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Down at the Santa Clara Convention Center on a Thursday evening. A ways to go for a weeknight show but I had an early work shift anyway - so managable. And it was a way to get a taste of the conference without actually being able to go. I decided that I couldn't spare the money to attend this year, even though I'd had a memorably good time when it was held in Sacramento a few years ago. And even though we'd just recently seen a full concert by Houston Jones, I knew that Jeff was interested in seeing Blame Sally perform live.
The cost: $10 bucks - the line-up: Blame Sally, Houston Jones, Kathy & Carol, Caren Armstrong and Stevie Coyle. Such a deal. Over early supper at home I noticed that the show was supposed to start at 6:30pm - oh no! But we got there in time, enjoying the benefit of the carpool lanes on 880.
I expected that attending just this show instead of the whole conference would be something like lurking in a chat room and that everyone around you would be there for the schmooze and not me. But of course I saw a few friends from CCMC right off - Melissa Dinwiddie sporting her one crutch "look," Midyne Spear, Nancy Cassidy who was helping with the event organization this year, and some friends of theirs. We ran into Toby Roodman who remembers "all" my names even though I haven't seen him for some time - that was nice. Talked to Tim of the Freight, Jeff got the Giants' final score from drummer Peter Tucker just before they went on and Chris Kee also gave us the nod of recognition. Chatted a moment with Caren Armstrong who remembered me and got nice smiling hugs from Stevie Coyle. The unexpected schmooze op was sitting next to a couple of KVMR djs for the show. They were friendly and really started getting chatty by the time Kathy & Carol came up. They liked their "old school" folk sounds - maybe too these women were more in their age range than Blame Sally and their modern rock looks and energies. So I jotted down Carol McComb's name and their band's name, and my name on my CCMC business card for both of them. And I got the invitation to send them my own CD for station consideration. Actually that was quite nice, I'm not sure I ever got to KVMR during the heyday of my Folk DJ-list hobby.
The show: our favorite of Caren Armstrong's three songs was the one she wrote on commission for a biker's big birthday and we got the chance to tell her so. It was interesting to see that she now has an upright bassist playing with her - think his name is Josh Zucker - he's quite good and sings harmonies as a bonus. I think its a good move for her.
Blame Sally - this was the new-to-him act for Jeff to see. We enjoyed their set a lot, overall. Whats really cool about these guys is how orchestrated they are - someone among them (or all of them?) has a flare for producing and arranging material in an interesting way. In a way, I like seeing how the put together the sounds in person better than I like the songs. Does that observation sound weird? Its when the guitar doubles as a percussion instrument during a moment when everything drops to just 4 women singing + all on percussion. Or when you see in person that the main percussionist/drummer is actually doing powerful lead or backup vocals at the same time as keeping the beat. In fact, Pam Delgado is kind of the "one to watch" in this band IMHO, along with guitarist/mandolinist Jeri Jones. And now they have a very able guy bassist who played a 6-string electric bass. So too bad for us to have an amp the corner of the stage blocking our view of the bassist and Pam's percussion kit. The amazing thing is how much she gets out of such small "drums."
More to come....
Saturday, October 23, 2010
Sunday, October 17, 2010
Frisky Frolics played Alameda 10/16/2010
Christa invited us to join she and Roxie at Alameda's German Restaurant, Spiesekammer, for the Saturday night entertainment, a "ukulele-driven" band called "Frisky Frolics." We said it sounded like a good idea for us, as our crazy schedule had finally started to wind down. The evening was interesting to me since it would mean hanging out with people I'm really just getting to know, even though we've been acquainted for several years and in my many years living in Alameda, I had never been to that restaurant. Oh and no cover? Well what a treat for us budget folks.
The music sounded interesting because it promised to be Tin Pan Alley stuff and I was unfamiliar with Rick Quisol, the bandleader, aka The Dimestore Dandy - on uke, vocals and homemade kazoo. I visited his website and noted immediately his mention of a song called "My Canary's Got Circles Under His Eyes." This was one of those oddball things that pops into your radar twice within a 24-hour period and you sit up and take notice, wondering more. This same song title was on Richard G's list of songs that I looked at the day before, most of which were quite modern, but this obviously old song was a new one on me, and promised to be a quirky one. Soon after I noted on Rick's website that my friends Chuck Ervin and Tony Marcus sometimes sit in with the Frisky Frolics, I was convinced that we were in for a good evening's entertainment. Then I spotted Chuck's FB post that indeed, he and Tony were to sit in that very evening in Alameda. All great stuff.
