Palo Alto Rock a a to z w

Posted on June 7, 2019 by markweiss86

W

World For Ransom is or was a Palo Alto based rock band featuring Billie Eyeball — her legal name for as long as I’ve known her — and Dave Womack as manager. Ray Poague, a Gunn 1980 graduate, played keyboards (and is friends with Steve Zukowsky and early guitar hero of mine). Billie and David were my first tour guides — like Dante in the seven layers of hell/heaven — of the SF underground rock scene of the early 1990s, and before I thought to produce shows. World For Ransom sang Star Spangled Banner at The Palo Alto Firebirds semi-pro soccer team games, my day-job in 1993. Billie Eyeball and band were headliners at The Donnas’ professional debut, at Cubberley, January 1995, a 4-act all female led lineup. (The Donnas performed as Ragady Anne — but I remember they had written some potential new band names on the chalkboard -! – in the green room, including the Tridents. And not to digress but Maya Ford told me just yesterday that she and Allison Robertson were already writing songs before meeting Brett at Jordan; they at Addison started the project and had a name that they never gigged under, not Ragady Anne. Actually Michael Ahern whose father played with Elvin Bishop came to the show as guests of Ragady Ann and was noodling on the backstage piano -! – and Margrit Eichler, of True Margit, on the bill — and related to both Joseph Eichler the architect and David Geffen the guru —  was stunned at his form, The Masked Men? — sorry Billie for the distraction from your our our story).

Billie Eyeball solo (actually with pka Joni Meloncramps, Noelle Hughes) played Earthwise 15 year show in 2009 at Bottom of the Hill (with…wait for it…Intersteller Grains featuring Justin Markovits the plumber drummer former Blue Eye Devil Mountain View grad, Rich Corny of The European Cobbler of Cali Ave near the Edge; Insects in Space featuring twin Palo Alto high grads Tommy Jordan of Geggy Tah and his sister — and poor Tom Jordan senior sat thru a bunch of other stuff he probably was not interested in, bless his heart, the first time we met – -and he was an advisor to me when I ran for City Council later that year, after meeting my eventual wife Terry Acebo Davis, or in 2012 I forget, but not notably in 2014; Chris Cotton, Mountain View grad and Blue Eyed Devil founder and former Yellow Dog recording artist; Alexis Harte I think; Lisa Fay Beatty as a duo but not with Carla Kihlsteadt but debuting as all the bands did either new material or new projects or new configurations; Lisa who in the Mudwimin — with my Terman classmate Mia Levin daugther of Henry Levin of the Stanford Education department played the first Cubberley Sessions / Palo Alto Soundcheck session, in October, 1994; maybe one moor; shot by Mickey Budziak a dear friend, who worked for years and years at Keeble and Shuchat.

World for Ransom had a song about “Sergeant York” that I learned the hook for before I had seen more recently at Stanford Theatre the Gary Cooper movie. It’s a big world, outside my door, or became one thanks to Billie and Dave (who was also my stage manager 100 shows, and recommended I book the tape from Dixie Chicks but I didn’t listen).

They lived on Cowper, downtown north, in the back.

From one twenty seven ninety five PAW:

Cutting edge at Cubberley

Fronted by singer/songwriter and Palo Alto resident Billie Eyeball (her real name, they say), the modern pop band World for Ransom will headline a four-band benefit concert this Saturday,Jan. 28, at the Cubberley Community Center. Known primarily to San Francisco audiences for songs like “Thank God for the Pill,” World for Ransom’s music has been dubbed “lush, eclectic and very listenable” by BAM magazine. Also, making its professional debut will be Ragady Ann, comprised of four students at Palo Alto High School, and a veteran favorite of local Battle of the Bands contests. The other two bands on the schedule are True Margrit and the Cat Cody Band, a hip-hop jazz act from Los Angeles. Tickets are $5 at the door. All ages are welcome. All proceeds will benefit the Women’s Cancer Resource Center in Berkeley and Family Service Midpeninsula’s teen hotline. For more information, call Earthwise Productions at 949-xxxx.(I guess that’s written by Monica Heyde, as compared to Robyn Israel, Jim Harrington or Karla Kane, or Rachel Metz or Allen Clapp).

And from Bottom of The Hill archive:

archiveBOTHand from the list — which could be it’s own article or post – it’s like looking at baby pictures, from summer, 1995 — how many of these bands do I know? how many of these bands did I see? how many of these bands did I book? how many of these shows did I see? To wit:

thelist1995

If Billie and David, who I saw a couple months ago at a Joe Zirker out show at FOG, send me a vintage photo, I’ll add

monicahaydeschreiber

but meanwhile here’s attorney monica hayde schreiber of palo alto

and1: this is a digression from World For Ransom, but too rich:

People: Bart Thurber: when Palo Alto rocked

“Basically, I hold the band’s hand throughout the entire recording process, and try to make it as fun and painless as possible.”

