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

March 2005 www.sandiegotroubadour.com Vol. 4, No. 6

what’s inside

Welcome Mat ………3 Mission Statement Contributors Mailbox Full Circle.. …………4 Rosie Flores Recordially, Lou Curtiss Front Porch …………6 Egyptian Tea Room Cathryn Beeks Parlor Showcase... …8 Jim Earp Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze The Highway’s Song... 12 Robin Nolan Trio Of Note. ……………13 Carol Ames Mark Jackson Band Meghan LaRoque 7th Day Buskers The Gandhi Method ‘Round About ...... …14 March Music Calendar The Local Seen ……15 Photo Page Dark Thirty Productions Presents

HigHtone RecoRding ARtist Chris Smither Sunday, March 20, 7:30pm

One of the finest performers of American roots music today, singer-songwriter Chris Smither, also known as roadhouse philosopher extraordinaire, mixes his deep smoky voice with a fluid, fingerpicking country blues guitar style. A mainstay of the festival, coffee house, and club circuits in the U.S., Canada, and abroad since the mid-’60s, Smither is perhaps best known for such songs as “Love You Like a Man” and “I Feel the Same,” both of which have been recorded by Bonnie Raitt.

Tickets: $20. For reservations and information: 619/443-9622. www.darkthirty.com San Diego Troubadour • March 2005 wweellccoommee mmaatt

RSAN ODUIEGBO ADOUR q r Alternative country, Americana, roots, folk, MAILBOX Tblues, gospel, jazz, and bluegrass music news Dear Troubadour loved playing music. She always Wow, this last issue was really, made me feel good about keeping MISSION CONTRIBUTORS really good. The whole piece on that side of myself alive. She and the Duplessies was very enlighten - Lyle showed up at a gig I had in To promote, encourage, and provide an FOUNDERS La Jolla. I was covering for Nathan alternative voice for the great local ing, touching, and just all-around Ellen and Lyle Duplessie a good thing. Even though I only Welden (such a nice guy and what music that is generally overlooked by Liz Abbott a voice!) who was out of town for the mass media; namely the genres of knew Ellen through email, I feel Kent Johnson like after this article, I have some six weeks. This particular room I’m alternative country, Americana, roots, speaking of is a tough room. It’s a PUBLISHERS Dear Troubadour, sort of connection to them. I defi - folk, blues, gospel, jazz, and bluegrass. four-hour job and the three TVs To entertain, educate, and bring togeth - Liz Abbott nitely respect more who they This is the finest issue of the seem to be turned on all the time, er players, writers, and lovers of these Kent Johnson were. So, thanks! Troubadour of all. Thank you for even when a performer is playing forms; to explore their foundations; and Michael Tiernan EDITORIAL/GRAPHICS reminding us of two of the finest (sound turned down, thank good - to expand the audience for these types Liz Abbott people and one of the finest fami - ness). The folks at the bar are usu - of music. Dear Troubadour Chuck Schiele lies I’ve known. (I’ve read them ally deep in conversation, and Just wanted to write you a For advertising rates, call 619/298- all.) It was extremely difficult to since it’s their bar, they often turn ADVERTISING note to say that this month’s 8488 or e-mail [email protected]. read through the blur of tears. I around and tell the singer to Kent Johnson Troubadour is really beautiful. I see San Diego Troubadour met these unselfish pilgrims “keep it down” no matter how how hard you work (and I don’t P.O. Box 164 DISTRIBUTION through the unique musical talent low you try to set your volume. think anyone really understands La Jolla, CA 92038 Brenda Villegas of their son, Derek. This issue Ellen and Lyle came in one night how hard and time-consuming a E-mail: [email protected]. brought about a tsunami of self- and cheered me up immediately. WEB MASTER project like this is) and I just want - pity at the devastating loss of two They sat and listened and sang Will Edwards ed to let you know it shows. Truly SAN DIEGO TROUBADOUR, the local people who literally changed my along to most every tune. I invited source for alternative country, excellent. WRITERS life for one far better and forever. Lyle up to play, but he said he just Americana, roots, folk, blues, gospel, jazz, Truly an outstanding feature. Ellen Lou Curtiss Peter Bolland wanted to listen that night. They and bluegrass music news, is published Simeon Flick and Lyle Duplessie’s influence will were both so busy with work, fam - monthly and is free of charge. Letters to Hi, David Lang live forever. Your article reminded ily, the newspaper, and music, I the editor must be signed and may be Jim McInnes me how fortunate I am to have I just finished reading the latest was amazed they spent a couple edited for content. It is not, however, Bart Mendoza known this outstanding family. Troubadour . It is a wonderful issue! of hours with me. I thanked them guaranteed that they will appear. Tom Paine Sincerely, Each of these close friends and for coming in and appreciated it All opinions expressed in SAN DIEGO Sven-Erik Seaholm Ray Henault family members of Ellen and Lyle’s more than they would ever know. TROUBADOUR, unless otherwise stated, Chuck Schiele painted such a wonderful honest Being at [the Troubadour are solely the opinion of the writer and do José Sinatra Dear Troubadour, picture of them. [Although I wrote Christmas party a few years ago] is not represent the opinions of the staff or D. Dwight Worden I can’t get the Duplessie story something, I didn’t feel it was] also a wonderful memory for me. management. All rights reserved. John Philip Wyllie our of my mind. I feel almost as worthy to send in any of my recol - Lyle and the gang singing away in ©2005 San Diego Troubadour. Craig Yerkes though I know them after reading lections because I just didn’t know the kitchen was such an upper! what everyone wrote about them them as well as others. But I will You are all wonderful folks and I’m Cover Photography: Chuck Schiele in your memorial issue. They were tell you this: they were the type of glad I’ve met each of you. Like the WRITE TO US! special people who lived their folks who, if you only knew them others who wrote in, I just can’t lives fully — that comes across for a minute or 30 years, were believe Ellen and Lyle are gone. We’d love to hear from you! Send your very clearly. They may have able to make you feel welcome The fact that we are each “con - comments, feedback, and suggestions by packed more into their rather into their fold. nected” because we knew Lyle email to: [email protected] or short lives than some of us do in I got to meet Ellen and Derek and Ellen is wonderful though. It The San Diego Troubadour is by snail mail to: twice the time. That’s how I feel first when we had Derek perform makes us each part of that thread dedicated to the memory of after reading about them. Thank at several Taylor Guitars for of friendship, and it continues on. Ellen and Lyle Duplessie , whose San Diego Troubadour you for telling their story. I’m glad Schools events. Derek was a real I can’t thank you enough for P.O. Box 164, La Jolla, CA vision inspired the creation of this pro for such a young guy, and keeping the Troubadour alive. This newspaper. to get to know them. It’s obvious 92038-0164 their spirits live on. Ellen was a kick; she had a million newspaper is vital to the San ideas going at once (a kindred Diego music scene. Julie Scott spirit!). When Ellen told me about Suzanne Reed the Troubadour , I was jazzed. I love reading all about local performers — the old stories, new stories, where and when they will be playing — all of it! Ellen immediately sensed that I not only loved my “daytimer” job at Taylor, but that I still have the heart of a musician in me from years past and how much I still

www.sandiegotroubadour.com 3 March 2005 • San Diego Troubadour full circle Rosie Flores San Diego’s Rockabilly Filly by Bart Mendoza every time I went over to the neigh - school yard observation. “At the time I tar heroes that most kids growing up bors I would hear it, and I think it got had never heard of an all girl band. in the sixties did. “I went through my lthough critically acclaimed into my subconscious.” The former There was a girl that used to do, I guess guitar styles with the British [players], rockabilly and Americana Madison High and Hale Jr. High stu - you could call it ‘Taps’ at the begin - you know Keith Richards and Jeff Beck, singer/guitarist Rosie Flores was dent would overcome her initial reac - ning of every school day. You know, the Yardbirds, and all that kind of A tion to country music. “When I saw it where they raise the flag, you stand at stuff, because I started playing when I born in San Antonio, Texas, on September 10, 1950, it’s as a San being appreciated by someone so pas - attention and put your hand over your was 15. But then, three years later, all Diegan that she first made a national sionately, I thought maybe there’s heart?” Flores is clearly bemused by the of a sudden the stuff that really start - impact. True, even before moving to something to this.” memory as she hums the tune. “As ed catching my ear was music like the our city at the age of 12, she showed Of course, Flores loved all pop soon as the bell rang they did ‘Taps,’ Flying Burrito Brothers and Poco and musical inclination. As heard among music of the day as well. For her initial and she used to have this strapped on Linda Rondstadt. You know, the the bonus tracks on her 1995 Rockabilly foray into performing, Flores joined a snare drum. There was a trumpet and a early stuff that had kind of a coun - Filly album, Flores made her recording vocal trio. “I always liked singing, so I bugle and one other instrument I can’t try twang to it — what they called debut at the age of seven, albeit started up a little group when I was 13 remember, but it was probably a horn.” country rock. When that started singing along to the radio to Fats with my high school friends. We were An obvious connection was made. “I happening, that really caught my Waller via Billy Williams with “I’m called the Debs.” Flores laughs at the thought wow! That girl plays drums!” attention. And that’s where the Gonna Sit Right Down and Write memories. “I’ve got pictures of us way The other band members came band went.” She realizes the Myself a Letter.” back then,” she remarks. “We were through school as well. “Later I met a name offers a slightly different It was a move to California, howev - doing kind of a Motown thing, com - couple of girls by trying out for the musical implication. “It was a er, that set the wheels in motion for plete with the steps.” Interestingly, she school talent show, because I always combination of psychedelia and the three decades plus she’s spent as a wasn’t the group’s front person. “I wanted to sing,” she explains. “It was country rock,” she says of the musician. Relocating with her family started out as a background vocalist in my blood and I met a couple of name. But in Penelope’s Children to San Diego in 1962, Flores had a love with the trio. We were doing a lot of other girls that played guitar like I did we did country rock, that’s basically of music but no clear direction. “The harmonies and soul, sort of a Motown so I thought ‘wouldn’t that be cool to what we did. I mean you can see in first place that we lived in was or Stax sound.” She picked up a guitar have a band?’” the early pictures I’m wearing the Clairemont,” recalls Flores. Luckily for soon after, following in the family Flores sidetracks momentarily on cowboy boots and the fringe with the music fans, her parent’s choice of resi - footsteps. “My brother Roger played the Cheques. “My brother Roger start - pants tucked in the boots. I had a real dence proved to be the needed spark. but I didn’t pick it up until Christmas ed that group with a guy called Dana appreciation for steel guitars and stuff “I moved right next door to the biggest vacation when I was 14 going on 15.” Ferris, who has since passed away. like that.” The conversation sparks a country music fans that I’d ever met,” Her brother was already gigging. Dana and my brother were a big inspi - memory. “We used to go out to Spring she recalls. "My girlfriend, who was “Roger had a band called the Cheques, ration to me. They used to hang out Valley,” she recalled. “Waaaay out also 12, and her mother listened to the and they had all their gear set up in and play music in our garage, and there was this country and western western station and they kind of the garage. They were a garage band that’s how it all started. I just said to place. I can’t remember if it had a turned me on to who Tammy Wynette from Clairemont.” Flores sounds my girlfriends one day ‘how’d you like neon horseshoe or a cowboy boot. I was.” humorously incredulous. “It was the to borrow my brother’s gear? Let’s do don’t even remember the name of the Despite a passion for country music sixties; everybody had a band,” she an all girl band.’ Everybody got really place, but we would go out there as today, she was less enthused early on. laughs. excited about it because nobody had soon as we got to an old enough age “When I first heard it, I thought ‘that’s Indeed. Flores’ own all girl quartet ever heard of [groups like] the Bangles and stand in front of the pedal steel not rock and roll,’” she laughs. “I would be dubbed Penelope’s Children. back then,” she reasons. guitar player and go ‘aaaaahhhh,’” thought that was kind of corny. But The band’s beginnings came from a Back then Flores had the same gui - she laughs. Flores quickly committed to life as a musician. “We went for it. We borrowed the Cheques gear, did a battle of the bands at school, and we came in like third place,” she remembers. “We used to do battle of the bands all the time around San Diego. I think we won one of them and came in second another time, but we’d never come in later than third, Flores attributes her determination because we were pretty unique and we for getting her music heard and her were all pretty talented.” Though work ethic to her parents who have Penelope’s Children lasted into the supported her from the beginning. She next decade, a record deal wasn’t forth - recalls a fateful trip to pick up band coming despite such notable successes gear for Penelope’s Children. “My as opening for Creedence Clearwater father, Oscar Flores, ended up taking us Revival and the Turtles at downtown’s to the Clairemont Music Center and Convention Hall on December 28, signed for $5000 worth of gear,” she 1969. remembers. “We had a p. a. and we Flores next appeared as part of the had amps, drums, guitars, and a bass music explosion surrounding the punk guitar. That’s still a lot of money today, scene in 1978 with Rosie and the but in the late sixties that was an enor - Screamers, a new group inspired by a mous amount of cash.” It’s clear Flores Levi and the Rockats, and became a is still moved by that commitment regular at San Diego night spots from from her father. “That’s how much he the Skeleton Club to the Bacchanal. believed in us. All of a sudden we had However, with her options limited our own gear. And from age 18 forward locally, she headed to Los Angeles and until today, I’ve had a professional released a single in 1982. There, in career in music.” She is a realist, how - 1983, she put together the Screamin’ ever. “I mean, we had to work and Sirens, a cowpunk group. By 1985, make that payment every month, however, she was already a gigging on which was like $80. But that pretty her own. An appearance on the compi - much started my career as a working lation A Town South of Bakersfield that musician from the age of 16.” year soon led to the major label success she deserved. She signed with Reprise in 1987, the first of nine albums in her solo career to date, which helped sig - nificantly to revive the career of Wanda Jackson, Flores’ early inspira - tion with whom she dueted and toured.