We arrived early enough to say chat for a few minutes with Tony and Chuck while they hurried through their dinners and set up. Tony mentioned to me that the band had actually not played together before in quite this configuration. Rick came in looking the part: a slim figure with slicked dark hair, his hat rakishly tilted to one side, vest, slacks and black and white shoes designed to look as though he had spats covering the tops. We had front row seats. After I bit, I put some money in the hat and asked for "that Canary song." Rick was surprised saying "Oh, because you heard it last time?" And I strung him along telling him "Nope, wasn't here last time." Chuck found the chart and off they went. I liked it enough that I will look it up again later. And during their break I introduced myself to the bandleader and explained how I'd seen that song title twice in the same 24-hour period so wanted to hear it. He said that Chuck had also commented on it earlier.
Said "hi" to Sylvia who was also in the audience and she was among those spurring me on when Rick asked for a maracas player to step forward. Now, I actually haven't played maracas since like, high school, when we had a small set of maroon maracas I think we got on a trip to Mexico c. 1969. And in high school there wasn't anything I could do seriously with them since I was always anchoring the guitar role when singing with Mom. And besides, playing maracas at all would be just dorky. Nobody's played maracas since Davy Jones and the Monkees went off the air. But I figured, hey, 2/3 of the band are my friends and Rick probably only had hopes that this audience participation moment would at least find a person who at least wasn't too drunk to not mess up the rhythm. So, egged on by CCMC-types, I of course stepped forward in a flash. And hadn't been drinking at all, as usual, so my chances at keeping the rhythm were actually fairly high.
SO - how did it go? It was fun. Maracas are kinda like "eggshakers on a stick" as I expected. The challenge is that you have to learn how to move your hand slightly ahead of the beat so that the swoosh hits on time and not late or early. Like a "ba-dump" but only the "ba" is subtle. I think maybe an eggshaker is more reponsive to your movement because there's no stick attached to that which you move, stop, and hear the swoosh. I played my sideperson's role, focussing my eyes on the singer who set the clock with the uke and directed traffic. I remembered to smile. I listened to the bass behind me best I could. And I raised my arms slightly while I tried to remember what it was that maracas players actually did with the two shakers. It was hard to think about that while also trying to keep my movement just ahead of the beat so at least I wouldn't be late. I changed to double time on the right hand during the guitar solo. I didn't worry too much about my left hand maraca, just letting that one emphasize selected beats covered by the right hand already. Oh and then they gave me a maracas solo -- ha! well whatever - we all got through those measures of time till the rest of the players came back to rescue me. When they were packing up, I asked Rick what the name of the song was since I had never heard it before and immediately forgot what it sounded like after it was over. I guess I was concentrating fairly hard while putting on that big sideperson's smile. The answer was: "Perfidia." Will have to look that one up now. Christa said on my FB that now they'll have to start calling me "Carmen" and I suppose that will mean I'll have to figure out how to wear a fruit turban too.
Rick Quisol is a drummer by trade mostly. That thought passed through my head while I was playing percussion for his song. He got Tony to play and sing a couple songs and Chuck even got one song. When they took the vocal spot, Rick pulled out an old suitcase set up as a percussion station and used drumsticks to play: two different sized round, wooden Chinese? woodblocks like Topher has a collection of, and one rectangle one. A small cowbell to round it out. I thought he might have a kick pedal inside the suitcase too but perhaps not. He was very comfortable and seemed to almost enjoy himself more as a percussionist. As a uke player he wasn't taking solos - his regular solos were with the homemade kazoo-can which was hitched up on his neck like a harmonica would be. I'll bet he's very good on the traps.
During the three hour set, Tony did some stellar soloing as one might imagine. He only used the charts that Chuck was following for one song. The rest he pretty much just knew or could follow the patterns. Rick was using all first position chords and later commented that he has been playing uke for about 10 yrs. It seems that he's gotten a lot of mileage out of his nice koa soprano - the same brand as played by Jake. All three had these cool extra-small amps to play through.