For the last four years, Bart Thurber has recorded more bands than he can count or remember. Bands with names like Tilt, Shovelhead, Minimal Criminal, the Guttersluts and Drug have walked the halls of his Palo Alto studio, House of Faith.

Born in Michigan, Thurber moved to Palo Alto at age 11, and a few years later began playing the guitar in local bands. Making music led him to an interest in recording it, which soon became a impassioned hobby. “The hobby got out of control,” he said.

So much so that it became a profession.

Thurber, who describes his age as “37 going on 90,” started House of Faith in 1990 in a 1,500-square-foot office building in the once-thriving, eclectic area of Urban Lane. His neighbors were potters, woodworkers, artists and craftspeople. In other words, people who liked quiet when they worked. “The neighbors used to call the cops and tell them we were devil worshipers,” he said.

“But its not against the law to be devil worshipers,” he joked. “Besides, how can we be devil worshipers, when we record Christian bands?”

If the noise didn’t get to people, the graffiti did. Every inch of space was covered with the stuff, which ranged from tame to not-so-tame. “The graffiti was unbelievable,” he recalled. “It wasn’t like gang tags, it was good graffiti, things people had drawn.”

Still, he is thankful no one called the “graffiti police.”

House of Faith provided local bands with one of the best–and least expensive–avenues for going professional. Palo Alto bands such as ETO, Daisy Chain and Smiley Face recorded with House of Faith.

Last year, however, the Palo Alto Medical Clinic bought the lot, and House of Faith became history. “We knew we were living on borrowed time, that at any month we could be thrown out. So I started to record as many bands as possible. I was on a mission from God.”

To keep things going, Thurber worked 12 hours a day, seven days a week. “I was doing one complete band project a day. Or at least I was trying to.”

The end came on Mother’s Day of this year, when several hundred friends and rockers gathered to help Thurber close the historic building. Some day, he jokes, the final day of the House of Faith will grow in people’s minds “like the 2 million that claim they were at Woodstock.”

As expected, House of Faith’s closing left many bands without a reasonably priced source for making demo tapes, which are crucial for getting booked into clubs.

Despite all the time effort and passion Thurber put into the studio, he has no resentment about the closure. “The Palo Alto Medical Clinic was very cool for letting us stay there as long as they did. They didn’t even say anything about the graffiti,” he said.

At the moment, Thurber is looking for a place in the South Bay to start House of Faith 2.

Unfortunately, Palo Alto is out of the question. “The city has a long memory,” he said.

Especially for graffiti and noise.

–Jim S. Harrington (I was actually trying to fact check the spelling of “Ragady Ann” — I think my wife made me toss the old file or flyers when we consolidated our households, recently; I also shredded 10,000 posters; tossed 200 audio-tapes). 
Bart Thurber has a lifetime pass to Earthwise shows; it is on brown cardboard with a purple Kokopelli stamp and “life time pass” in my handwriting; I created one for Linda Perry in case she showed up for Stone Fox. 
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Mr. Duffy v William Russel Dudley

Posted on June 4, 2019 by markweiss86

This is very esoteric and then it got deleted but someone next to me at Coupa mentioned a James Joyce line about Mr. Duffy a short distance from his body from Dubliners 1914 and I thought of and sussed out a bit William Russel Dudley a professor of botany at Stanford, 1849-1911 died at 62 in Los Altos.
Dudley was founder of the Dudley Herbarium which was in the building that became I’m pretty certain the Stanford Museum then Cantor Museum (the East Wing, where native pottery is displayed).

My nut thought was that the Joyce piece was actually called something about “Cases” meaning I guess situation as compared to glass cases (insert fancy word for that) in the musuem.

Then the first version of this got wiped out when…Herb Borock came by with an important document on the Deep Turkey of Palo Alto and also commented on my Dead and Co shirt — he’s a dead head. And his name is Herb. (And I swear that yesterday I saw him getting Off The Bus and thought of him as Herb-A Buena — Good Herb — like a drug reference — not knowing he was actually a dead head “hundred shows” varietal.

A lot of this comes from our memory of Susan Thomas, wife of botanist John Thomas.

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Dextra Quotskuyva, 1928-2019

Posted on June 4, 2019 by markweiss86
Screen Shot 2019-06-04 at 10.08.19 AM

Our collection has 6 generations of pots from this family, who she learned from and who she taught

The King Galleries in Phoenix list Dextra Quotskuyva, the great Hopi potter and epitome of the Nampeyo matrilineal descent of greatness, as having died this year. News to me.

