Tag Archives: Loose Gravel

today

When I got up this morning I thought I might write a post riffing on something Zach wrote on this date. His entries for this date didn’t inspire me so I’ll just do a newsy post.

Today is my second date this year playing bass with Tom’s band Loose Gravel. We talked earlier in the week about tunes in the set. He wants me to sing Big Boss Man. The last time I tried it while playing bass I crapped all over it. It’s the Grateful Dead version so I hear Phil’s bass which is all over the place. I need to simplify.

One of the problems I have with Tom’s band is not trusting the drummer. The bass and drums need to lock in and the drummer, Dr Watson, is still a bit of a mystery to me. I feel, as the bass player who hasn’t rehearsed with the band and doesn’t really know the songs that well, that I need to really concentrate on playing my part perfectly. This lets out doing vocals.

Actually, ‘loose’ is a good metaphor for this band so I should just relax and enjoy it. Mostly I do.

Sepi will be going with me. She likes the burgers at the Valencia Club. Check it out from last time:

This time, we’re going to share our french fries.

As is her wont, Sepi took loads of pictures last time. Here’s one of me playing Franco‘s bass:

It’s a long day. I’ll be leaving my apartment at 10 am and likely getting home around 9 pm. I got paid $60 last time. It’s a labor of love. I do appreciate Sepi coming with me.

9:30. Time to go load the car!

catching up

OK, it’s time to catch up on the last few weeks. Every time I think I’ve got some time free, something seems to happen. This week it was the headaches. Last week it was a couple of unexpected days at work.

Whatever. Let’s look back,

SoundBox was really awesome. The young German conductor of the SFS Youth Orchestra, Christian Reif, was the curator. Rather than trying to describe it, I recommend you all just read this review. It is of course a glowing review, but what I especially like about it is how it describes the atmosphere at a SoundBox concert pretty well. A couple of people that I spoke to afterwards who had seen many SoundBoxes were quite moved by this set.

From the technical standpoint, the only difficulty we had was amplifying the instruments in the Black Angels string quartet. I didn’t find out until after the fact that the full title includes the words ‘for Electric String Quartet.’ I had only been given a note that the (acoustic) instruments were to Be mic’d, which we did for the first rehearsal. Everyone seemed to like it expect the players in the quartet who now told us the sound should be distorted and loud ‘like Jimi Hendrix.’

So we talked it over and they agreed that they would bring in their distortion pedals the next day and we would wire them through the overhead speakers.

What they actually brought in was a motley collection of amps, none of which had dedicated distortion circuits. All we could do was overdrive the inputs and hope it worked. After much fiddling – so to speak! – we got something that they professed to be happy with. It wasn’t nearly the overwhelming loudness of Hendrix. Oh well.

A week later was my date with Loose Gravel at the Valencia Club in Penryn. At the last minute, I had traded with Tom singing Dizzy Miss Lizzy for Blue Suede Shoes. That one I had sung back in the April days so I thought it would be straightforward. It turned out to be a problem, though, partly because the vocal starts without any introduction. I ended up in the wrong key. It was only the second song of the afternoon and people were looking at me and the band as if wondering what they were in for.

It got better, though. A few songs later I got to chew on Big Boss Man, which I had actually sung a few times in the intervening years. That went very well.

The second set was the Chuck Berry tribute and I sang Wee Wee Hours and Memphis acceptably. In honor of Chuck I had brought my red ES-335 which I don’t play much. I had bought it from Vince a couple of years ago because he offered me a great deal on it. Afterwards we talked about it. He offered to take it back but ‘didn’t have any money.’ Ha ha, very funny Vince! I don’t dislike it that much.

It’s a beautiful guitar. Here’s a picture of it in front of Allen Frank’s Super Reverb at his Drytown Club right after I bought it.

The next day – Monday night actually – the Skyline band played a ‘Mid-Term Exam’ at the Last Stop Sports Bar in Daly City. They are nice people there, but fitting a big band into the performance space they have is just not happening. We guitars were stuffed in the back next to the drums with all the wind players in front of us and playing in the other direction. It wasn’t too bad until I got to African Skies when I was supposed to be playing a unison line with the tenor sax. I couldn’t hear him at all! The trading twos at the end was a little better because it was just us and Zack was counting and pointing to each of us on our turn.

Here’s a picture of the ES-330 I use for jazz band:

It looks similar but it is really quite different. I won’t bore you with the details unless you ask.