They didn't repeat any songs. Later I pondered for a few minutes how this German restaurant is embracing the speak-easy motif, perhaps the movie "Life is a 'Cabaret' old chum" kind of era. But there was the looming WWII thing throughout that movie too as I recall. And this band played a lot of '40s-era songs. Oh well its funny how the Tin Pan Alley/swingy stuff just gets all smooshed together at this point. To those of us who weren't there through it, everything sounds pretty similar from the '20s through the first half of the '50s. Even some '60s songs have this old fashioned patina that makes them fit in with the other stuff. I didn't grow up listening that much to Sinatra or earlier-than-that. I have a deep fondness for the rather schlocky '50s pop that my Mom liked and owned 45s - but those weren't the "standards." I am learning the standards slowly but surely and I want to be able to perform more of them myself. I know that Tony Marcus, swing scholar, was right there in front of me in 7th heaven all night long anyway.
It was nice that the Giants game concluded, us winning, just before the music was scheduled to start. Christa and Roxie, Jeff and I enjoyed our German dinners - all ordered from the "Recession menu" which didn't mean that we still didn't drop some cash there. But it was reasonable that way - I think we put down $45 to cover our dinners, salads, shared dessert, coffee and his pseudo-beer, tax and tip. The food was tasty and not too much of one thing. Someone we lucked out further and got a parking spot right in front of the place. Sylvia and Chuck were both glad to see us. Chuck and Jeff chatted about Jeff joining Chuck's upcoming bass class. Tony was glad to see us too. I was glad that all of us at our table right in front were all into watching and listening to the music rather than talking.
Bottom line - thumbs up on the restaurant, the company, the food and the entertainment.
The music sounded interesting because it promised to be Tin Pan Alley stuff and I was unfamiliar with Rick Quisol, the bandleader, aka The Dimestore Dandy - on uke, vocals and homemade kazoo. I visited his website and noted immediately his mention of a song called "My Canary's Got Circles Under His Eyes." This was one of those oddball things that pops into your radar twice within a 24-hour period and you sit up and take notice, wondering more. This same song title was on Richard G's list of songs that I looked at the day before, most of which were quite modern, but this obviously old song was a new one on me, and promised to be a quirky one. Soon after I noted on Rick's website that my friends Chuck Ervin and Tony Marcus sometimes sit in with the Frisky Frolics, I was convinced that we were in for a good evening's entertainment. Then I spotted Chuck's FB post that indeed, he and Tony were to sit in that very evening in Alameda. All great stuff.
We arrived early enough to say chat for a few minutes with Tony and Chuck while they hurried through their dinners and set up. Tony mentioned to me that the band had actually not played together before in quite this configuration. Rick came in looking the part: a slim figure with slicked dark hair, his hat rakishly tilted to one side, vest, slacks and black and white shoes designed to look as though he had spats covering the tops. We had front row seats. After I bit, I put some money in the hat and asked for "that Canary song." Rick was surprised saying "Oh, because you heard it last time?" And I strung him along telling him "Nope, wasn't here last time." Chuck found the chart and off they went. I liked it enough that I will look it up again later. And during their break I introduced myself to the bandleader and explained how I'd seen that song title twice in the same 24-hour period so wanted to hear it. He said that Chuck had also commented on it earlier.
Said "hi" to Sylvia who was also in the audience and she was among those spurring me on when Rick asked for a maracas player to step forward. Now, I actually haven't played maracas since like, high school, when we had a small set of maroon maracas I think we got on a trip to Mexico c. 1969. And in high school there wasn't anything I could do seriously with them since I was always anchoring the guitar role when singing with Mom. And besides, playing maracas at all would be just dorky. Nobody's played maracas since Davy Jones and the Monkees went off the air. But I figured, hey, 2/3 of the band are my friends and Rick probably only had hopes that this audience participation moment would at least find a person who at least wasn't too drunk to not mess up the rhythm. So, egged on by CCMC-types, I of course stepped forward in a flash. And hadn't been drinking at all, as usual, so my chances at keeping the rhythm were actually fairly high.