4 www.sandiegotroubadour.com San Diego Troubadour • March 2005 full circle n o s d r a h c i R

l l i B

Recordially, Lou Curtiss : o t o h P

read in the paper this morning that the Tannen performed as a trio called big National Endowment for the Arts Jefferson, Robert Jeffery, Kenny Hall, Roy city of San Diego is proposing to pay Blackwater Side after an old folk song. Folklife Troop, which included 84-year-old and Ina Patterson, Jim Ringer, and Mary Itwo guys $250,000 to negotiate with Hank and Sandy Bradley played some old- Cajun fiddler Denis McGee with Sady McCaslin were at most of them. Ray Bierl the San Diego Chargers with the idea of the time songs. Guy Carawan came out from Courville and Marc Savoy; master old-time played a lot of them. John Bosley, Del Rey city paying even more to construct a new Kentucky’s Highlander Folk School and banjo player and fiddler Tommy Jarrell; (then known as Lani Kurnik), Walt stadium for the Chargers. The most I’ve brought Kentucky coal miner, union organ - and the Highwoods String Band. The festi - Richards, and others also played. ever had to spend on Roots Festival per - izer, and ballad singer George Tucker with val also featured veteran country singer Festival Number Ten continued the formers in any one year is in the neighbor - him. Festival regulars included Ray and Ina Rose Maddox and cowgirl singer-yodeler round-the-clock music and workshops Lou Curtiss hood of $20,000. I can’t even imagine the Patterson, Sam Hinton, Sam Chatmon, Patsy Montana, both of whom were there from Wednesday through Sunday, with kind of festival I could put on with a budg - Curt Bouterse, Martin Henry, and others. performing at concerts at Folk Arts that bookended the time. et anywhere close to what those two guys Sandy and Caroline Paton of Folk Legacy festival, held every night on the weekend Phew! And we’re less than a third of are getting. (The city actually had the good records in Sharon, Connecticut, before and during the following week. the way there. More next time around. also appeared that year. The The tenth featured the Boys of the sense to turn down a very stupid idea.) It SOME THOUGHTS ON BENEFITS PAST AND festivals just kept getting Lough from Ireland, Scotland, might be nice to have even half of that to FUTURE bigger and better, bet - and the Shetland Islands on spend on roots performers. Last time First of all, thanks to Bart Mendoza for ter and bigger. their first American tour; around I talked about the Roots Festival’s putting the show together at Dizzy’s and Festival Frankie Armstrong; the early days at SDSU (known as the San helping me pay moving day bills at Folk Number Eight NEA Folklife troop Diego Folk Festival) when it had an even Arts Rare Records. Thanks also to Buddy began a week included Lily Mae smaller budget. I’ll continue on that track Blue for attempting to put together an all- early with a Ledford, the original with memories of festivals six through ten. star show at 4th & B (who canceled at the day of folk and “banjo pickin’ girl” Festival Number Six brought out last minute for no reason that Buddy or I roots music at from the original Kentucky folksinger Jean Ritchie; old-timey can figure out). Buddy says that the show UCSD, featur - Coon Creek Girls on then-duo Mike Seeger and Alice Gerrard; will be rescheduled at the Belly Up in ing legendary the1930’s radio show and an Irish group called the Graineog Solana Beach with a bigger and better cast. singer-songwriter Renfro Valley Barndance ; Ceilidhe Band featuring Joe Murtagh and There are some mighty good hearted music and guitarist Merle Virginia bluesman John Kevin Keegan along with Eric Thompson, people in this city of ours and what goes Travis, old-time Jackson; Louisiana’s great Cathie Whitesides, Sue Thompson, and around comes around. I’m proud of the music’s Kenny Hall, one- Balfa Brothers (Dewey, Will, and Jeremy Kammerer who came down from fact that musical people think a small col - man band Harmonica Frank Rodney, and Marc Savoy); and San Francisco.The All Oakland Ceili Band lector’s record shop is worth keeping Floyd who was one of the early Napoleon Strickland’s Fife and Drum was also there. Joel Sonnier and Doc around. Guidry and their band introduced Cajun rockabilly pioneers on Sun Records, Band from Como, Mississippi. We also Recordially, music to San Diego; Wilbur Ball came out Molly Stone and the New Honky Tonk their first reunited the Hoosier Hot Shots (“Are you from Albuquerque to play solo this time Band, Sam Hinton, and the La Jolla folk festival ever; the Deseret String Band; ready, Hezzie?”) from the old radio show Lou Curtiss with his Hawaiian lap steel guitar and a lot Country Dance Orchestra. A whole week of and the Jubilee Gospel Quartet of the National Barn Dance , 78 LPs, and motion of old vaudeville songs. Cousin Emmy, concerts at Folk Arts Rare Records with Wright Brothers. There was also the Old pictures with three original members wearing a strapless evening gown, was the many of the festival’s players followed. Hat Band featuring Dr. Avery P. Snootfulls (Hezzie and Ken Trietsch and Gabe Ward) . first performer on stage, playing a tune on (Folk Arts had been doing Friday and Medicine Show with Jeff Thorn as Dr. Wilbur Ball and Cliff Carlisle returned for a a blown-up rubber glove along with her Saturday night concerts year round since Snootfulls; John Burke, aka Ebenezer Flue, second time as did Rose Maddox, Utah old-time banjo and fiddle. Her line, “I’m a the previous summer.) In addition to the fiddling wonder of Gnawbone, Indiana; Phillips, and Don Parmaley who brought goin’ but I’m a comin’ back, darlin’s,” Harmonica Frank, the festival featured and Ellen Bush, aka Credipula his Bluegrass Cardinals with him. Artie became the motto of that year’s festival. Vern and Ray and the Carroll County Crookshank, the nightingale in gingham. Traum did some fine pickin’ on original Also there were Bay Area performers Rita Country Boys (bluegrass); the Strange That year Hank Bradley teamed up with songs and for the very first time Kate Wolf Weill and Holly Tannen and, most impor - Creek Singers (Mike Seeger, Alice Gerrard, another old-timey revival veteran Jody brought her highly original songs and style tant, Kentucky’s Roscoe Holcomb. Hazel Dickens, Tracy Schwartz, and Lamar Stecher; Jean Ritchie paid us another visit; to San Diego festival goers. It was a fine Roscoe had been one of the major finds Grier); English folk and ballad singer and Carl Martin, Ted Boogan, and Howard of the 1960s’ old-timey revival, the subject Frankie Armstrong in her first appearance Armstrong, three veteran old-time blues - of the classic Folkways LP Mountain Music in this country; Tom Waits, who even then men, made some very fine Afro-American of Kentucky, and of John Cohen’s film The with only two LPs out was on the verge of string band music. Bill Steele a songwriter High Lonesome Sound . By 1972 it had been becoming a music legend; U.Utah Phillips from Ithaca, New York, (best known for a while since Roscoe’s unique guitar, banjo, who remains a legend in his own time; the song “Garbage”) came out as did Bodie and distinctly Appalachian voice had been Mike Enis and his Papago Indian Wagner from somewhere in the Midwest. heard. In talking to Mike Seeger about Chickenscratch Band (polkas and two- There were lots of locals, old and new, who coming out, I mentioned Roscoe and he steps with accordion, saxophone, electric performed that week, including first-time agreed to accompany Roscoe to San Diego. guitar, bass, and drums); Big Jim Griffith, performer fingerstyle guitarist and singer Roscoe was the big hit of the festival and old-time banjo man from Tucson and Bruce Reid (later W.B. Reid) who plays just our efforts on his behalf led to considera - Arizona state folklorist; and Texas blues - about anything with strings on it. tion by the National Endowment for the man John Hogg, who recorded a couple of I can’t name everybody who played Arts that our folk festival to be part of their sought after 78s in the late 1940s and who over the years but Sam Hinton and Curt National Folklife Endowment. made his only festival appearance any - Bouterse were at all of them. Sam Festival Number Seven was the first of where at the Eighth Annual San Diego Folk Chatmon, Tom Shaw, Martin Henry, Bonnie the Really Big Festivals, which started on Festival. Also on the bill were singer-song - Wednesday and ran through Sunday. writer Jon Wilcox and Yorkshire folk song - Performers included veteran country old- ster Johnny Walker. time banjo player Wade Mainer and his That year KPFK Pacifica Radio started wife Julia, Bruce (U.Utah) Phillips, folk to record and later broadcast our festivals songster Mark Cooney, Scottish folksong to all of Southern California and to such and ballad singer Norman Kennedy, the diverse audiences as Australian Public Sweets Mill Mountain Boys from the San Radio, the CBC in Canada, and the Voice Joaquin Valley (veteran fiddler Ron Highey, of America. It would have been nice if guitar man Frank Hicks, and Pete Howard and Roz Larman and Pacific Radio Everwine on banjo), and Graham and had returned any of the money they got Ginnie Wickham (formerly of the Possum from sales back to the festival itself, partic - Hunters String Band) from Oregon. Otis ularly a few years later when the festival Pierce, who ran a notorious country bar on fell on hard times. But at the time we the King River east of Fresno, sang old- thought that increased coverage would get time country songs with the Fresno contin - the word out that here in San Diego was a gent, which included the Sweets Mill gathering of the clans, the first in a long Mountain Boys and Kenny Hall, Jim festival season. People who hadn’t seen Ringer, and Ron Tinkler who played each other during the winter layoff gath - together as the Sweets Mill String Band. ered in San Diego in April. For me, that Jim also did a set in duet with Mary was one of the most delightful experiences. McCaslin. Rick and Sandy Epping, who Festival Number Nine was, in many came over from Ireland, had been told by ways, the best of them all, though each fes - someone in L.A. that they had been hired, tival made their own unique contributions. so they surprised everybody when they This was the year we brought out the great showed up. A little shuffling around found norteña singer Lydia Mendoza (“The Lark money to pay them and a spot on the pro - of the Border”); early Grand Ole Opry vet - gram. Rita Weill, Janet Smith, and Holly erans Sam and Kirk McGee; and the first

www.sandiegotroubadour.com 5 March 2005 • San Diego Troubadour ffrroonntt ppoorrcchh Egyptian Tea Room Offers a Variety of Options P h

o Hotel. In keeping with the Sunday morning, patrons will find t o :