Coincidentally I had pulled from my shelf this morning for my studies “Painted Perfection” the catalog for a 2001 Wheelwright exhibit of her work, curated by Marti Struever. Marti died in fall, 2017. My mom died last year; we are creeping up on the anniversary of such (This morning, becoming woke, I was recalling the fact that my mom and her mom died on the same day of the Hebrew calender, and it is also one of the most solemn days, when the Temple was distroyed — I could not precisely recall the number 9. I’m going with Tisha B’Av).

We have in our collection a somewhat omenous Jacob Koopee that Marti showcased: it features 13 maidens but one of them has her face bored thru. I recall Derek Fisher walking in to his mother’s gallery, circa 2011, holding an orange pot, from Jacob Koopee that my dad bought on the spot. (Derek said he had flown it back from a collection — like, on his lap).

We have a photo of mom and Dextra holding a pot we had purchased, in Marti’s book, page 33, called “Summer Clouds”, 1997. It is pledged to the DeYoung, the Paul E and Barbara H Weiss Collection of Pueblo Pottery.

This is the appearance of summer clouds. You know how they come out; some of them make different designs. I just left it up to the Creator to decide how to do it.

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Jane Monheit and Bob Margolin now on-sale at EventBrite

Posted on June 3, 2019 by markweiss86
jane

the incomparable Jane Monheit

I have two shows now on sale via EventBrite, Jane Monheit June 21 and Bob Margolin, July 6, both at the new Mitchell Park Community Center El Palo Alto Room.

In my 25 years as a concert promoter, I’ve likely used 10 different types of advance ticketing. It took me a minute between confirmation of the shows and today to figure out EventBrite.

(What put my off the fence on my various options was purchasing lickety-split via my handheld device tickets to a new act Mxmtoon at GAMH via the same service).

Some of the other forms of ducat I’ve employed in my tenure include BASS, tickets.com, ticketWeb and virtuous dot com. I’ve also done a fair amount of hard-ticket on-sales with various local designers and over -he-counter at blasts-from-the-past including Draper’s, Groovesmith and CD Land.

mmwstub092996

Old school MMW stub from the Cub

The room holds about 200.

Sound, as per my history, is by Andy Heller and Audio Pro Sound.

There will likely be some more shows announce for the fall, soon enough.

For now my mission-positive would be to spread the word about Jane Monheit and Bob Margolin. Bob’s show is actually billed as “Bob Margolin and Jimmy Vivino: Just 2 Guitars, But 200 Stories”. Mitch Woods will open the show.

If you are an Earthwise regular you may have caught 2 recent shows at Palo Alto Art Center Auditorium, or in the last couple blue moons at Cafe Zoe in Menlo Park. But more people, if the name Earthwise rings a bell, saw and heard something good at Cubberley Community Center here (for example: Train, Third Eye Blind, Cake, Matt Nathanson, blink 182 — roughly twice a month for six years in the 1990s).

Bob Margolin I met in 1998 when he was part of the Pinetop Perkins show at the Cub. Whereas Jane Monheit I met at her very first pro gig at Zinno’s in NYC but have never worked with. She is playing with Andy Langham her piano player, who I met recently at Yoshi’s.

Keep on rockin’ in the free world, or as W. Royal Stokes says: keep on swingin’.

c0da:

bobmitch1990s

Bob says: Here’s a record release party I did in New Orleans in 1991. There’s Mitch…and Johnny Sansone, Tom Brill, Chuck Cotton, Tom Principato and me.

edit to add, two weeks later but talking about the 1970s:
THE LAST WALTZ BLUES JAM
by Bob Margolin

The more blues-driven musicians commandeered the instruments at the jam, and played some old favorite songs together, mostly Robert Johnson’s. This sounds like a common scene at open-mic jams at blues clubs, where more experienced blues players sometimes conspire to sit in together. It happened at about 7 am, the morning after The Band’s Last Waltz concert on Thanksgiving, 1976. The Band had hired the entire Miyako Hotel in San Francisco to accommodate their guests. The banquet room which had been used for rehearsal before the show was now the party room, and musicians had been jamming in random combinations since after the concert, many hours before. But unlike your local blues jam, every blues player that morning was a Rock Star.

Except me. I was there with Muddy Waters. who was invited to perform two songs at The Last Waltz. Muddy had recorded his Grammy-winning “Woodstock Album” the year before with Levon Helm and Garth Hudson from The Band, but The Band itself was an unknown quantity to him. He brought Pinetop Perkins and me from his own band to accompany him along with The Band and Paul Butterfield on harp, so that he would have something familiar to play with. Muddy also felt I was good at explaining what he wanted onstage to musicians he hadn’t worked with, though 25 years later, I still find myself wishing I knew more about what Muddy wanted.