SO - how did it go? It was fun. Maracas are kinda like "eggshakers on a stick" as I expected. The challenge is that you have to learn how to move your hand slightly ahead of the beat so that the swoosh hits on time and not late or early. Like a "ba-dump" but only the "ba" is subtle. I think maybe an eggshaker is more reponsive to your movement because there's no stick attached to that which you move, stop, and hear the swoosh. I played my sideperson's role, focussing my eyes on the singer who set the clock with the uke and directed traffic. I remembered to smile. I listened to the bass behind me best I could. And I raised my arms slightly while I tried to remember what it was that maracas players actually did with the two shakers. It was hard to think about that while also trying to keep my movement just ahead of the beat so at least I wouldn't be late. I changed to double time on the right hand during the guitar solo. I didn't worry too much about my left hand maraca, just letting that one emphasize selected beats covered by the right hand already. Oh and then they gave me a maracas solo -- ha! well whatever - we all got through those measures of time till the rest of the players came back to rescue me. When they were packing up, I asked Rick what the name of the song was since I had never heard it before and immediately forgot what it sounded like after it was over. I guess I was concentrating fairly hard while putting on that big sideperson's smile. The answer was: "Perfidia." Will have to look that one up now. Christa said on my FB that now they'll have to start calling me "Carmen" and I suppose that will mean I'll have to figure out how to wear a fruit turban too.
Rick Quisol is a drummer by trade mostly. That thought passed through my head while I was playing percussion for his song. He got Tony to play and sing a couple songs and Chuck even got one song. When they took the vocal spot, Rick pulled out an old suitcase set up as a percussion station and used drumsticks to play: two different sized round, wooden Chinese? woodblocks like Topher has a collection of, and one rectangle one. A small cowbell to round it out. I thought he might have a kick pedal inside the suitcase too but perhaps not. He was very comfortable and seemed to almost enjoy himself more as a percussionist. As a uke player he wasn't taking solos - his regular solos were with the homemade kazoo-can which was hitched up on his neck like a harmonica would be. I'll bet he's very good on the traps.
During the three hour set, Tony did some stellar soloing as one might imagine. He only used the charts that Chuck was following for one song. The rest he pretty much just knew or could follow the patterns. Rick was using all first position chords and later commented that he has been playing uke for about 10 yrs. It seems that he's gotten a lot of mileage out of his nice koa soprano - the same brand as played by Jake. All three had these cool extra-small amps to play through.
They didn't repeat any songs. Later I pondered for a few minutes how this German restaurant is embracing the speak-easy motif, perhaps the movie "Life is a 'Cabaret' old chum" kind of era. But there was the looming WWII thing throughout that movie too as I recall. And this band played a lot of '40s-era songs. Oh well its funny how the Tin Pan Alley/swingy stuff just gets all smooshed together at this point. To those of us who weren't there through it, everything sounds pretty similar from the '20s through the first half of the '50s. Even some '60s songs have this old fashioned patina that makes them fit in with the other stuff. I didn't grow up listening that much to Sinatra or earlier-than-that. I have a deep fondness for the rather schlocky '50s pop that my Mom liked and owned 45s - but those weren't the "standards." I am learning the standards slowly but surely and I want to be able to perform more of them myself. I know that Tony Marcus, swing scholar, was right there in front of me in 7th heaven all night long anyway.
It was nice that the Giants game concluded, us winning, just before the music was scheduled to start. Christa and Roxie, Jeff and I enjoyed our German dinners - all ordered from the "Recession menu" which didn't mean that we still didn't drop some cash there. But it was reasonable that way - I think we put down $45 to cover our dinners, salads, shared dessert, coffee and his pseudo-beer, tax and tip. The food was tasty and not too much of one thing. Someone we lucked out further and got a parking spot right in front of the place. Sylvia and Chuck were both glad to see us. Chuck and Jeff chatted about Jeff joining Chuck's upcoming bass class. Tony was glad to see us too. I was glad that all of us at our table right in front were all into watching and listening to the music rather than talking.
Bottom line - thumbs up on the restaurant, the company, the food and the entertainment.
Sunday, March 7, 2010
James & The Mighty Uke
Tuesday, February 22, 2010
Documentary film "The Mighty Uke" with appearance by director Tony Coleman and performance by James Hill following the film.
