Thursday, December 5th at 8pm
2560 N. Beachwood Dr., Hollywood
or mail check to:
PO Box 55051
Sherman Oaks, CA 91413
Tom Paxton and Tonto Ride Again
In Concert at McCabe’s - November 23rd, 2013
Tom Paxton may be the daring and resourceful masked songwriter of the plains, but the Lone Ranger doesn’t ride alone. In his most recent concert appearance at McCabe’s last Saturday he was accompanied throughout by LA’s master multi-instrumentalist Fred Sokolow—who played dobro, banjo, guitar and mandolin to add musical depth and texture to Paxton’s deep catalogue of wonderful songs going all the back to 1960, when he came out of Uncle Sam’s Army with his first keeper—The Marvelous Toy, a children’s classic that is now also a beautifully illustrated children’s book.
Lillian Dolores “Dolly” Martin
(October 24 1942- November 10, 2013)
Dolly Martin was a dancer. She embodied and did what Whitman was telling us to be and do. She was a doer, a dancer, a golfer, a wife , a mother, grandmother and an actor- both onstage and off. When she was present, wherever it was, you knew it.
The Monday before last, at the music seisiún ,the night after Dolly died, Barry Lynch, former Artistic Director of An Claidheamh Soluis/The Celtic Arts Center, fondly remembered, “When Dolly was in the audience, you always knew it. You could hear her laugh.” He also said that when you were rehearsing, if she was acting with you she wouldn’t hesitate to tell you what she thought, something I have experienced myself, and in Tim’s, Dolly’s husband’s, case, she also wouldn’t hesitate to tell him exactly how he could do it better!
Lillian Dolores Martin, born Murray, one of ten children born to Thomas and Mary Murray, grew up on Stanaway road in Dublin, with five sisters and four brothers. Her sister, Anna Gossain, says she was beautiful from the day she was born. Anna remembers her mother saying about Dolores, ”If you put a sack on her she’d look beautiful but you’d want Brown Thomas’s of Grafton Street for Anna to look anything”!
AUTHOR: DONALD COHEN
PUBLISHER: MUSIC SALES AMERICA
RELEASE DATE: FEBRUARY 2013
My friend Donald Cohen has written a new book about Gypsy Music called Gypsy Voices: Songs from the Romani Soul. It is his third book about music; his earlier books include Fado Português: Songs from the Soul of Portugal and Tango Voices: Songs from the Soul of Buenos Aires and Beyond.
Like the earlier volumes, Gypsy Voices is filled with wonderful photographs, commentary on all 21 songs on the cd that comes with it, lyrics translations, and even sheet music. It’s everything that a music fan could want. It also was a labor of love, involving many difficult choices among the thousands of songs in the Roma diaspora (Macedonia, Russia, Greece, Romania, Bulgaria, Hungary, Czech Republic, Serbia).
The Roma people have been misunderstood and maligned for centuries, experiencing repression and rejection wherever they went. Yet they have endured. Originally from Northwestern India, they were called “gypsies” because of their dark skin: people thought they came from Egypt. The word “gyped” as in “The salesperson gyped me…” (meaning ripped off) is an example of the negative attitude.
TITLE: 150 GEMS OF IRISH MUSIC FOR TIN WHISTLE:
WITH SUGGESTED ORNAMENTATION AND PHRASING
AUTHOR: GREY LARSEN
PUBLISHER: MEL BAY PUBLICATIONS
RELEASE DATE: 2013
Grey Larsen’s third instructional book and tune collection for the tin whistle (also known as the pennywhistle) presents a comprehensive explanation of pennywhistle performance in addition to a notated selection of 150 Irish dance tunes with suggested ornamentation. Following a similar organizational structure as his first two books, the first section of 150 Gems of Irish Music for Tin Whistle offers a concise explanation of pennywhistle technique as well as more detailed discussions of ornamentation, phrasing, and tune structure. It is assumes that the reader already has a familiarity with the basics of Western staff notation.
The 150 tunes included within Larsen’s book are divided into three groups based upon whether they are a) perfectly amenable to performance on whistle, b) non-wind in origin, or c) suitable for performance on whistles in keys other than “D,” the most common key for pennywhistles. This is a departure from the majority of tune collections, which are more typically organized by difficulty or tune type. Larsen’s choice to organize tunes in this manner, however, illustrates his commitment to developing a guide specifically for pennywhistle rather than another generic tune collection.