Muddy, Pinetop, and I checked into the hotel the day before the show and went to the restaurant. I saw a few familiar faces from the Rock World, and some came over to say hello and pay respects to Muddy. I remember this surreal encounter:

Kinky Friedman approached our table. I knew that he was a Texas Jewboy (his band’s name) musical comedian. The Kinkster sported Texas attire complemented by a white satin smoking jacket accented with blue Jewish stars, an Israeli flag motif. Embroidered along the hem were scenes of the crucifixion. Mr. Friedman exercises his ethnicity in provocative ways, in fashion, in his music, and in his recent mystery novels (recommended!). He was a Kosher cowboy mensch as he introduced himself to Muddy, assuring him that “people of the Jewish persuasion appreciate the Blues too.” Muddy, used to folks stranger than Kinky saying weird shit to him, just smiled and thanked him. Didn’t bat an eye.

That night, Pinetop, Muddy, and I were scheduled to rehearse our songs for the show. I didn’t realize that some of those blues-oriented rock stars must have been in the room to watch Muddy.

The next night, at the concert, Muddy, Pinetop, and I waited backstage to perform. Pinetop told me he heard one of The Beatles was there, not realizing that Ringo was sitting right next to him. Born in 1913, Pinetop knew as much about The Beatles as I know about The Backstreet Boys. Joni Mitchell, looking impossibly beautiful, introduced herself to Muddy. He didn’t know who she was, and just saw her as a young pretty woman, his favorite dish. He flirted but she didn’t respond.

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Declassified Don Cherry at Dartmouth

Posted on May 28, 2019 by markweiss86
Screen Shot 2019-05-28 at 10.01.25 AM

This is a bone flute from Peru at Dartmouth, but I am too lazy to see if it’s on my list of possible Don Cherry tools.

OR, TWENTY-SIX AOA FLUTES AT DARTMOUTH

Don Cherry was artist in residence at Dartmouth in 1970.

I wrote something about that, years later, for the Dartmouth Alumni Magazine.

On Don’s Blue Lake recording, he plays a wooden flute. In the letters that a professor sent me, when I was researching this story, there is something about Don apologizing for having borrowed a flute from Dartmouth’s museum.

Here is a random correspondence, as part of my research:

Hi:  I have been doing some more leg work. I called Tamara Northern (her x-husband is Robert Northern who was the musician in residence at the Hop after Don Cherry) she was the curator at the Dartmouth College Museum from around 1975 to 2001. She was not here in 1970 so she can not help you with the early date, however, she does remember a request in the 1980’s about a loan of a flute by J—– for a concert in Utah??? She was not involved so she does not remember more than that.

So, I emailed Greg Schwartz who was the registrar at the Dartmouth College Museum from 1974-1985. Here are his memories and suggestions:

“I am sorry, while I remember the flutes, I do not remember anything about a flute being used.  I vaguely remember Al Whiting saying something about a flute being played (he would have told me this in 1974) but I think he may have meant the N.H. made wooden flute in the musical instrument collection. You can check the catalog card for that, perhaps it might say something. [I did and did not find anything]  I do not remember Don Cherry at all.  The ethnomusicology class used to use the instrument collection a lot as I recall – not playing them, of course, but using them for classification exercises. Perhaps it was through the auspices of the anthro prof. that this may have happened.  I forget the professor’s name that used to teach this, Ken Korey or Hoyt Alverson would know.You could try Rebecca,[another old registrar… who I contacted and she did not remember this] if you have not done so already, she might remember if it was a loan during the 1980’s.  If you had exact dates of the concerts, you could check the Dartmouth newspaper, an article on the concert might mention something like that.”

I you could fax the letter from Al Whiting to J—- to us, I might be able to glean more information. Also, you could contact the Anthropology department and see if they remember something. I will keep looking, however, you might have some success with the Dartmouth newspapers, they did report most events on campus.

I have copied the records for the Flutes in our collection from our online database, with the exception of the flutes from Papua New Guinea we acquired in 1990.
– 1 –
Object No.: 13.2.680
Artist/Maker: Oceania | Melanesia | Fiji
Title: Nose Flute
Object Type: Flute | Musical Instrument
Coll. Type: Oceania
Materials: Bamboo
Dimensions: Length                  62.0 cm
Credit: Hood Museum of Art, Dartmouth College
Location: HA.M5.17

– 2 –
Object No.: 157.3.13745
Artist/Maker: Oceania | Philippines | Luzon Island | Bontoc Igorot
Title: Flute (Nose Flute ?)
Object Date: 1923
Object Type: Flute | Musical Instrument
Coll. Type: Oceania
Materials: Bamboo
Dimensions: Length                  54.5 cm
Diameter                2.2 cm
Remarks: A six-holed transverse flute made from
bamboo.Original notes claim it to be a “nose flute”.  It has a slight crack between the first three holes.  1.7 cm inside diameter.  Luzon Bagio Mt.
Province.  Probably Bantoc Igorot 1923  May be Bagobo.
Credit: Gift of Mr. and Mrs. Charles E. Griffiths, Class of 1915
Location: HA.M5.13