J Egyptian theme it does at least Brad Tretola, a singer/guitarist, o h n

name some of its food offerings performing gospel, ballads, blues, P h i

l after ancient pharaohs. Glancing classic rock, and originals. He i p

W down the menu one will also find returns Sunday nights around 9 y l l i

e a few Middle Eastern- p.m. for a more blues oriented Mediterranean dishes such as cous - show. A second regular, Pat Molley, Egyptian Tea Room, Cafe and Hookah Lounge, at 4644 College Avenue cous and baklava. is there on Wednesday nights, per - “The Egyptian Tea Room has a forming a wide range of cover own deejay. Friday nights are also Returning once again to its Middle wide variety of options,” according instrumentals with a few originals open mic nights where up-and- Eastern theme, the club offers to Janelle Culley, its hard working thrown in for good measure. On coming coffeehouse stars of the fusion-style belly dancing on the 20-something cook, waitress, and Friday night, Zora Ptah sings indie- future and sometimes not-so-tal - second Saturday of every month busgirl. “It’s a coffeehouse and a house along with the instrumental ented wannabes perform and from 8:30 to 9:30 p.m. hookah bar, so you can get coffee, accompaniment provided by her amuse beginning at 9 p.m. food, hookah, and on some nights, music. We also offer a lot of board games as well as Internet access.” Quickly scanning the back room, I Jenelle Culley at the Egyptian Tea Room saw many books and a stack of games that included Scattergories, by John Philip Wyllie Chess, Checkers, Battleship, Candyland, Monopoly, and at least ear the corner of El Cajon a half dozen others. “Mainly, Boulevard and College though, it’s just a great atmos - NAvenue in the shadow of phere, Culley added.” Montezuma Mesa sits one of San Serving breakfast, lunch, and Diego’s more recent meeting places light dinner, the Egyptian Tea and musical venues. As owner Room is open earlier than most Harry Sevel prepares to celebrate college students (including my the cafe’s first year of existence this daughter) wake up (8 a.m.). On month, the Egyptian Tea Room Friday and Saturday it stays open appeals primarily to the scores of until 3 a.m., hours after most baby SDSU students who live in the boomers like myself collapse into area. Ironically, the Egyptian Tea bed. Sunday through Wednesday Room usually serves more coffee they close at a more reasonable than it does tea. And aside from a midnight and on the Thursday few Egyptianesque paintings and a nights, they are open until 1 a.m. handful of camel figurines and The Egyptian Tea Room also hookah pipes, it is no more offers a mixed bag of musical Egyptian than Sin City’s Luxor offerings. Beginning at 10:30 on

6 www.sandiegotroubadour.com San Diego Troubadour • March 2005 front porch

by Simeon Flick of kinetic motion quickly darting places from Jackson Hole, Wyoming, to Cathryn is optimistic about the across the periphery — a whirling Jacksonville Beach, Florida, singing future. “I’m busy and broke but happi - aybe you’re itching for some dervish of long blonde hair who, either covers in clubs and on cruise ships. er than I’ve ever been. I play with live musical entertainment by necessity or by nature or both, However, it wasn’t until landing some amazing people in the Cathryn on a weeknight, but the cal - cannot sit still. She’s too in Cincinnati, Ohio, in Beeks Band: Matt Silvia, Will Bonnar M busy emceeing and the early nineties [lead guitar], Scott Wilson [bass], and endar is relatively exiguous. You might stumble upon an advertisement for making that she began Jason Langton [percussion]. I provide something called Acoustic Alliance, announce - to compose backing vocals in the Downtown which is happening at a prominent ments from her own Moneywasters, which is Thomas Lee’s local venue and where you might show the songs, newest and greatest project. I have a up to investigate. The ad’s byline reads sound releas - new CD out with the Gandhi Method “Listen Local San Diego,” which might ing [nominated for a 2004 San Diego inspire you, depending on your her Music Award and reviewed on page 13] lifestyle, to utter the query, “There’s a first CD and I’ve been busy writing songs in my booth local music scene in San Diego??!!” under the home studio. My hope is that someone or You might marvel at the hallowed moniker famous will buy a few of those songs adjusting rock-club-as-church feel of Brick by JunkQueen so that I can continue my life of equipment Brick as you walk in past the grizzled, shortly thereafter. leisure. That life includes working full- levels and moni - tattooed veteran bouncer and into the San Diego enchanted her time on ListenLocalsd.com — main - tors onstage when there’s no throes of the club’s sensuous, dark during a two and a half taining the website and booking and one else present to run the atmosphere. The sacramental smell of month-long, nationwide busk - promoting upcoming shows during the sound. Or she’ll stop to dish stale beer emanating from everywhere ing trip in 2000 with Heather day. Four nights a week I provide with so many people, it would confirm your suspicions that Gmucs, an erstwhile collabora - sound and host a showcase at one of would only be logical to con - many an imbibing music fan had had tor. Cathryn found herself the various venues I work with. It’s clude that she knows every - a religious experience or two within entranced by the idyllic local been a cool experience getting to know one in the building. In the this cultural shrine. The bathrooms climate and made a point to all of the musicians who make up the next instant she too might be have layers upon layers of band stick - remain when Heather returned different music scenes in San Diego. onstage, grooving a shaker ers stuck to the walls as though, not to Ohio later that year. It was - “I live in a beautiful city with the and singing either backing unlike a tree’s rings, they signify the n’t long before she met her best weather, making a living doing vocals for friends or lead club’s age and prestigious history. current songwriting partner, what I love. My family and friends are vocals with her own band. Later you may see numerous ami - guitarist/vocalist Matt Silvia, healthy, happy, and close by and just She looks like a less arcane able patrons milling about, absorbed in and formed 8 Ball Rack, put - recently I met the man. Things are version of Stevie Nicks, and their own religious experiences. ting out one CD and disband - super.” she belts it out with the alto They’re talking with each other, min - ed shortly thereafter. Fate con - It’s possible that this Gypsy has soul of a Janis Joplin or Tina gling, some with beverages in hand, spired with design when she found her home. Turner. most with wide smiles on their lips was asked to host a new open You might think back to and eyes alternating from their adja - mic night at Mission Beach’s the name you saw on the ad cent colleagues to the four well-lit fig - Coaster Saloon in June of for the show — aaah, this ures on the stage with whom you sus - 2003. must be Cathryn Beeks! sive here. Miss Beeks is a catalyst of the pect they are also acquainted. It might “A year later I was booking Friday And who else would it be? Cathryn highest order, mixing business with be hard for you to discern the musi - and Saturday nights [at the Coaster has done more to promote the local pleasure so seamlessly as to make her cians from their fans, and many of the Saloon] as well as hosting the open music scene in the past year through life read like a continuous adventure. musicians are on the bill with several mic,” Cathryn recalls via email. “I was her new production company, Listen Considering she’s virtually a card- of their fellow friends. The moment able to begin working part time from Local San Diego, than just about any - carrying Gypsy, it’s remarkable that seems like it might be on the cusp of home, concentrating on my own song - one else in recent memory. She’s made Cathryn has been in San Diego for five some wonderfully utopian, idealistic writing. In July of 2004, the owner of the world a little smaller by way of her years. Born in Riverside and raised in unity. the Coaster discontinued our business astounding ability to befriend, consoli - Lancaster east of Los Angeles, she You might follow their eyes to the relationship, which forced me to pur - date, and cross-pollinate disparate fac - caught the music bug in college while four artists onstage at that time, most chase my own p.a. and look for other tions in the local scene, with the rarely working as a real estate secretary. Less of whom are comfortably strapped into venues to host my shows. I named the observed tendency to support and pro - than a year later she bought a modern acoustic guitars — some sitting, some shows Listen Local and vowed to keep mote other musicians and artists with version of the Gypsy’s wagon (a standing — and then with a start you them cover free so that people would the same fervor and drive that she motorhome) and hit the road to pur - may realize who it is in front of you. be encouraged to support the local pours into her own endeavors. She’s sue the life of an itinerant musician. Could that be Gregory Page and Lisa music scene.” the paragon of a newly emerging para - She lived the dream in a variety of Sanders next to amazing up-and-com - digm wherein out of necessity a person ers like Anna Troy and Pete Thurston? pursuing the purity of an independent Could that be Robin Henkel next to career in the arts must wear many hats. Zach Goode of Divided by Zero? You The byproduct of her selfless, multi - might ask yourself how such a wonder - faceted efforts over the past year has fully disparate blend of local talent been the growing sensation of a coa - came to be under one roof, and why lescing grassroots unity among local this serendipitous discovery didn’t musicians, which is reminiscent of occur sooner. what cities like Seattle and Austin have And then you might see her, a flash enjoyed but has thus far seemed elu -

www.sandiegotroubadour.com 7 March 2005 • San Diego Troubadour parlor showcase

by Chuck Schiele

im Earp is a humble man. But his hands are not. I met him quite some time ago — through the studio glass — when Frank Drennen, whom I met while taking recording classes at Mira Costa College, invited me to Jim’s recording session. Five guys were in the mixing room telling Frank which knob to turn as he just turned whatever he wanted to turn regardless. And I was one of ’em. While fixed with nearsightedness on the console, an enormous swell of electric beauty oozed through the monitors and filled the room like a warm Godzilla anthem. Just like that. And everybody stopped, instantly for - getting their current thought, and t looked up. This guy was a serious pro. l u a v o