Conveniently included with Larsen’s book are two audio CDs consisting of recordings of all 150 tunes notated in the collection.
TITLE: THE BACH UKE BOOK
AUTHOR: ROB MACKILLOP
PUBLISHER: MEL BAY
RELEASE DATE: 2012
The Bach Uke Book is a surprisingly pleasing book for aficionados of classical music who also play the ukulele. The clean sounds of the Bach pieces arranged in fingerpicking style with some two, three, and four note chords mixed into the melody are at times reminiscent of the sounds of a harpsichord.
While the ukulele is mostly known for its origins as a Hawaiian folk instrument, and prior to that, as a Portuguese folk instrument, the classical pieces in this book will help any musician to become familiar with the whole instrument and to work on tempos and variations within the music.
The pieces range from easy to challenging but are not placed in the book in the order of difficulty nor is their any notation on the piece to indicate the level of difficulty of the piece. It is up to the musician to determine the level of difficulty for themselves. The more challenging pieces, such as “Minuet in F”, “Polonaise in Gm”, and “Sheep May Safely Graze”, include triplets, sixteenth and thirty-second notes and intricate phrasing.
Davey Come on Back
And Act Like You Ought To
This recent October was riddled with old time music action! First off, Rafe and Clelia Stefanini stayed for a week at my Old Time Tiki Parlour for workshops, a house concert and a ton of filming! To let you in on a little secret, we'll probably be releasing the footage as one of the first Old Time Tiki Parlour performance DVDs next year! Rafe was one of my living heroes when I started playing old time music, so it was a treat to be able to play tunes with him that I learned over a decade ago at his workshops. During their stay, many of us trekked up to the Santa Barbara area for the Goleta Old Time Fiddler's Convention. Rafe and Clelia Stefanini performed, as did my old time jug band Sausage Grinder. Rafe, Chris Berry (of SG) and I taught fiddle and banjo workshops there as well. At first, I was going to present just an audio lesson of my workshop tune, but something kept nagging at me.
The Opening Act
If you perform, it’s pretty likely that someday you will be the opening act. This could be at a local club or a concert. There are very specific duties entailed in being an opening act, not all of them necessarily positive for the performer. But there are also some specific rewards.
First of all, you are not the headliner. You are not who people are coming to see. You will not have the nicest dressing room, if you get one at all. You will not get the veggie plate with ranch dressing, or the refrigerator with lots of beer and sodas. You will have to be flexible, which may mean playing for less time that you expected, or perhaps more time than you expected. Your sound check will be significantly shorter than the headliners, if you get one at all. You will be paid a pittance (if at all) compared to the headliner. You may have to sell tickets to the show in order to perform.
So why in the world would you want to be an opening act? There are a few good reasons. Most headliners started out as opening acts. Opening for “major” acts helps the resume. Most of us opening acts pad our resumes with the “shared the stage” line, though it is a bit misleading. I’ve “shared the stage” with BB King twice. In both instances it was a festival where the band I was in opened the day and BB played 3 or 4 hours later, after a number of other acts. But we did share the stage… At any rate, a nice long list of well known artists you have opened for can be impressive. And some of the prestige of the headliner may rub off on you. Maybe.
So you book an opening act at your local concert venue. The headliner is someone you admire and would pay to see perform. If not, you’re already made one bad compromise. Also, make sure that the type of music you play is complimentary to what the headliner plays. You need not be the same genre, but if you’re in a heavy metal industrial trio, you don’t want to open for a sensitive singer songwriter soloist. And be careful that you are not too similar to the headliner, either. No one wants to see the same type of show twice. You find out that you will have limited time to play, and that your corner for CD sales is 2.3 miles from the front door and the headliner’s boutique. And you have to give the venue 10% of your CD sale income. Oh well, 90% is better than 0%. Or perhaps this is the type of venue that hands you 100 tickets and requires that you sell them. You have to give the venue $15 for every face value $20 ticket you sell. If you’re lucky, you can sell the $20 ticket for $17.50, and make $2.50 for your performance for each ticket sold. Most of us are better musicians than sales people, but one has to wear many hats. If you do play at a ticket sale venue, make sure you keep track of your tickets and sales. When you show up to settle, have the largest bills you can find. Don’t keep the manager waiting while you count out rolled up $1 bills and change. You’ll make a friend if you show up with the least number of bills and the least amount of counting time. And don’t lose tickets: many venues expect you to pay for lost tickets, and this can be a real gig killer.