The last SoundBox is upon us. Next week will be the last program for at least 7 months. Whether we get to start it up again in December is up to the Symphony board. It was funded for three years and those three years are done. No one wants to see it go but we all realize it is quite expensive to put it on. Some of the ‘features’ like the lighting and video will be migrated to the main Davies hall but the custom sound system I run won’t be one of them. Stay tuned . . .

Chuck Berry’s legacy

Chuck Berry died over the weekend. He was 90. Some might say he had a good long life. On the guitar forum I frequent (TDPRI.com), there has been a lot of commentary about his passing. Most of it appreciates the pioneering music he created but some commenters have felt the need to remind everyone of some of Chuck’s not-so-nice qualities. Anyone interested in the unsavory details can get them somewhere else. My thesis is that art is greater than the man (or woman).

Maybelline, Roll Over Beethoven, Sweet Little Sixteen, and especially, Johnny B Goode, will live on in Rock ‘n’ Roll music long after anyone cares about the kind of person Chuck Berry was. Once art is created, be it music, writing, painting, or whatever, it belongs to the community of humanity. Arguably, that’s where it came from anyway.

The example I thought of this morning was the reluctance of Jews after the Holocaust to perform any music by the German composer Richard Wagner. This seems understandable since Wagner was a favorite of the Nazi’s who tried to exterminate the Jews. Eventually, though, the art was allowed to speak on its own in 1981 when the Israel Philharmonic played an excerpt from Tristan und Isolde.

(That was what I remembered, but the truth is, as usual, somewhat more nuanced. I did some research and found that there was such an outcry after that concert that the orchestra has not played any of Wagner’s music since. Interestingly, the reasons for that are not clear. Many other well-known composers who were worse anti-Semites and/or more popular with the Nazi’s are performed by Jewish musicians without any comment. Wagner has that special something . . . Still, I will stand by my thesis.)

So, Chuck Berry is gone but his music will live on. Tom and I, along with Loose Gravel, will be playing a CB retrospective set on Sunday in Loomis. Chuck’s music formed an important part of our coming of age as band musicians. We won’t be celebrating the man so much as the music. The music will live on.

band update

SoundBox Saturday. We opened last night and close tonight. I’ve got the day free until 7 to rest. The week was not without challenges but all in all was easier than most. The only night I worked late was last night for the show. Everyone involved is very proud of doing something special but there is no funding for beyond the next set in April. The Symphony has made huge investment in infrastructure but admission prices do not begin to cover the costs. The Constellation System will continue to be used for orchestra rehearsals and the odd special event but the lighting and projection stuff will go into boxes except for a few times a year in the big room.

Meanwhile, I’ve been faithfully going to jazz band rehearsals every Monday. A couple of the charts we’re doing have exposed guitar parts and solos which require a lot more practice than I’ve been getting away with previously. We have sort of a mid-term coming up. Zack has a deal with a local Daly City bar for us to play a set there on Monday the 27th. Last week he assigned which guitarist – there is myself and one other – will play which charts. One assigned to me is African Skies by Michael Brecker where the guitar plays the head with the tenor sax. I’m doing my best to channel Pat Metheney who played on the original track. At the end I trade twos in (more or less) F minor with the tenor. That’s fun.

We’re also doing a version of Bags’ Groove with both guitars playing the vibraphone part, then we each get a couple of solo choruses. It’s fun but there are some tricky rhythmic bits in it. Zack has been very patient with his guitar players who don’t read that well.

After the first rehearsal in January, I emailed Zack to say I was having trouble picking up the guitar away from rehearsal. He was gently encouraging and I’ve gotten better. I just spent a solid half hour working on African Skies. That’s more real practicing than I’ve done in a very long time.

My other band, Loose Gravel, is playing in Loomis a week from tomorrow. They’re not really my band, but I’ve been allowed to sit in with them whenever I want. This time I decided a couple of weeks ago that I really wanted to go so I arranged my work schedule to keep the Sunday free. When Tom was down here he said he was trying to sing less with them so I thought I would try to resurrect my singing. He’s given me Big Boss Man, which I used to do back in the days of April and Dry Creek, and Dizzy Miss Lizzy, which was always his to sing. We’re familiar with The Beatles version which features John Lennon on vocals. I dunno, I’m no John Lennon singing. We’ll see . . .