Rafael Film Theatre, San Rafael, CA
It was a dark and stormy night and I was tired from a busy busy weekend leading the CCMC Winter Retreat. Running late on the highway, I weighed the pros and cons of turning around and going home instead of going by myself to the film. But everyone had been talking about it on the CCMC list serve and how could I miss a chance to see James and watch him perform? I made it about 15 minutes into the film and walking into the dark theatre I saw James standing against the back wall and said "hi" first thing. Then I sat near longtime CCMC-er Bob Richard and his ladyfriend - I need to send Bob his $6 that I borrowed to be able to buy a T-shirt to commemorate the evening.
The movie is very cool and I'm hoping that it makes its way to a larger audience. I wouldn't mind seeing it all over again or owning it. When I think of all the people who could have appeared in it, I realize how much they could only scratch the surface. Very entertaining.
Then James put on a wonderful performance. His slow and deliberate and new-to-me version of "Five Foot Two" brought new depth to a very old song. If I hadn't seen his "Chopsticks" improv several times, I might have thought it was done with hidden looping - it seemed better than before. I thought he provided a very balanced short show, highlighting a lot of his many talents. I like it that he's doing more singing as I think he has a very good voice and some great delivery.
I kicked myself for not bringing a ukulele with me to play in this beautiful theatre along with the many others who remembered to do so. I sang along anyway. I chatted with several other moviegoers afterward including ukulele luthier Mike DaSilva and his nice gal and made an acquaintance with a friend of James' named Terry. Now I have to track down where I put her contact info. I'm glad I went and didn't let the rainy night scare me off. Wisht I could go again to Santa Cruz where the uke's will be out en force on Thursday. But had to be happy with this event.
Documentary film "The Mighty Uke" with appearance by director Tony Coleman and performance by James Hill following the film.
Rafael Film Theatre, San Rafael, CA
It was a dark and stormy night and I was tired from a busy busy weekend leading the CCMC Winter Retreat. Running late on the highway, I weighed the pros and cons of turning around and going home instead of going by myself to the film. But everyone had been talking about it on the CCMC list serve and how could I miss a chance to see James and watch him perform? I made it about 15 minutes into the film and walking into the dark theatre I saw James standing against the back wall and said "hi" first thing. Then I sat near longtime CCMC-er Bob Richard and his ladyfriend - I need to send Bob his $6 that I borrowed to be able to buy a T-shirt to commemorate the evening.
The movie is very cool and I'm hoping that it makes its way to a larger audience. I wouldn't mind seeing it all over again or owning it. When I think of all the people who could have appeared in it, I realize how much they could only scratch the surface. Very entertaining.
Then James put on a wonderful performance. His slow and deliberate and new-to-me version of "Five Foot Two" brought new depth to a very old song. If I hadn't seen his "Chopsticks" improv several times, I might have thought it was done with hidden looping - it seemed better than before. I thought he provided a very balanced short show, highlighting a lot of his many talents. I like it that he's doing more singing as I think he has a very good voice and some great delivery.
I kicked myself for not bringing a ukulele with me to play in this beautiful theatre along with the many others who remembered to do so. I sang along anyway. I chatted with several other moviegoers afterward including ukulele luthier Mike DaSilva and his nice gal and made an acquaintance with a friend of James' named Terry. Now I have to track down where I put her contact info. I'm glad I went and didn't let the rainy night scare me off. Wisht I could go again to Santa Cruz where the uke's will be out en force on Thursday. But had to be happy with this event.
Wednesday, March 3, 2010
The Wailing Jennys 3/2/2010
This show was added to the Freight & Salvage schedule late, after the Friday 3/5/10 show sold out so early. Then I dilly-dallied around and failed to get a ticket for the Tuesday 3/2/10 show before it sold out in advance too. Even though I'm not that well-versed in the band's sound, I decided I was going to see this show and went to Berkeley as early as I could after work. I walked the line couple times looking for a spare ticket. When I got to the end of the line, Liz & Amy F walked up - I wasn't surprised to see them but wasn't aware they were coming either. I hung out with them for a few minutes before setting out again to buy a ticket if I could. In a few minutes I found Patrice and asked her if she knew anyone with a spare ticket - YES! three steps away was the score! I presented exact change and merrily went back to Amy & Liz. Meanwhile Joan showed up and our impromptu gang for the evening was assembled.