– 3 –
Object No.: 160.37.14550
Artist/Maker: South America | Peru | Native American
Title: Bone Flute
Object Date: Pre-Columbian
Object Type: Flute | Musical Instrument
Coll. Type: Americas
Materials: Bone
Dimensions: Length                  14.0 cm
Width                    2.3 cm
Depth                    1.5 cm
Remarks: Tubular bone, somewhat flat in cross-section.  4 holes in concave flat face.  Same side at end notched.  Each side of notch flattened.  Field data:
“Prehistoric Peru”    Paul Goldstein, Dartmouth College, 1996: Not a metacarpal, possibly not camelid.  Density of bone is high, apparently
shellacked.  Wise catalog (Met) see Janusek article.
Credit: Museum Purchase
Location: HA.M5.10

Screen Shot 2019-05-28 at 10.05.39 AM

anybody? I doubt this is Don Cherry playing a stolen bone flute, but i’m no expert. Thinking of: Peter Apfelbaum, Christine Hellmich, and a former youngish Dartmouth professor of Anthropology who I recently hit up by email.

– 4 –
Object No.: 163.5.14841
Artist/Maker: Asia | India
Title: Flute
Object Type: Flute | Musical Instrument
Coll. Type: Asia
Materials: Bamboo
Dimensions: Length                  33.5 cm
Diameter                1.7 cm
Remarks: Six-holed bamboo transverse flute, finished on the outside, unfinished on the inside. The end near the mouthpiece is not plugged, although it
appears that it was once stopped. There are several small cracks between holes. Holes appear machine-drilled and are not all the same size.
Inside diameter or bore, 1.3cm. Loan 27 transferred to gift status Jan. 30, 1963.
Credit: Gift of Professor George Ellmaker Diller
Location: HA.M5.15

– 5 –
Object No.: 165.33.15651
Artist/Maker: Africa | Ethiopia | Asmara | Unknown peoples
Title: Flute
Object Date: 1964-65
Early Date: 1964
Late Date: 1965
Object Type: Flute | Musical Instrument
Coll. Type: African Art
Materials: Bamboo
Dimensions: Length                  54.0 cm
Width                    3.0 cm
Remarks: Bamboo tube with leather decorations of various colors also some black and red plastic, etc.. Leather fringes including a loop for caring. Internode
cut out top end beveled and painted red, 4 holes burned on the side.  Gift to donor.
Credit: Gift of Joel Whiting
Location: HA.M5.7

– 6 –
Object No.: 166.18.16011
Artist/Maker: North America | Mexico | Mexican
Title: Flute
Object Type: Flute | Musical Instrument
Coll. Type: Americas
Materials: Terracotta
Dimensions: Length                  20.6 cm
Diameter                15.0 cm
Remarks: Four holes.  Received April 28, 1966.
Credit: Museum Purchase
Location: HA.M5.10

– 7 –
Object No.: 166.4.19986
Artist/Maker: North America | USA | New York | Albany | Euro-American
Title: Flute
Object Date: about 1850
Object Type: Flute | Musical Instrument
Coll. Type: History
Materials: Ebony, ivory, and metal
Dimensions: Length                  24.25 in.
Inscriptions: Marked “Mecham & Co., Albany”
Remarks: Wooden flute in a wooden box.  Ebony with ivory and white metal bands.  Head joint is split.  The collector was a president of the Hayden-Handel
Society and “Played most any instrument”.

Five section ebony flute, tipped with four ivory, and 2 metal, bands.  It has 6 finger holes and 4 keys.  Mouth section has cracks.  The parts that
slide into each other are sealed by string.
31.5 cm long,  Bore Tapers from 1.5 cm to 1.0 cm.
Credit: Hood Museum of Art, Dartmouth College
Location: HA.M5.23

– 8 –
Object No.: 170.64.25116
Artist/Maker: Central America | Panama | Cuna
Title: Flute
Object Date: collected 1970
Object Type: Flute | Musical Instrument
Coll. Type: Americas
Dimensions: Length                  60.0 cm
Diameter                2.5 cm
Remarks: Single long open tube (from some large grass?), with two small holes on one side near the end.  Field no. C4.  Purchased from Jorge Iglesias,
Nalunega.  Flute is used in th chicha ceremony.
Credit: Museum Purchase
Location: HA.M5.10