I asked, “Holy smoke, who’s that?” C

e v e t

“That’s Jim Earp,” Frank stated S

: o t o

proudly. h P I still know Frank. But since that time in the studio, Jim and I grew to be friends. Eventually we became rain. We’re sitting in my barren chronology of his bandmates for five years in Modern kitchen and he’s got his Martin career in music in Peasants. Not only was he everything Triple-O with him. He’s casually tick - terms of inspiration, you’d want from a lead rock guitar ling his way through Cole Porter’s “My matter of style, and player but he was also gracious Heart Belongs to Daddy” while he’s technology. enough to introduce me to the alter - telling me about the stuff he’s been “In the spring of nate tuning world, not to mention to up to lately. 1975 I became a better guitar playing in general. And He’s recalling how he started play - Christian, and that through all of that, we became even ing in 1973 when his best buddy’s has been the defini - better friends. I must admit I found it brother showed him a few fingerpick - tive turning point in to be my privilege, always, to stand in ing patterns after hearing his pal my life and my music. Jim’s guitar-playin’ shadow. Though cover Paul Simon’s “Cathy’s Song.” After I came to Christ we’ve moved on from the Peasants, “I just wanted to play fingerstyle I started putting my we still hook up occasionally for a guitar after I heard it,” says Jim. “I ideas to music. I show together or a coffee now and asked him to show me a few finger - once heard a quote then and a little guitar. So when it was picking patterns. He was gracious. from some philoso - suggested that the Troubadour cover And I went home and practiced those pher — and I para - the dude, it was once again my privi - Jim Earp at NeilFest, November 2004 patterns.” phrase — ‘that we speak lege to tell this story, which includes in the earlier part of his development. We take a few moments to talk when silence is no longer suitable.’ anecdotes of old and his recent visit In the ’80s Jim’s course was punctu - about Jim’s arrangement on Porter’s That is especially true in music. Some to my new house as I was moving in. ated when he started playing electric beautiful changes. He’s plucking here, artists are seemingly content never to It’s 7:30 p.m. during a break in guitar and was especially smitten by running there, offering guitar-head speak with their own voice. Classical an otherwise record-breaking week of the approach of Andy Summers. insight. I asked Jim to offer a brief musicians often spend their lives “A post-punk textural style,” interpreting the voice of master com - explains Jim. posers and have no inclination to ever The early ’90s found Jim focusing put an original piece of music to pen. specifically on acoustic fingerstyle Other artists write because they have again, first through the influence of no other choice. Silence just doesn’t Alex Degrassi and later the French- work for them. Well, for me, after my Algerian born guitarist Pierre conversion, there was really no other Bensusan who composes exclusively choice but to start composing and in the DADGAD tuning. writing.” “When I heard his music it went I ask Jim to move his chair to straight to the bone. It was like an another part of my tiled kitchen so I epiphany. I just tuned to DADGAD and can take a few pictures against the started composing instrumentals. And big wall. While fussing about, he’s list - they just kept coming. I found myself ing his influences as Leo Kottke, John in the unique and blessed position of Fahey, Bruce Cockburn, and Christian doing something else! Most players Modern Peasants (Jim Earp on far right, Chuck Schiele on far left) at Java Joe’s in Ocean Beach before it became a singers Mark Heard and Bob Bennett Starbucks. define their style in their twenties and 8 www.sandiegotroubadour.com San Diego Troubadour • March 2005 ppaarrlloorr sshhoowwccaassee

then spend their lives refining that arrangements that retained the beauti - style. I switched and was suddenly ful spirit of the original songs while writing a steady stream of instrumen - introducing engaging solo guitar tals. And after a bit the Celtic thing ideas.” began to creep in. I don’t know where This past fall Jim signed a deal it came from, but it did.” with recent Grammy-winning Solid Air A lot of things have come to Jim. Records, the country’s largest instru - In 1978 Yugoslavian master guitar mental acoustic guitar label (to which luthier Bozo Podunavac moved to the aforementioned Lawrence Juber is Normal Heights within six blocks of also signed). Last year the label also where Jim lives. They became friends issued the winning Best Instrumental and Jim subsequently made his own Disc, a compilation called Pink Guitar , guitar while taking a guitar building featuring guitar arrangements of class in luthery school. Several col - Henry Mancini compositions. In kind, leagues agree that Jim’s guitar is a the label is in the planning stages for “red violin” of guitars. another issue focusing on Cole Porter He’s released several projects tunes. And Jim will be there with Jim Earp with the guitar that he built. including Chansonnier (1990), a “Daddy.” songwriter thing with a Bruce warmly extended middle finger. As I’ve storm all by himself doing his thing. Cockburn-Cat Stevens approach, gotten older I’ve grown less bitter and And like a true master, he does that musically speaking, and Judeo- more realistic about things. I know very well. Before the year is out he Christian themes, lyrically. The year “My biggest challenge was who my audience is. I know who my will be playing routinely around the 1996 brought the formidably gor - friends are.” San Diego area, with additional dates geous Rosewood, an album com - to arrange vocal-based Jim hands me his Martin with the in Nashville and Michigan. In prised solely of instrumental compo - melodies into arrangements silent understanding that its my turn September he will play in the sitions. Rosewood unanimously gar - to play for him — now. And he International Fingerstyle Championship nered positive reviews and praise in that retained the beautiful continues... in Winfield, Kansas. “There are talented and visionary the international and national You can find more information about trades. On more than a few compila - spirit of the original songs writers and players all over the place. Jim Earp at: tions Jim’s tunes ride along side And every week I hear somebody new OFFICIAL WEBSITE such guitar greats as Wings’ gui - while introducing engaging who blows my mind. San Diego is a http://www.guitar9.com/rosewood.html tarist Lawrence Juber, Davy curious town as far as the music SOLID AIR RECORDS Johnstone (Elton John), and ex- solo guitar ideas.” industry goes, because if it weren’t http://www.acousticmusicresource.com Hellecaster John Jorgenson. for Camp Pendleton, L.A., Orange, and PERFORMANCE SCHEDULE http://www.integrity.com/homes/ From 1995-1999, he played lead San Diego Counties would be one jimearp/gigs.html electric guitarsynth in Modern huge megalopolis. San Diego is geo - Peasants, offering an irreverent We’re still in the kitchen taking graphically an island of sorts from the array of textures to the exotic “peas - photos and playing guitars. After about whole L.A.-Hollywood entertainment ant” mix. I recall how Jim and I a hundred photos, we move the chair industry. Thus, an artist can live down spent a bit of time with a variety of around and Jim starts tuning to here, groom his or her act for years in tunings and on one occasion I DADGAD, explaining the origins of an front of modest crowds, and in some asked him to show me a song he old Scottish Air called “Ye Bank and cases develop into world-class talent. was playing called “The Brightest Ye Braes o’ Bonnie Doon” and then And still they operate in obscurity Day.” Ironically, it turned out to be tears into it. I sit there relishing the unless the miracle break comes written by Frank Drennen. I learned it private concert time my friend is giving along. Many San Diego artists have as my own introduction to an open-G me. The sound flows like frankincense realized that it was in their best inter - tuning (Jim’s arrangement), which meandering through the maze of the ests to go to L.A. or tour Japan or eventually evoked a composition of my house. It is one of the most beautiful Europe or whatever. And when they own called “Higher Ground.” The pri - things I’ll ever hear. do, they invariably discover wonderful vate souvenir of this path of inspira - Regarding the San Diego scene, receptions by people who wonder why tion is among my most favorite. Jim’s feelings are bittersweet. “Like they aren’t internationally known. Smiles to Go was released in many others I have a love-hate rela - Ironically, San Diego is the place from 1999 much in the instrumental style tionship with the San Diego music which to depart when one is trying to of the Rosewood album. In fact, it was scene. The fans are phenomenal and I make it as a musician — and also the chosen as one of the ten best inde - sincerely appreciate those who take place where the bigger shots like to pendently produced acoustic guitar time out of their lives to come hear go, taking advantage of the remote - CDs of 1999-2000 by Acoustic Guitar me play the same old songs and tell ness, the hospitality, and the magazine and was subsequently a the same jokes week after week. On near/distant proximity to the L.A. winner in their Homegrown CD Awards the other hand, the San Diego music scene.” contest that same year. scene and its power elite and the poli - Jim’s seems to respond to the Be Thou My Vision came out in tics of it all just hit my gag reflex real - scene simply by not focusing on it. 2002, a collection of instrumental - ly hard. I tried to fit in. I’ve offered a Rather, he concentrates on what he’s ized hymns ranging in origin from warmly extended right hand of friend - doing, more so than the fact that he’s ancient Irish and European to ship to everyone I’ve met, be it artist, the one doing it. And while the world Appalachian and Americana styles. club owner, or magazine editor. More around him is full of master plans, Jim claims, “My biggest challenge was often than not what I’ve received as a elbow-rubbing politics, and shenani - to arrange vocal-based melodies into sign of support or interest was a gans, Jim stands like a rock in the www.sandiegotroubadour.com 9 March 2005 • San Diego Troubadour rraammbblliinn’’