Its by no mistake that this band could sell out in advance the new 440-seat Freight - twice in the same week. Their harmonies are incredibly perfect and they haven't toured at all for 1 1/2 years. Their instrumentation is interesting - for example, a song might include bass, fiddle, accordion, and mini-drum-kit. Often the instrumentation is minimal as the voices made the chords so perfectly, almost everything else seemed more percussive or there for a rhythmic touch rather than chordal support. In a few short years, their "This is the Sound of One Voice" song has almost reached "classic folk" status. There's one guy in the band who is plays fiddle and they don't give him a mic to talk. He adds a nice touch and seems to blend well with the band but its kind of interesting that the band has chosen to add him and his instrument as the non-singing band member. Two of the others especially do extra duty, Nicky, mother of seven month-old twins, sings many of the tough middle/low harmony parts while simultaneously playing a snare and soloing on a harmonica held in a holder. Ruth, the soprano, switches between clawhammer banjo, bodhran, accordion and guitar. Now thats talent *and* resourcefulness! Besides the sounds, the words were darn good and all are good songwriters. I really liked several of the "new songs" and I plan to get a copy of the new CD which should be out later this year.
It seemed like we knew bunches of people in the audience, who, on a Tuesday night, almost all stayed for both sets. Karen K, Charlotte, Gary and Karen's new beau were in the last row of the house. Patrice and Tony, Deidre and Alec, Connie D nearby. Heather S is a friend of the band and was selling merch for them and taking photos. Some people we know who love harmonies and perfect timing should have been there but weren't. Wish I could do it all over again on Friday but that will have to wait until they come back again. When we saw them a few years ago at Strawberry, I kind of missed their impact. Amy made a recording there of their performance and she gave me a copy on CD. I'll have to track that down, seems like I saw it somewhat recently while trying to organize the CD collection. Sure glad I scored that ticket and could spend a great evening with my friends. Its a little surprising how high Freight tickets are becoming - $26.50 for tonight was pricier than most.
The last song was one of many a cappella pieces, sung by the three women in a perfectly silent house without amplification. Throughout the night, under the soft light of the candle-like chandeliers, the crowd was totally hushed, silent, even a few beats just after a song finished. It felt like a trio of angels singing in church.
Its by no mistake that this band could sell out in advance the new 440-seat Freight - twice in the same week. Their harmonies are incredibly perfect and they haven't toured at all for 1 1/2 years. Their instrumentation is interesting - for example, a song might include bass, fiddle, accordion, and mini-drum-kit. Often the instrumentation is minimal as the voices made the chords so perfectly, almost everything else seemed more percussive or there for a rhythmic touch rather than chordal support. In a few short years, their "This is the Sound of One Voice" song has almost reached "classic folk" status. There's one guy in the band who is plays fiddle and they don't give him a mic to talk. He adds a nice touch and seems to blend well with the band but its kind of interesting that the band has chosen to add him and his instrument as the non-singing band member. Two of the others especially do extra duty, Nicky, mother of seven month-old twins, sings many of the tough middle/low harmony parts while simultaneously playing a snare and soloing on a harmonica held in a holder. Ruth, the soprano, switches between clawhammer banjo, bodhran, accordion and guitar. Now thats talent *and* resourcefulness! Besides the sounds, the words were darn good and all are good songwriters. I really liked several of the "new songs" and I plan to get a copy of the new CD which should be out later this year.
It seemed like we knew bunches of people in the audience, who, on a Tuesday night, almost all stayed for both sets. Karen K, Charlotte, Gary and Karen's new beau were in the last row of the house. Patrice and Tony, Deidre and Alec, Connie D nearby. Heather S is a friend of the band and was selling merch for them and taking photos. Some people we know who love harmonies and perfect timing should have been there but weren't. Wish I could do it all over again on Friday but that will have to wait until they come back again. When we saw them a few years ago at Strawberry, I kind of missed their impact. Amy made a recording there of their performance and she gave me a copy on CD. I'll have to track that down, seems like I saw it somewhat recently while trying to organize the CD collection. Sure glad I scored that ticket and could spend a great evening with my friends. Its a little surprising how high Freight tickets are becoming - $26.50 for tonight was pricier than most.
The last song was one of many a cappella pieces, sung by the three women in a perfectly silent house without amplification. Throughout the night, under the soft light of the candle-like chandeliers, the crowd was totally hushed, silent, even a few beats just after a song finished. It felt like a trio of angels singing in church.
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