– 9 –
Object No.: 170.64.25117A
Artist/Maker: Central America | Panama | Cuna
Title: Flute
Object Date: collected 1970
Object Type: Flute | Musical Instrument
Coll. Type: Americas
Materials: Bamboo
Dimensions: Diameter                2.0 cm
Length                  31.0 cm
Remarks: Hollow (bamboo? or other large grass) tube, blocked off with natural wall at one end. Field no. C5a. Purchased from Santiago Castillo on
Mammitupu (same fellow as on Corbisque).  The flute is used for dancing.
Credit: Museum Purchase
Location: HA.M5.10

– 10 –
Object No.: 170.64.25117B
Artist/Maker: Central America | Panama | Cuna
Title: Flute
Object Date: collected 1970
Object Type: Flute | Musical Instrument
Coll. Type: Americas
Materials: Bamboo
Dimensions: Diameter                2.0 cm
Length                  31.0 cm
Remarks: Hollow (bamboo? or other large grass) tube, blocked off with natural wall at one end.  50 cm X 1.6 cm, 40 cm X 1.7 cm, 27 cm X 1.6 cm(broken),
17.3 cm X 1.2 cm, 32 cm X 1.3 cm, 22 cm X 1.3 cm, 15.5 cm X .9  Field no.
C5b.Purchased from Santiago Castillo on Mammitupu (same fellow an on Corbisque).  The flute is for dancing.
Credit: Museum Purchase

– 11 –
Object No.: 170.64.25118
Artist/Maker: Central America | Panama | Cuna
Title: Seven-piece flute
Object Date: collected 1970
Object Type: Flute | Musical Instrument
Coll. Type: Americas
Materials: Bamboo
Dimensions: Height                  51.0 cm
Remarks: Seven lengths of bamboo or other large grass, lashed together much in the fashion of Pan pipes.  Each is a different length and a different
diameter.  imensions:(largest):51 cm long, 2 cm diameter, (smallest):15.5 long, di 1.`Field no. C6. Used for dancing.  Purchased form Santiago
Castillo on Mammitupu (same man as on Coprbisque).
Credit: Museum Purchase
Location: HA.M5.10

– 12 –
Object No.: 172.12.25358
Artist/Maker: Asia | China
Title: Chinese Flute
Object Type: Flute | Musical Instrument
Coll. Type: Asia
Materials: Bamboo String
Dimensions: Length                  61.0 cm
Diameter                2.0 cm
Remarks: Bamboo with 24 black stripes (of wrapped string?) at intervals around the body of the instrument. White material at end of flute 3cm high and 2.5cm
wide. There are 8 finger holes and 4 holes at top paired and perpendicular to each other. Fairbanks Museum Exchange 160.
Credit: Hood Museum of Art, Dartmouth College
Location: HA.M5.5

– 13 –
Object No.: 172.12.25363
Artist/Maker: Asia | India
Title: Flute (fragment)
Object Type: Musical Instrument | Flute
Coll. Type: Asia
Materials: Wood
Dimensions: Length                  20.5 cm
Width                    2.0 cm
Remarks: Presumably a fragment of another instrument. Made of dark wood with 7 fingerholes, two opposite each other at the end. Slight narrowing to top.
Orangish stripes near top and bottom. Reed probably fit into the smaller end.  Perhaps a bagpipe chanter, although the wood is finished and unlike
the other Indian bagpipes in the collection.  20.5 cm long and 2 cm wide at thickest point. Fairbanks Museum Exchange 160.
Credit: Hood Museum of Art, Dartmouth College
Location: HA.M5.15

– 14 –
Object No.: 172.12.25364
Artist/Maker: Asia | India
Title: Shepard’s Whistle
Object Type: Musical Instrument | Flute
Coll. Type: Asia
Materials: Wood
Dimensions: Length                  28.5 cm
Width                    2.0 cm
Subject: Flute
Remarks: Carved wood flute instrument with 8 fingerholes and mouth hole. Fairbanks Museum Exchange 160.
Credit: Hood Museum of Art, Dartmouth College
Location: HA.M5.15

– 15 –
Object No.: 177.9.25758
Artist/Maker: South America | Colombia
Title: Flute
Object Date: mid-20th century
Object Type: Flute | Musical Instrument
Coll. Type: Americas
Materials: Wood
Dimensions: Length                  32.7 cm
Width                    2.0 cm
Coll. History: Alice Cox; given to Barbara Vallarino [her daughter]; given to present collection, 1977.
Remarks: Wood, 6 holes.
Credit: The Alice Cox Collection given by her daughter Mrs. Barbara Vallarino
Location: HA.M5.10