Bluegrass CORNER curiosity into a master course in what could be done in the studio. Tape loops, flanging, automatic dou - by Dwight Worden by Sven-Erik Seaholm ble tracking (ADT), microphones in milk bottles, and putting guitars and SAN DIEGO BLUEGRASS SOCIETY folks. Whew! That’s a lot for 20 bucks! To vocals through rotating speakers are The San Diego Bluegrass Society was join, email or call Dee Dee Hansen at : SEVEN THINGS I L EARNED only a small portion of their discov - formed in the 1960s as the San Diego [email protected] or (619) 276-1949, FROM THE BEATLES Sven-Erik Seaholm Bluegrass Club by a group of locals who or stop by the membership table at any eries still in use today. Hell, while loved bluegrass music. The idea was to event. recording “Tomorrow Never Knows” Pepper’s but ending up on Magical organize jam sessions, to secure venues If you want to check out the scene, on Revolver , Lennon wanted to be Mystery Tour ) is actually a composite where folks could get together regularly come to one of the regular SDBS events. swung around the room by a rope of two entirely different takes, num - to play and hear good bluegrass music, Bring your instrument for some jamming, tied to his feet to get the vocal bers 7 and 26. What’s amazing about and to undertake other activities to pro - listen to the bands, and see what you sound he was hearing. that is that they’re in two different mote the enjoyment of bluegrass in San think. You won’t regret it. The SDBS 3. IT’S NOT WHAT YOU HAVE , B UT WHAT keys and tempos! John liked the Diego. Rick Kirby, who currently plays meets at Fuddruckers in La Mesa’s YOU DO WITH IT sweet, stripped down approach of and sings lead with Lighthouse was Grossmont Shopping Center on the sec - The Sgt. Pepper’s Lonely Hearts Club the earlier takes and wished they elected the first president. Soon jam ses - ond Tuesday of the month, 7-10 p.m. Band album, with its complex could retain that vibe and join it to sions and get togethers in local pizza Likewise, on the third Tuesday of every orchestrations and innovative the more grandiose version it had parlors and elsewhere began to material - month at Fuddruckers in Chula Vista. On recording techniques, was indeed evolved to. Take 7 was slower and ize, a newsletter began production, mem - the fourth Tuesday of the month, 6-9 p.m., recorded onto just four tracks. down a half-step from the later ver - bers were signed up, and the organiza - SDBS meets at Godfather’s Pizza on When people come over to the Granted, there were two four-track sion, so it was decided they would tion was off and running. Clairemont Mesa Blvd. The featured house/studio that my wife and I share, machines. They would fill up one try to speed it up and splice it to 26, Throughout the 1970s, 1980s, and into band on March 22 is the Tonewoods. I they often look at my Abbey Road which was slowed down by roughly the 1990s the club continued to expand in hope to see you there! poster, framed prints of both John with bass, drums, and guitars; mix the same amount. It worked! It hap - both membership and activities. Venues Lennon and George Martin, and vari - those down to two tracks on the sec - KENNY WERTZ for regular jams were added and some ous other Fab Four paraphernalia and ond machine and add the strings, pens approximately one minute into Kenny Wertz, a local San Diegan and lost; concerts were presented; and say, “Wow, someone really likes the horns, etc.; mix those four tracks the song, after the “Let me take you current resident of Fallbrook, has seen “Grassology,” a program to promote Beatles.” While it’s true that I do enjoy onto two tracks on the first machine; down…” part. Listen and see what and done it all, or so it seems. Maybe not bluegrass in the schools, was in full their music (and I’ve learned that there then record the vocals on the rewards fearless thinking can bring. quite “all,” as he is still active and con - swing. Under the decade long tenure of remaining two tracks. They usually tinues to make long lasting tracks in the are actually people who don’t …gasp!), 6. BACK IT UP President Elizabeth Burkett, which ended did the vocals last so they’d sound bluegrass world. that is not the primary reason for their Great care was always taken in doc - in the early 2000s, the club partnered the best. This, of course, took some Kenny started out playing banjo with prominent placement in my working umenting every Beatles recording with the Bluegrass Association of the Scottsville Squirrel Barkers along and living space. It’s what they repre - planning and also necessitated mak - session. That’s how great books like Southern California (BASC), a compara - with Chris Hillman, Larry Murray, and Ed sent in the context of musical and ing sure they had the best takes pos - The Complete Beatles Recording ble organization covering the L.A. and Douglas. In 2003 the San Diego Troubadour recording history: the highest standard sible, because there was no going Sessions by Mark Lewisohn came to Orange County areas, to collaborate on a brought this great group together for a of excellence. back to redo the bass line, guitars or be. Likewise, the original recordings newsletter ( InTune magazine). A joint reunion concert at the Carlsbad Village The Beatles essentially began their whatever. were backed up with diligent redun - web page (www.members.aol.com/intune - Theatre followed by a performance the existence in much the same way many dancy and stored with equal news/main.html) was also developed, 4. COMMIT next day at the Adams Ave. Roots bands did. They worked hard and which includes band resources, a calen - It also meant that whatever effects thoughtfulness. When you think Festival to an enthusiastic crowd. Hey, gigged a lot, got rejected by record dar of events, you were using were kept forever. So, about all the technological advance - who doesn’t want to see Chris Hillman and other useful labels, and eventually hooked up with if there was a rhythmic delay on the ments in the last 30-40 years (Stereo (the Byrds, Rock and Roll Hall of Fame), information. The a good manager (Brian Epstein) and a snare, you played to it and heard it LPs, 8-track cartridges, cassettes, CDs, Bernie club also pro - great producer (Sir George Martin). on playback. Nowadays, everyone DVDs) it’s worth noting that the Leadon duced an out - What would eventually result is a wants to “do it later,” recording high fidelity of all those masters is (the standing live CD world-wide phenomenon, that judging without effects so that the exact still available. Eagles), during this time, from what had come before and what amount of “seasoning” can be added harmony 7. A G REAT SONG IS ALWAYS BETTER THAN recorded at the has happened since, will never occur singer at mix time. People even record the A GREAT RECORDING club’s monthly event at the Carlton Oaks again. Country Gazette in 1973: Alan Munde, Herb guitar direct so that they can choose All the technology and expert pro - Country Club under the guidance of Kim Byron Berline, Roger Bush, Kenny Wertz Pedersen, 1. NOTHING BEATS GOOD , O LD FASHIONED the perfect amp setting after the fact! duction in the world will never make Weeks and Richard Burkett. The CD is and Kenny Wertz (Flying Burrito Brothers, HARD WORK FOR RESULTS I understand the concept and have an average song a great one, only a still available and is packed with great Country Gazette)? Last year the Squirrel It is my firm belief that with all the used it myself, but try this: Play marginally better one. A wonderful music from top San Diego and L.A. Barkers took home a well deserved talent and skill the Beatles had, it through the song one time through melody and an imaginative lyric that bands. Lifetime Achievement Award at the San was their work ethic that made them your currently preferred amp setup fits, well…they just might be a start In 2001 the San Diego Bluegrass Club Diego Music Awards. better and kept them prolific. They and do another take direct. If you was incorporated as a federal and state in the right direction. In 1962 Kenny left the Squirrel didn’t even start off doing their own don’t hear a difference in the feel tax-exempt non-profit 501(c)(3) corpora - Sven-Erik Seaholm is an award-winning produc - Barkers and went on to and dynamics, I’ll eat your copy of tion and its name was changed to the music! Though they had been writ - er and recording artist who has never attended a join Byron Berline, the white album. San Diego Bluegrass Society. This ing since very early on, George BeatleFest. He is currently working on a new Herb Pedersen, and enables the Society to accept tax- Martin told them their songs weren’t 5. GET IT RIGHT OR MAKE IT RIGHT album with his band, The Wild Truth bassist Roger Bush to exempt donations and grants and to pro - strong enough for him to go to bat The song “Strawberry Fields (www.thewildtruth.com), and trying not to look form Country Gazette in vide other operational benefits. The for them with the record company. sort of like John Lennon. 1971, playing guitar and Forever” (originally recorded for Sgt. Society partnered with the North County So instead of parting ways with him, sing the high har - Bluegrass and Folk Club to produce the they worked even harder. The fact monies. That same year Julian Bluegrass Festival for a couple of that your baby niece and your Kenny, Byron, and years, and in 2003 the two groups started grandmother probably both know a Roger joined the Flying their own Summergrass bluegrass festi - Burrito Brothers and Beatles tune says something for the val at the Antique Gas and Steam Engine appeared on their final results. Museum in Vista. This year the third album Last of the Red Hot Burritos . Banjo Here’s another one: While they annual Summergrass (August 26-28) has player Alan Munde then joined the trio were working on the Abbey Road a great lineup of music, headlined by the and they reformed Country Gazette, album, Paul showed the band the Nashville Bluegrass Band. Look for more recording the highly acclaimed Traitor in song “Oh! Darling, “ a bluesy torch information in this column as summer Our Midst album. Later Kenny played on number with a gritty, belted out approaches. Chris Hillman’s Morning Sky . vocal, which many believe to be one The Society’s current Board of Directors In the 1990s Kenny formed a new of Paul’s best. At the time Lennon includes Dwight Worden, president; Bob bluegrass band called Down the Road said to McCartney something along Pearson, vice president; Jason Weis, with locals Roger Gagos on mandolin, secretary; and Kit Birkett, treasurer, the lines of, “Well, you do the pretty Becky Green on electric bass, Kit Birkett along with Dee Dee Hansen, Gary stuff great, but we all know that I’m on guitar, and Kenny on banjo. They Kennedy, Hank Hiskes, and Vonnie Tatar the screamer, so I should do it.” Paul played for SDBS and at other local ven - filling out the Board of Directors. This is merely strengthened his resolve and ues and won the Pizza Band Competition an approachable group, so go ahead and showed up at the studio an hour at the Huck Finn Festival in Victorville, ask questions or share your opinions. We’d early every day that week to lay earning Down the Road a trip to love to hear from you. down vocals for it. By week’s end, he Kentucky for a showcase at the So, what can the SDBS do for you? finally nailed a take to his (and International Bluegrass Music Well, for a measly $20 per year you and everyone else’s) satisfaction…and he Association annual event. Not bad! your whole family can become members, was Paul McCartney . Kenny recently formed a new band netting you a copy of InTune magazine called 117º West, with Becky Green on 2. TRY IT! every other month, a copy of the SDBS bass, Dan Broder on guitar, Darren Weis The world’s most popular band Tweener on alternate months, flyers and on mandolin, and Kenny on banjo. They could have rested on its laurels, email alerts for all SDBS concerts and played at the Julian festival last year and played it safe, and just given the programs, access to BASC/SDBS weekly will play at Summergrass in August. Look email announcements, eligibility for a record company essentially another for some interesting “out of the box” free Bluegrass in the Schools program at version of the same album ad infini - material from 117º West. your school of choice, notices of camp- tum . Instead, they gave us perhaps If you want to know more about outs and other special events, and con - one of our greatest gifts. They par - Kenny, ask him. You will find him at many nection to many wonderful bluegrass layed their large budget and creative of the local SDBS events. 10 www.sandiegotroubadour.com San Diego Troubadour • March 2005 rraammbblliinn’’ s n e v e t S