So you’ve got the gig, you’ve sold some tickets and you’re done, right? Not so right. Even though you are opening for someone you like/respect/know, do some homework. Listen to some recordings. Don’t play songs that the headliner might play! I saw an excellent blues guitarist/singer open for John Hammond, and the opener played three or four songs that Hammond plays. What a mistake! You are not going to out gun John Hammond on a Robert Johnson song, and you’ll look pretty second rate as well. You don’t have to go as far as one band leader I know who emailed his set list to the Grammy winning headliner’s staff. But he did get back a polite response that the choices afforded no conflict.
You will probably feel that it is important to engage the headliner in conversation at some point. Maybe the headliner is leaving the stage at the end of their sound check as you prepare for yours. Keep in mind that the headliner is most likely a touring musician who has a schedule that may not include chatting with you about how much you love their music. Use discretion. If the headliner is heading for the exit at high speed, it’s probably not the best time to talk. I’ve had some wonderful experiences talking with some of my idols, but I’ve also experienced less than polite behavior. It can be disconcerting to find out that your hero is an asshole or at least an asshole at the moment of your contact. But hey, all of us are assholes at some time or another, so hopefully you won’t be crushed. And be realistic: don’t ask the headliner to sit in with you or for you to sit in with them, or to autograph the 46 LPs you brought along.
So the big night is finally here, you show up for your sound check and the headliner and his band are on stage. It’s pretty cool to see the sound check… unless it drags on. And on. I recently sat while the headliner did an over an hour sound check that ran almost up to the time the doors opened for customers. So no sound check for us, which translated into some sound system issues that impacted the first three songs of our performance. When you only have eight songs, three is a big number. But you grit your teeth, smile and sing your heart out. The audience, remember, is not there to see you. You still get a pretty good response, and after your last song, there’s enough applause to consider it an encore. But watch out: many venues don’t allow an encore for the opening act. Make sure you know if that’s a rule at your spot.
Be prepared for about anything to happen. I was in a band that opened for a popular quirky pop band that was doing an acoustic tour. We did our sound check as the openers, and noted that most of the headlining band was in attendance, which is unusual. Following our check, I met with the young lady doing hospitality (here’s your dressing room, one comp per band member and do you want Miller’s or Bud for your six pack?) and she waited until the end of her spiel to tell me that since the headliner was on an acoustic tour, we couldn’t use drums. I pointed out that the headlining band was using drums. No reply. Needless to say, our drummer was angry, and half the band voted to walk out with him. I grabbed the stage manager and explained how this last minute dictum had arrived. He told me to wait for two minutes, and went upstairs to talk to the headliners. In two minutes we were informed we could use the drummer. Did the headliner decide we presented too much competition? Do they just not like drummers? Who knows?
But these experiences pale when compared to the positive. I had a major rock and roll producer bound into my dressing room post performance to gush accolades. I had a well known artist quote something I’d said during my opening act… and get the same laugh! My all time favorite thing is when an artist of stature takes the time to say that they liked our set, or maybe just stops by to talk music like peers.
So if the pros outweigh the cons, take the gig. And if you take the gig, enjoy it. Meanwhile, go out and support live music. Try new clubs, visit old venues you haven’t frequented in awhile. And enjoy yourself.
Dennis Roger Reed is a singer-songwriter, musician and writer based in San Clemente, CA. He’s released two solo CDs, and appeared on two CDs with the newgrassy Andy Rau Band and two CDs with the roots rockers Blue Mama. His prose has appeared in a variety of publications such as the OC Weekly and MOJO magazine. Writing about his music has appeared in an eclectic group of publications such as Bass Player, Acoustic Musician, Dirty Linen, Blue Suede News and Sing Out! His oddest folk resume entry would be the period of several months in 2002 when he danced onstage as part of both Little Richard’s and Paul Simon’s revues. He was actually asked to do the former and condoned by the latter. He apparently knows no shame.