– 16 –
Object No.: 31.2.4752
Artist/Maker: North America | Mexico
Title: Pot handle, or piece of flute
Object Type: Handle | Fragment | Flute | Musical Instrument
Coll. Type: Americas
Remarks: Pot handle, or piece of
flute.From graves in the Bay of Manzanillo, state of Colima, west coast of
Mexico.Loan collection of: E.F. Carter, 1932.  C.B. Fisher, 1932.
Credit: Gift of the Family of E. F. Carter, Class of 1932 and C. B. Fisher, Class of 1932
Location: HA.M11.6

– 17 –
Object No.: 38.23.6120
Artist/Maker: South America | Ecuador | Native American
Title: Flute
Object Type: Flute | Musical Instrument
Coll. Type: Americas
Materials: Reed, paint, seeds, and hide
Dimensions: Length                  44.0 cm
Diameter                3.0 cm
Remarks: Flute of reed (?) light brown in color with geometric design of circles and stripes painted on in dark brown color.  Also decorated with strip of animal
skin at one end and circle of red seeds at the other.  date received: April, 1938  Ecuador [Handwritten onto card through carbon]
Credit: Gift of Mrs. Victor M. Cutter, Class of 1903W
Location: AIR.S54

– 18 –
Object No.: 38.73.6289
Artist/Maker: Asia | Thailand
Title: Bamboo Flute
Object Type: Flute
Coll. Type: Asia
Credit: Gift of Mr. and Mrs. John W. Barrett
Location: AIR.S81.B360

– 19 –
Object No.: 38.73.6299
Artist/Maker: Asia | Southeast Asia | Thailand
Title: Flute or Whistle
Object Date: 1894-1897
Object Type: Flute | Musical Instrument
Coll. Type: Asia
Materials: Bamboo
Dimensions: Length                  42.0 cm
Remarks: A bamboo whistle with 15 holes — 7 of these holes are finger holes, one a thumb hole, and one hole near the mouth-end which may be another
finger hole.  Many notes can be obtained by cross fingering, a diatonic scale is possible.  Overtones are difficult above the first one.  The whistle is
decorated by a stained, scalloped pattern.  It is in excellent condition and plays beautifully.  The holes were bored (I think) by a hot instrument.
42.5 cm long, outside diameter 2 cm, inside 1.3 cm.
Credit: Gift of Mr. and Mrs. John W. Barrett
Location: HA.M5.3

– 20 –
Object No.: 38.73.6300
Artist/Maker: Asia | Southeast Asia | Thailand
Title: Reed Flute
Object Date: 1894-1897
Object Type: Flute | Musical Instrument
Coll. Type: Asia
Materials: Bamboo Metal
Dimensions: Length                  51.0 cm
Diameter                1.6 cm
Remarks: Bamboo tube with 7 fingerholes that become progressively larger towards open end. Sound is produced when the player blows across a metal
reedthat is notched into the bamboo at the closed end.
Credit: Gift of Mr. and Mrs. John W. Barrett
Location: HA.M5.3

– 21 –
Object No.: 38.73.6301
Artist/Maker: Asia | Southeast Asia | Thailand
Title: Side Blown Reed Flute
Object Date: ca 1896
Object Type: Flute | Musical Instrument
Coll. Type: Asia
Materials: Bamboo Metal
Dimensions: Length                  72.5 cm
Diameter                1.8 cm
Remarks: Seven hole bamboo instrument with a metal reed near the closed end. The reed is set in a rectangular cavity carved in the side. To play, the mouth
is placed over the bamboo around the reed. Fingerholes are spaced farther and farther apart, with distance from the reed. Holes and bore are
black. Inside diameter 8mm.
Credit: Gift of Mr. and Mrs. John W. Barrett
Location: HA.M5.17

– 22 –
Object No.: 38.73.6302
Artist/Maker: Asia | Southeast Asia | Thailand
Title: Reed Flute
Object Date: 1894-1897
Object Type: Flute | Musical Instrument
Coll. Type: Asia
Materials: Bamboo Metal
Dimensions: Length                  110.0 cm
Diameter                2.0 cm
Remarks: Bamboo tube with 6 fingerholes of varying sizes, and closed at one end. Player blows across a metal reed that is notched into the bamboo.
Credit: Gift of Mr. and Mrs. John W. Barrett
Location: HA.M5.3

– 23 –
Object No.: 39.64.6899
Artist/Maker: Africa | Uganda | Baganda peoples
Title: Notched Flute
Object Type: Flute | Musical Instrument
Coll. Type: African Art
Materials: “Bamboo”
Dimensions: Length                  39.5 cm
Diameter                2.5 cm
Coll. History: Museum and Art Gallery Reading, England; sold to present collection, 1939.
Remarks: “Bamboo” 4 (5 ?) holes in line ca. 4 cm apart, starting ca. 4 cm from open base.  Top end open, notched, “v” shaped.  “Baganda Tribe, Uganda”
Original catalog (DCM) confused.  Recorded as “Alarm Bell, fixed to door”  Note also 6932 catalogued at “Whistle, Bukede,
Uganda”Number applied to Horn with leather wrappings.
Credit: Museum Purchase
Location: HA.M5.7