e Radio k n Hosing Down i r B

: o t o h P Daze So my mediations themselves were by José Sinatra by Jim McInnes a waste of time; my purchase of the “The more things change, the more new CD set was proscribed by provi - they stray from uniformity.” dence if not exactly demanded by law. Runaway Freight — Michael Jackson Later at home I admire the neat row Train of skinny plastic spines — precious Jim McInnes “Do that to me one more time.” volume after volume containing (along The scintillating Mr. Sinatra — Tennille Dragon, Marylin Chambers, et al. with bootlegs) everything ever commer - t was in 1970 when I saw the flyer in a cafeteria at Southern Illinois University: I was scared! I told the other Soup(s), “I cially released by the flowery four from Christmas time. As a mere consumer, I had finally Wanted: Lead guitarist into Hendrix, don’t think this is gonna work. We should a time long ago when men were lucky Those who oppose the naked greed I bail now!” reached the last straw. The beautiful of so much repackaging these days will Clapton, Beck, and Blackmore to complete hot and heartbreaking lust was spelled We played. new CD I held in my hands while scan - sooner or later be tempted to start new rock band. Own equipment a must. I Michelle. All the repackaging over the As usual, our first song was our best. ning its voluptuous backside seemed to pointing fingers. My own personal vil - had recently purchased a Fender years hasn’t been particularly inventive, (“Ya gotta get ‘em to pay attention!” said be imploring me. “Buy me,” it cooed, lain began a trend that truly has Stratocaster and a Marshall amplifier the but it has been relentless and obviously size of a refrigerator, so I owned my gear, P.T. Barnum.) I turned the “refrigerator” up cooingly, “or you’ll regret it for the rest changed the modern entertainment lucrative. “California Dreaming” and I was into those guitarists (although and stomped the fuzzbox as we kicked into of your days.” industry. Yup, it was Steven Spielberg appears in all but three official titles. As playing like them was something else the Yardbirds version of “Train Kept a- My anger boiled; I resented the and his Close Encounters of the Third I mentioned earlier, two never-before- entirely). When I auditioned all I had to do Rollin’.“ increasingly bold erudition of modern Kind, the Special Edition . Reap millions released tracks appear among the 74 in was turn the “refrigerator” up to 10, step From where I was standing, the band commodities. from a popular product, tweak it a bit a the new, limited edition compendium. on the fuzz box, ride the sounded like a combination Must I obey and purchase it? Feeling The first is a 1966 a capella cover of year or so later and reap millions more. wah-wah pedal, and let of screeching brake shoes feverish, I stuck the CD in the back of Led Zeppelin’s “Stairway to Heaven,” a Deluge the public with something loose the shriek of the on a runaway freight train, the stack and turned to pace the aisles, song that actually would not even be they love so much, they have to buy it mutilated! Ten minutes solid mahogany furniture finally landing at the magazines rack written until several years later. For that and make it a part of their lives. Then, later I got the job. I was tumbling down a spiral where I could privately consider staircase, and the guy who reason alone it is an astonishing actually owning it, they learn to love it the lead player for The whether to buy the damned thing or wears the question mark accomplishment, but the song’s trans - even more. Wait a while. Then reissue Soup. not. With my back turned from it now, suit in those horrible “free formation into a Sousaic march is it (in a more expensive edition) with So now we were a and many yards away, its glossy face money from the govern - sheer, irrefutable genius. The innate extras or a bit of remastering. The fans band. There was me, Terry would not intrude into my deliberations. ment” cable TV commercials martial ambience of the lyric is here will surely end up buying that too. But if Broida on guitar and lead But its very title haunted me: you’re Spielberg, you won’t do com - vocals, Denny Olvera on bass, and a 16- — only on a helium jag. brought to the fore, and if this doesn’t We sounded horrible. The Complete, Ultimate, Essential mentary on the extra audio tracks. Save year-old kid named Charlie on drums. We (We Swear to God This Time) soon become our new national anthem, But the crowd went nuts . . . so to that for a future repackaging, and make practiced twice a week in a cement ware - The Mamas and the Papas then we must truly be living in a scary speak. Everyone ran onto the dance floor! a few hundred million more from the house until we were ready to face the pub - Without it, my gigantic home collec - country ruled by a maniac. The wizened old lady raised an arm and ran saps. Then by that time a new product lic. Denny got us a gig where he worked, tion of John, Denny, Cass, and Michelle The second new track does much to around like a dervish, screaming incoher - format will have caught on and the which was at the Chester (Illinois) Mental would be forever incomplete. With it, a bridge the gap between humanity and ently. The Rainman shook his arms and cov - whole process can be repeated. Health Center. It wasn’t a hip nightclub or a total of two short tracks among its celebrity. Surreptitiously recorded by big-stage outdoor show, but we had to ered his ears. Many of the guys danced like The completists are the real losers three disks would be the only new - John Phillips during the People Like Us start our career somewhere. guys, stepping to the beat between the here, their pockets draining into the comers to a most cherished wing of my sessions just outside the studio rest - On gig day (3 p.m. showtime!) we set three and four. And we received constant coffers of capitalist pigs who rut con - audio library. room door, we hear several minutes of up our gear in the Center’s cafeteria/audito - demands for “String of Pearls.” Finally we tentedly in their own rich slop. Among collectors (excluding deal - the frank results of a case of food poi - rium. As we carefully tuned our guitars to announced “String” and played “Train Kept Frankly, sometimes I want to squeal ers) there are basically two types that soning suffered by Michelle Phillips. Terry’s tuning fork (!), the orderlies began a-Rollin’“ instead. It didn’t matter; it all myself. But really, that’s probably for co-exist: the casuals and the com - With the addition of gentle, soft guitar escorting the audience to their seats. It was sounded the same. never having had the opportunity to It was incredible. A horrible gig by an pletists. Both exhibit admirable passion. arpeggios, what might have been an the kind of crowd you’d expect in a mental cause Michelle Phillips to do the same. awful band had made a difference to those Both are artistic and creative. And the embarrassment becomes a vibrant sort hospital: There was a “Rainman,” chatter - If I need deliverance, I’ll dream. folks! That was when I truly understood the casuals can often lead fulfilling lives. of water ballet, driven by forceful, stac - ing away at the guy pulling imaginary spi - magic of music. Completists expend inordinate cato-like bursts of energy. There was ders from his jacket; the wizened old Hear Jim McInnes weekdays on The Planet 103.7 amounts of energy finding and filling more in Michelle, certainly, than one woman sitting alone and rocking back and forth; and the guy who wouldn’t shut up 2-7pm and then again on Sunday nights 6-8pm voids. Like Bill Clinton in a way, but could have supposed. for his show The Vinyl Resting Place ® . Hear his about how much he really wanted us to without the cigars. I thank God I’m not As the very constitutional title of this band, Modern Rhythm, on April 2 at Humphrey’s play “String of Pearls” because he wrote it among them. latest collection attests, it’s going to Backstage Lounge from 6 to 8 p.m. and demons stole it from him. (Wait a Except when it comes to a handful take more than inventiveness and minute. That does sound like something a of subjects. A certain magazine, maybe, nerve to name the next repackaging of record company would do!) I guessed that or a movie. Or a group as delicious as M&P material, which I hear is tenta - the man who’d been in a coma for years tively scheduled for release around the Mamas and the Papas. was there for the vibrations. It was full of every stereotypical mental patient. In other words, it was an actual cuckoo’s nest .

www.sandiegotroubadour.com 11 March 2005 • San Diego Troubadour highway’s song TThhee RRoobbiinn NNoollaann TTrriioo CCoommeess OOuutt SSwwiinnggiinngg

by David Lang Earlier that year Robin had been favorable interest from both the to the annual Samois Festival de public and the music industry, f you like gypsy jazz and Jazz in France, where the leg - putting Robin Nolan on the map. haven’t heard the Robin Nolan endary Django Reinhardt is laid People all over the world could ITrio, you should . . . and you to rest, and fell in love with the now listen to his unique musical Robin Nolan Trio: Robin Nolan, Paul Meader, and Kevin Nolan can! Recognized as one of the musical style of the gypsy musi - voice. cians he had seen playing there. The quartet continued to per - world’s greatest gypsy jazz gui - many of the world’s biggest to Holland for a busy winter sea - During the summer the trio form and record throughout tarists, Robin Nolan and his names in music and show busi - son to wrap up the year’s events. busked around London with Europe over the next few years Amsterdam-based trio will be the ness. Immediately following the During the next year the band street performances in Covent and in 1994 was invited to play at guests of AcousticMusicSanDiego gig, Robin Nolan and his quartet booked dates in England, Poland, Garden and Leicester Square. the Django Reinhardt Festival in for a concert on March 4. flew to Barcelona for a return Sweden, Austria, Holland, Iceland, The following June, after Samois-sur-Seine, France. In a line While the group draws its series of concerts and street Germany, and Spain. attending the annual Django up populated by the most well- inspiration from gypsy jazz in the shows. The Robin Nolan Trio contin - Reinhardt Festival, the Trio added known proponents of gypsy jazz, style of Django Reinhardt and his In 1996 Marc Meader left the ues to tour, perform at jazz festi - the smooth brush sounds of the Robin Nolan Quartet received Hot Club de France, the trio has a group, and the band returned to vals around the world, and drummer Marc Meader and the a standing ovation from the the decidedly contemporary feel and the original line up of lead guitar, record. Robin Nolan Swing Quartet was festival audience, comprised of fire up their music with their own rhythm guitar, and acoustic bass. In October of 1999 the born. That summer, after a suc - 2,000 of the most knowledgeable expressive “je ne sais quoi.” In In June of that year the Robin rhythm guitar chair was again up cessful tour of Holland, the quar - fans. It also during this period demand all over the world, the Nolan Trio went on tour, playing for grabs, this time to be filled by tet decided upon Amsterdam as a that the group was hired to play Robin Nolan Trio have performed the coast to coast Canadian Jazz Robin’s younger brother Kevin home base. December 1992 saw at George Harrison’s estate several at the most prestigious interna - Festival circuit. They thrilled audi - Nolan. the band traveling to Barcelona times. Hired to play a Christmas tional events. The Beatles’ late ences from Toronto to Vancouver for a series of Christmas concerts concert, Robin and Marc wrote a George Harrison liked them so with their exciting brand of gypsy and street performances. In the new song for the Harrison family much, he hired them regularly to swing. new year the quartet returned to titled “Friar Park” to celebrate the play at private parties on the By the summer of 1997 the Amsterdam with the material well event. grounds of his English country trio was playing to sold out per - rehearsed for the spring recording Their third album was released estate. formances across Canada, includ - of their first CD. In May of 1993 in 1995, featuring three original In 1991 Robin Nolan was in ing a standing ovation at the they released their independent compositions by the band. Later London studying at the Guildhall world famous Montreal Jazz debut CD titled the Robin Nolan in the month the quartet was School of music and playing on Festival. Later that summer, the Swing Quartet . It was arranged, scheduled to appear for the first the jazz and contemporary music group played at both the Garden produced, performed, and paid time at the North Sea Jazz Festival scene. It was there he met Paul of England Jazz Festival and the for themselves. Recorded on a in Den Haag. That Christmas, Meader, who played acoustic bass, Barcelona Jazz Festival, returning and along with Anthony Williams cold winter’s day at Basement Harrison invited the band back to on rhythm guitar, who had Studios in Amsterdam it is a col - Friar Park for a concert that coin - already been a musical compan - lection of the band’s favorite cided with the release of the ion of Robin’s for several years, tunes at the time. The CD Beatles Anthology . It was a star- the Robin Nolan Trio was formed. received a considerable amount of studded occasion, attended by

