old Town Trolley Stage, Twigg Bodman , Twiggs, 8:30pm. thursday • 17 Bay, Shelter Island, 7:30pm. St. & San Diego Ave., noon-5pm. Anna Troy CD Release w/ Gregory Page/ Renata Youngblood/Late Night Waiting , California Rangers , McCabe’s, Oceanside, Angela Correa/Chris Carpenter , Lestat’s, Tom Russell , Acoustic Music San Diego, Twiggs, 8:30pm. 4:30-9pm. 8:30pm. 4650 Mansfield St., 7:30pm. Tickets and Dehdra Dun/Tim & Josh , Lestat’s, 9pm. Songwriter Showcase , Tabloid Coffee, info: 619/303-8176. 9225-27 Carlton Hills Blvd., Santee, 7pm. wednesday • 9 Renata Youngblood/Alicia Champion/ Aliah Selah & Friends , Exotic Bamboo, 1475 Mike Willis/Jane , Twiggs, 8:30pm. University Ave., 8pm. Sage Gentle-Wing , Farmers Market, Irish Folk Music , The Ould Sod, 9pm. Ocean Beach, 4pm. Open Mic Night , Egyptian Tea Room & High Society Jazz Band , Tio Leo’s, 5302 Smoking Parlour, 4644 College Ave., 9pm. Napa St., 7pm. every saturday thursday • 10 Connie Allen , Old Town Trolley Stage, Twigg St. & San Diego Ave., noon-5pm. Renata Youngblood/Chris Hobson , Twiggs, 8:30pm. Open Mic Night , Coffee Bean & Tea Leaf, 9015 Mira Mesa Blvd., 8pm. Hypnotist Chris Wilson , Lestat’s, 9pm. Talent Showcase w/ Larry Robinson & the Train Wreck Band , The Packing House, 125 friday • 11 S. Main St., Fallbrook, 8pm. Randy Sparks/New Christy Minstrels , Christian/Gospel Open Mic , El Cajon. Info: Acoustic Music San Diego, 4650 J.D., 619/246-7060. Mansfield St., 7:30pm. Info: 619/303-8176.

14 S a

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t l u a v o C e v e t S : o t o h P n R 1 s o o s n 5 e The ADAMS AVENUE STREET FAIR is coming right up! Musicians interested in being considered should send a press kit, including CDs, bio information, and photos to: Adams Avenue Business Association, 4649 Hawley Blvd., San Diego, CA 92116 Attn: Street Fair Music Committee.