12 www.sandiegotroubadour.com San Diego Troubadour • March 2005 of note

Carol Ames Mark Meghan La 7th Day The Gandhi Shades of Indigo Jackson Band Roque Buskers Method by Simeon Flick Love May Take the Drunk in a Kiss Fool’s Grass Hi Carol Ames has the slick Nashville affectation down so well Long Road Home by Tom Paine by Tom Paine by Craig Yerkes that it’s not hard to see why the Do you remember the Beatles song “West Virginia” recently by Simeon Flick On this seven-song EP Americana heavy hitters the 7th Meghan La Roque and producer Day Buskers pour timeless truths white album? I do. To me, that won grand prize in the 2004 John album connected two worlds of Lennon Songwriting Contest. Her There’s no reinventing the David Ybarra take you into an out of dusty old bottles that long wagon wheel here — just good urban landscape of sexual long - ago lost their labels. You can smell music making. Certain tracks crack ensemble leads Ames demonstrated sufficient studio through 12 tracks that are excel - old fashioned country music the ing, broken dreamers, and the the barn wood and the hay and way they used to make it. The closed fists of redemption. the new rain on the soil. You can magic to make it seem other- lent examples of the crossover worldly. Other tracks made you country that has been slowly twangy vocal harmonies shadow Skirting the edges of the hear the trees rustling in the twi - each other tightly in idiomatic inevitable comparisons to light. The warmth of the kitchen feel like you were sitting in the creeping out of Tennessee and same room. Hi , a new CD by the conquering the airwaves for well fashion, close yet relaxed, like Chrissy Hynde and Shirley light is pulling you in off the undercover cops on a tail. The Manson (of Garbage), La Roque porch. This is where American Gandhi Method, has that same over a decade now. dual effect and appeal. Any clichés in the writing — and harmonicas are wheezy and nos - proves herself a powerful rock music lives. talgic like a hobo huddled over vocalist whose languid heat Current holders of the San Some tracks feel close up and there are some albeit welcome intimate; others sound other - ones — are pleasantly swallowed this night’s campfire; the slide gui - turns closed fists into open Diego Music Awards Best tars croon languidly like a front hands. Americana Band trophy, the 7th worldly. For example, “Things up in the songs’ top-notch pro - Change” begins as a catchy, duction and musicianship. It’s as porch dog in a summer swelter; Often favoring trance and Day Buskers blend folk, bluegrass, the pedal-steel swoons like a long atmospherics over melody and and the best of the singer-song - straightforward acoustic rocker, though Ames knows she has the but then here come the back - world in the palm of her hand — echo up a dusty canyon; and the song craft, La Roque and Ybarra writer tradition. Pleasing live audi - lyrics are full of those beloved, draw us into a dream world of ences comes naturally to the ground vocals culminating in a even the fussy acolytes and jaded finely layered wall of sound that professional musician types will whimsical, often metaphorical beats and loops and bleeps and Buskers. Capturing that charm in twists and turns of phrase one has clicks and ghostly vocal effects. the recording studio is another transports us from the living room be waving unequivocally from her to Gandhis in the sky with dia - back pocket after hearing scintil - come to expect from this The alienation of the postmod - matter. But they did it. Minimal love-it-or-leave-it genre (Exhibit A: ern era is the alphabet soup overdubbing and the absence of monds. On “Justice” the subtle lating musical hat-tips like dime- addition of delayed vocal shouts stop dynamics, deft solos, and the title track). from which these songs are con - click tracks and auto tuners help You’ll find many country song structed. I like it. Give me a big - give this album its brutal authen - shifts the feel from in your face to occasional interesting-but-not-off- a dreamlike state. Throughout the putting time changes. Ames has archetypes represented here. ger spoon. ticity. But the recording technique There’s the rave-up barnburner For a limited time, this EP isn’t the album’s source of the recording, you will find constant such a polished record on her surprises as well as a deep, diverse hands that one might wish there (“Western Radio”), the mid-tempo includes a bonus track, a duet greatness. Its greatness lies in the tears-in-beer shuffle (“Pardon with Pete Thurston. It’s the old two core strengths of this band: pool of musical pleasure to draw were a little more inherent uncer - from. tainty to make things more excit - Me”), and the serene end-of-hoe - Nancy Sinatra chestnut their musical prowess and the down wind-down (the instrumen - “Summer Wine” performed to epic depth of Shawn P. Rohlf’s Chuck Schiele’s unmistakable ing. As it is, Shades of Indigo is guitar work provides the rhythmic kind of like being at a Harlem tal “Old Love’s Come Again”). An stunning effect. The good news song writing. excellent crossover moment is this is a great song. The bad Rohlf’s range as a writer is evi - and melodic backbone on Hi Globetrotters game. while Sven-Erik Seaholm is the stu - There’s an overwhelming sense comes during the last selection — news is that this is my favorite dent as he takes you through the the aforementioned “Western song on the record, and it made deadpan humor of “Sky Ain’t dio genius who adds his magical of professional imminence here. touches throughout. Cathryn Everything about this Candy Radio‚” which is billed as a me realize how much I really Soft” and “No’Dak Special,” then bonus live track; the bassist actu - missed melody and structure in turns hard into the pathos of Beeks provides the emotional cen - Coated Records release, down to ter to it all, using her powerful the flowery graphics, saccharine ally does a slap line in the song La Roque’s own material. “Backstage Johnny,” perhaps the and takes a nice lengthy slap solo But the bottom line is Drunk finest character study about a voice in all the right spots. Listen poses and the photo of Ames‚ to how Schiele’s stellar guitar dainty toenail-painted feet under - that funkifies the country like in a Kiss does a good job of cap - stage hand ever written. On “Last Cajun cooking spices up soul turing the passionate, smoky Tin Soldier” Rohlf marches fear - work on “Home” provides the neath the CD tray (?) seems to rock-solid anchor while Beeks pas - knowingly aspire to attainable food. power of La Roque’s live show. lessly into what in the hands of a Aside from a lack of twang in Sometimes it isn’t about clever lesser writer might seem trite, the sionately conveys the story and platinum success. One gets the Seaholm adds his subtle wizardry feeling that Ames will succeed Jackson’s vocals on some cuts, the lyrics or fresh melodies. utter futility and sadness of war. musicianship is crisp and concise, Sometimes the most powerful “Prodigal Son” conveys a familiar behind it all. because of — or despite — the On “Diva Supernova” you hear subtle artifice of exploited talent with lots of professional moments music is music that pulls you folk theme, namely an outlaw’s that boost the emotional impact into a dream world of almost mea culpa to his mother, saved the sum of the parts come alive in every aspect of this aurally with breathtaking harmony vocals enjoyable record. of the music. It’s easier to appreci - chilling cinematic clarity, a world from cliché by the profoundly ten - ate music when it’s been put where you think you don’t der sincerity of its voice and vivid on a track that must have been down right in the studio, and this belong, and then it pulls you in, slash and burn imagery of outlaw even more fun to record than to release definitely benefits from and its heart begins to beat with life. Rohlf’s stories stay with you listen to. “Cry Baby Blue” provides that care. yours and anger becomes long after the music stops. But, an instantly irresistible melancholy Good country music recalls the acceptance and you feel the oh, what glorious music. pop ballad that begs listening to road and the wide-open places of open hands of redemption The Buskers’ musical mastery is again as soon as it’s over. “Bring North America where country unbuttoning your jeans. made all the more stunning by Him” should be an instant hit music is all your radio can pick up Drunk in a Kiss is available at the complete absence of preten - with the ladies, but listen closely on a long sojourn through www.meghanlaroque.com and sion or flash. Laying it down hard so as not to miss the wonderful the heartland. This record www.rockyourecords.com. and true are Robin Henkel on guitar solo and the beauty of the emanates that laid-back road trip dobro; Melissa Harley on fiddle; lead vocal. vibe in spades. Ken Dow on upright bass and The artfully and intelligently harmony vocals; and Steve Peavey written lyrics more than do justice on mandolin, guitar, and harmo - to the level of musicianship, even ny vocals; with Shawn P. Rohlf if they sometimes lean rather playing guitar, banjo, and har - heavily in the direction of finger monica, and handling nearly all of pointing. the lead vocals. Hi impresses and delights with Fool’s Grass grows stronger with its sneaky, multi-layered, and each listen, setting its blooms heartfelt approach. You won’t high and lonesome above roots want to take Hi out of your CD that run deep into the American player once you put it in. soil. Available at www.7thday buskers.com. www.sandiegotroubadour.com 13 March 2005 • San Diego Troubadour ‘‘rroouunndd aabboouutt benefit o — for ieg Lo s WEEKLY n D u Curtis The Parting Glass (Celtic ensemble), a MARCH CALENDAR every sunday Turquoise Cafe-Bar Europa, 873 Turquoise nds e S St., 7:30pm. (every Wed. except Feb. 23.) Lik 7th Day Buskers , Farmers Market, DMV u parking lot, Hillcrest, 10am. Open Mic Night , The Packing House, 125 S. o Main St., Fallbrook, 8pm. tuesday • 1 Workshop , Acoustic Expressions, 2852 Mansfield, 7:30pm. 619/303-8176. Connie Allen , Old Town Trolley Stage, Twigg S University Ave., 7pm. Info: 619/280-9035. Andreamax Band/Campaign for Quiet , St. & San Diego Ave., noon-5pm. Open Mic Night , Twiggs, 8:30pm. Four Winds , North County Bluegrass/Folk Tejano/Latin jazz , Dizzy’s, 7pm. Lestat’s, 9pm. Traditional Irish Music , Tom Giblin’s Pub, 640 Highland Way , Tom Giblin’s Pub, 640 Grand Club Mtg., Round Table Pizza, 1161 E. Ave., Carlsbad, 8:30pm. Washington, Escondido, 7pm. Grand Ave., Carlsbad, 3pm. B.B. King/Lafayette & the Leasebreakers , tuesday • 8 monday • 14 Irish Dance , Dublin Square, 554 Fifth, 3pm. Pat Molley , Egyptian Tea Room, 4644 College Ave., 9:30pm. 4th & B, 8pm. “Dr. Banjo” Pete Wernick in concert , Dana Reason Trio , Athenaeum, 1008 Wall Celtic Ensemble , Twiggs, 4pm. Acoustic Expressions, 2852 University Ave., St., La Jolla, 7:30pm. Traditional Irish Music , R. O’Sullivan’s, 188 every thursday 7pm. Info: 619/280-9035. E. Grand Ave., Escondido, 4pm. wednesday • 2 Irish Music Class , Acoustic Expressions, Traditional Irish Music & Dance w/ 7th Day Buskers/Bartender’s Bible , wednesday • 16 2852 University Ave., 7-8pm. wednesday • 9 Cobblestone, 5-6:30pm/Boxty Band, 6:30- Casbah, 9pm. Kris Delmhorst , Acoustic Music S.D., 4650 10pm., The Field, 544 Fifth Ave. Sue Palmer , Martini’s, 3940 4th Ave., 7pm. Duffy/Kim DiVincenzo , Lestat’s, 9pm. Fabulous Thunderbirds , Belly Up, 7pm. Mansfield, 7:30pm. 619/303-8176. Jazz Roots w/ Lou Curtiss , 8-10pm, KSDS Open Mic Night , Just Java Cafe, 285 Third Myshkin’s Ruby Warblers & Gwendolyn , Rahim Alhaj , Dizzy’s, 8pm. (88.3 FM). Ave., Chula Vista, 7-10pm. Dizzy’s, 8pm. 21 Grams , Winstons, Ocean Beach, 9pm. thursday • 3 Open Mic Night , Blarney Stone Pub, 5617 Open Mic Night w/ Timmy Lee , The Packing Anna Troy/Alex Woodard , Lestat’s, 9pm. Tim Corley/Will Edwards/Nathan Aaron/ Balboa Ave., 9pm. House, 125 S. Main, Fallbrook, 8pm. Chris Carpenter/Michele Rae Shipp/Proper Jane Lui , Lestat’s, 9pm. Jive/Kellis David , Twiggs, 8:30pm. The Bluegrass Special w/ Wayne Rice , 10- Traditional Irish Music , Acoustic Expressions, 2852 University Ave., 8:15pm. Pete Thurston , Lestat’s, 9pm. thursday • 10 midnight, KSON (97.3 FM). High Grass Rollers , The Dog, Pacific Marina V/Proper Jive/Davida/Campaign for thursday • 17 Joe Byrne , Blarney Stone, Clairemont, monday 8:30pm. (also Fri. & Sat.) Beach, 9pm. Quiet , Twiggs, 8:30pm. Joan Enguita/Bridget Brigitte/Simply every Mt. Egypt/Matt Costa/Simon Dawes , Complex/Josie’s Ghost/Carol Ames/Mike Connie Allen , Old Town Trolley Stage, Twigg Clay Colton/B.J. Morgan , R. O’Sullivan’s, 188 Lestat’s, 9pm. Dawson/Free Range Chickens , Humphrey’s St. & San Diego Ave., noon-5pm. E. Grand Ave., Escondido, 8:30pm. friday • 4 Backstage Lounge, Shelter Island, 6:30pm. Tango Dancing , Tio Leo’s, 5302 Napa St., 8pm. Swing Thursdays , Tio Leo’s, 5302 Napa St., 9pm. Robin Nolan Trio , Acoustic Music S.D., friday • 11 Joe Cocker , Pala Casino Resort, 7:30pm. Open Mic Night , Lestat’s, 7:30pm. 4650 Mansfield, 7:30pm. 619/303-8176. Todd Martin/Meghan La Roque/Gabriella Brehon Law , Tom Giblin’s Pub, 640 Grand Fred Benedetti , Dizzy’s, 8pm. Chris Williamson CD Release w/ Nina Lalicata w/ John Randolph/Proper Jive , every tuesday Ave., Carlsbad, 9pm (also Fri. & Sat.). Gerber , The Center, 3909 Centre St., 7:30pm. The Hank Show , Cask & Cleaver, 3757 S. Twiggs, 8:30pm. Jazz, Latin Jazz, Bossa, & Blue , Turquoise Mission Rd., Fallbrook, 8pm. Connie Allen , Old Town Trolley Stage, Twigg Blue Largo , Pannikin, Flower Hill Mall, Del Acoustic Underground w/ Jimmy Patton , St. & San Diego Ave., noon-5pm. Cafe-Bar Europa, 873 Turquoise St. Call Mar, 8pm. Third Coast Jazz Trio , Pannikin, Flower Hill Lestat’s, 9pm. 858/488-4200 for info. Derek Evans/Brian Goodwin/Dave’s Son/ Mall, Del Mar, 8pm. M-Theory New Music Happy Hour , Whistle Stop, South Park, 5-7pm. Until John/Keri Highland/New Dadaists , Jackie Daum/Borne/Pete Nguyen/Keth every friday friday • 18 Zydeco Tuesdays , Tio Leo’s, 5302 Napa, 7pm. Twiggs, 8:30pm. Housel , Twiggs, 8:30pm. Connie Allen , Old Town Trolley Stage, Twigg Steve Feierabend/Friends , Dizzy’s, 8:30pm. Travis Davis/Curtis Peoples/Saba , Lestat’s, Jazz Big Band from Salpointe Catholic Open Mic Night , Cosmos Cafe, 8278 La St. & San Diego Ave., noon-5pm. H.S. , Dizzy’s, 8pm. Mesa Blvd., La Mesa, 7pm. Greg Laswell CD Release/Jackie Daum , 9pm. California Rangers , McCabe’s, Oceanside, Lestat’s, 9pm. Aimee Mann , Belly Up Tavern, 9:15pm. Jim Earp , Borders Books, 1072 Camino Del Open Mic Night , Crossroads Cafe, El Cajon, 4:30-9pm. Rio N., 8pm. 7pm. Jonny Lang Acoustic Band , 4th & B, 9pm. Clay Colton/Colin Beasley , R. O’Sullivan’s, Coyote Problem , The Packing House, 125 S. Traditional Irish Music , The Ould Sod, 7pm; 188 E. Grand Ave., Escondido, 8:30pm. saturday • 12 Main St., Fallbrook, 8pm. Blarney Stone, Clairemont, 8:30pm. saturday • 5 Irish Folk Music , The Ould Sod, 9pm. High Grass Rollers , Blind Melon’s, Pacific George Svoboda , Pannikin, Flower Hill Mall, Comedy Night w/ Mark Serritella , Lestat’s, Open Mic Night , Egyptian Tea Room & Mark Jackson Band CD Release/ Beach, 4pm. Del Mar, 8pm. 9pm. Smoking Parlour, 4644 College Ave., 9pm. Shadowdogs , Acoustic Expressions, 2852 Hooleyfest w/ Steve Poltz/Coyote Todd Martin/Josh Hall/Jennifer Lee/Curtis University Ave., 7pm. Problem/Bay City Rollers/Private Peoples/Hunter Harvey , Twiggs, 8:30pm. every wednesday Jazilla , Turquoise Cafe-Bar Europa, 873 Turquoise St., 9pm. Mark Spoelstra/Peggy Watson , San Domain/Sally’s Gap/FM Revolver, 2955 Bushwalla/Biddy Bums , Lestat’s, 9pm. Jamacha Rd., Rancho San Diego, 5pm. Joe Rathburn , The Galley, 550 Marina Pkwy, Dieguito United Methodist Church, 170 Chula Vista, 6:30-9:30pm. Calle Magdalena, Encinitas, 7:30pm. Jim Earp , Borders Books, 159 Fletcher every saturday Clay Colton/Craig Yerkes , Monterey Bay 858/566-4040. Pkwy., El Cajon, 7pm. saturday • 19 Connie Allen , Old Town Trolley Stage, Twigg Canners, Oceanside, 7pm. Gene Perry & Friends , Dizzy’s, 8pm. Pacific Camerata , St. Andrew’s by the Sea Temecula Bluegrass Festival w/ Byron St. & San Diego Ave., noon-5pm. Pride of Erin Ceili Dancers , Rm. 204, Casa Pat Metheny Group , Spreckels Theatre, 121 Episcopal Church, 1050 Thomas, 7:30pm. Berline, Sidesaddle, Donner Mountain, Talent Showcase w/ Larry Robinson & the del Prado, Balboa Park, 7pm. Broadway, 9pm. Calder String Quartet , First Unitarian Silverado, Andy Rau, High Wills, Suzie Train Wreck Band , The Packing House, 125 Hugh Gaskins/Matt Costa/Just John & the Church, 4190 Front St., 7:30pm. Glaze , 11am-7pm. Info: 951/694-6412. High Society Jazz Band , Tio Leo’s, 5302 S. Main St., Fallbrook, 8pm. Dude/Vavak/The Westgoing Zax , Twiggs, Gilbert Castellanos , Dizzy’s, 8:30pm. Hip Graffiti CD Release , Park Manor Suites, Napa St., 7pm. Clay Colton Band , Tom Giblin’s Pub, 640 Sixth & Spruce Sts., 7pm. 619/291-1234. 8:30pm. Martin Storrow/Ashley Matte/Reserved 16/ Sue Palmer Supper Club w/ Deejha Marie & Grand Ave., Carlsbad, 90pm. Berkley Hart , Lestat’s, 9pm. Will Edwards/Tim Mudd , Twiggs, 8:30pm. Dave Stamey , Acoustic Music S.D., 4650 Sharon Shufelt , Caffe Calabria, 3933 30th St., Christian/Gospel Open Mic , El Cajon. Info: Mansfield, 7:30pm. 619/303-8176. 6-8pm. Anya Marina/Ashley Matte , Lestat’s, 9pm. J.D., 619/246-7060. Jim Earp , Borders Books, 11160 Carmel Dr., sunday • 6 8pm. Omar Faruk Tekbilek , World Beat Cultural sunday • 13 Flutology , Neurosciences Institute, 10460 The Few/The Outline/Illusion 33 , Lestat’s, Center, 2100 Park Blvd., 8pm. 619/230-1237. Michael Tiernan CD Release w/ Sven-Erik John Jay Hopkins Dr., 8pm. 9pm. Dave Douglas & Nomad , Athenaeum Studio Seaholm/Coyote Problem/Crash Carter/ Peter Sprague/Pass the Drum , Dizzy’s, 8pm. of the Arts, 4441 Park Blvd., 8pm. Dennis Bergstrom , Belly Up Tavern, Solana Todd Martin/Tim Mudd/Jen Knight/Meagan friday • 25 Sara Petite , Lestat’s, 9pm. Beach, 4pm. Tubb , Twiggs, 8:30pm. Phil Caballero-Verde Quintet , Dizzy’s, 8pm. Robin Henkel Quintet , Dizzy’s, 7pm. Gregory Page , Lestat’s, 9pm. Primasi , Pannikin/Bookworks, Flower Hill Lucy Kaplansky , San Dieguito United monday • 7 Big Sandy & his Flyrite Boys/Golden Hill Mall, Del Mar, 8pm. Methodist Church, 170 Calle Magdalena, Ramblers/Buzzbombs , Casbah, 9pm. Harmonic Carlsbad Multicultural Arts Festival Encinitas, 7pm. 858/566-4040. Lauren DeRose/Carlos Olmeda/Rheanna Downey/Shaun & Chris , Twiggs, 8:30pm. through March 12. 760/434-2900. The Limeliters , Acoustic Music S.D., 4650 “Dr. Banjo” Pete Wernick’s Banjo sunday • 20 May River , Lestat’s, 9pm. Sez: Temecula Bluegrass Festival w/ Byron Berline, Sidesaddle, Donner Mountain, saturday • 26 Silverado, Andy Rau, High Wills, Suzie Glaze , 11am-5pm. Info: 951/694-6412. Spring Harp Fest , Harry Griffen Park, La Mesa, 11:30am-5:30pm. Women’s History Month Celebration w/ Danielle LoPresti/Alicia Champion/Saba/ Kevyn Lettau w/ Peter Sprague/Mike Jane/Cathryn Beeks/Julie Wolf/Drop Joy , Shapiro/Kenny Wild , Dizzy’s, 8pm. The Center, 3909 Centre St., 3pm. Kim DeVincenzo/J. Turtle/Pete Stewart/The Masayo Norikura & Robert Williams , Bittersweets/Ryan Auffenberg , Twiggs, Dizzy’s, 6pm. 8:30pm. Steve Gillette & Cindy Mangsen , Templar’s Diane Water/Carlos Olmeda , Lestat’s, 9pm. Hall, Old Poway Park, 7pm. 858/566-4040. Chris Smither , Dark Thirty House Concert, sunday • 27 Lakeside, 7:30pm. Info: 619/443-9622. Arman Birthday Bash , Lestat’s, 9pm. Byron Berline Band/Chris Stuart & Janet Beazley , Acoustic Music S.D., 4650 Mansfield, 7:30pm. 619/303-8176. monday • 28 Angela Correa CD Release , Lestat’s, 9pm. Siren’s Lure/Taylor Harvey Band/Bridget Brigitte/Big Fellas/For Ever After/Broken Silence/Dropjoy , Humphrey’s Backstage monday • 21 Lounge, Shelter Island, 6:30pm. Jean-Michel Pilc Trio , Dizzy’s, 8pm. tuesday • 29 wednesday • 23 Ronny Calo , Honey Bee Hive, 1409 C St., Not So Silent Film Festival screens Dr. 9pm. Jekyll and Mr. Hyde accompanied by the “Man stands in Teeny-Tiny Pit Orchestra , S.D. Museum of Art, Balboa Park, 6:30pm. wednesday • 30 his own shadow Kevin Hennessy & Friends , Dizzy’s, 8pm. Asleep at the Wheel , Belly Up Tavern, 7pm. Elvis Costello , 4th & B, 8pm. Caballeros Verde , Twiggs, 8:30pm. and wonders why thursday • 24 thursday • 31 it’s dark.” Dead Rock West , Meeting Grace, Normal Proper Jive/Alex Woodard/Kai Brown , Heights, 8pm. [email protected]. Twiggs, 8:30pm. — Zen saying Wayne Shorter Tribute , Dizzy’s, 8:30pm. Proper Jive/Joan Enguita , Twiggs, 8:30pm. 14 www.sandiegotroubadour.com San Diego Troubadour • March 2005 the local seen benefit o — for

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Gregory Page Marcia Claire Peter Bolland & Sven-Erik Seaholm Beppe Gambetta and Dan Crary www.sandiegotroubadour.com 15 FREE

THE ADAMS AVENUE BUSINESS ASSOCIATION PRESENTS THE 32 ND ANNUAL

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Los Alacranes Tomcat Courtney New Smokey Mountain Boys American Folk Singers: E-Z Mark The Rock Trio w/ Joey Harris Gregory Page & Tom Golden Hill Ramblers Tanya Rose Brosseau Patty Hall San Diego Cajun Playboys Los Californios Larry Hanks & Mike Marker 7th Day Buskers Roy Ruiz Clayton Robin Henkel Anna Troy High, Wide, & Handsome Mimi Wright Schedule and performers subject to change. SAN DIEGO ROUBADOUR Alternative country, Americana, Troots, blues, folk, gospel, jazz, FREE and bluegrass music news

Music produced by Lou Curtiss and Folk Arts Rare Records. Music Info: (619) The City of San Diego 282-7833. Booth rentals: 619/282-7329.