– 24 –
Object No.: 53.65.13314
Artist/Maker: Oceania | Melanesia | Papua New Guinea
Title: Pipe Flute
Object Date: collected 1893
Early Date: 1850
Late Date: 1893
Object Type: Flute | Musical Instrument
Coll. Type: Oceania
Materials: Bamboo, burned
Dimensions: Length                  47.3 cm
Width                    3.8 cm
Length                  18.625 in.
Width                    1.5 in.
Photo Type: B&W;Slide;Scan
Old Number: Fairbanks Museum 257 (check card, number not clear)
Coll. History: Collected by Henry Clay Ide, 1893-1897; given to his daughter Anne Ide Cockran (Mrs. W. Bourke Cockran); given to The Fairbanks Museum and
Planetarium, St. Johnsbury, Vermont; received by present collection in an exchange, 1953.
Remarks: Bamboo tube, closed at both ends. One hole on each end of one long side. Four holes in a band around flute and one single hole 5 1/2″ from end.
Seared lines decorate surface in bands around pipe, with geometric design. Split at one edge, 8” long.  Written in pen: “Nose flute ?  See
Cranstone re. 10[2 or a] ” [last digit illegible]  From Fairbanks Museum, Exchange #88.  From Loan 21.20  “1893” date and “#257” (for Fairbanks
number) written in pencil on the card.  Two objects shared this number. One was actually numbered 53.63.13314, but its descriptive catalogue
info. mistakenly matched record 53.65.13314. This piece is now numbered 53.65.30213
Credit: Hood Museum of Art, Dartmouth College
Location: HA.M5.30

– 25 –
Object No.: 53.65.30213
Artist/Maker: Oceania | Melanesia | Papua New Guinea
Title: Pipe Flute
Object Date: collected 1893-1897
Object Type: Flute | Musical Instrument
Coll. Type: Oceania
Materials: Bamboo and red paint
Dimensions: Length                  41.0 cm
Width                    1.8 cm
Length                  16.375 in.
Width                    .75 in.
Coll. History: The Fairbanks Museum and Planetarium, St. Johnsbury, Vermont; received by present collection in an exchange, 1953.
Remarks: 7-hole flute with one end closed. Bamboo wrapped around each end for decoration; interior painted red. Condition poor, crack through entire flute.
Written in pen: “Nose flute ? See Cranstone re. 10 [2 or a]” [last digit illegible]  Formerly numbered 53.63.13314. Changed number 2/95 due to
confusion with other flute with matching number.-kr
Credit: Hood Museum of Art, Dartmouth College
Location: HA.M5.30

– 26 –
Object No.: 56.14.13586
Artist/Maker: North America | Northeast | Canada | Ontario | Eastern Woodlands | Cayuga
Title: Flute
Object Date: traditional
Object Type: Flute | Musical Instrument
Coll. Type: Native American
Materials: Wood, metal, and string
Dimensions: Height                  49.7 cm
Diameter                3.4 cm
Remarks: Flute made from red ceder with six equidistant holes.  Flutes of this type were not used in ceremonies although they were played for enjoyment and
on occasions when bachelors were courting eligible maidens.  Inside diameter 2.3 cm.  Tag: Six Nations, Ontario. Collected by Frank G. Speck.
Credit: Museum Purchase
Location: HA.M5.20

This last record is the only Native American flute in our collection. I have looked in every Object File for ALL of the flutes listed above… with no luck.

Best, Debbie

edit to add: Duncan Earle, taught a few years at Dartmouth, early in his career; he and I wrote recently by email about Marimba from Guatemala. (this was published in my bound volume of The D — which came up apropos of presidential candidate Kirsten Gillibrand claiming she was a stringer, photos of squash team)

Ms. Haynes of The Alma Mater:

deb_haynes

ebonus track (bad pun, bad typing or providence):

I can’t believe I’ve been writing about Don Cherry at Dartmouth for 15 years and never followed this up, but here is a lift from Willard Jenkins talking with Bob Northern:

Brother Ah: I started when I came back from the military again in the late 50’s. My union, 802, asked brass players to work in the public school systems to teach brass instruments. They didn’t ask teachers with degrees in education but they wanted professional musicians. So they called me, I don’t know why again, to ask me. So I said, “Sure.” So they sent me to a school in my own backyard… south Bronx, where I grew up, to teach brass instruments. So I taught trumpet, trombone… all the brass instruments to elementary… to 4th, 5th, and 6th, graders.

That’s how I really began to start teaching. And I had a few private students. But, I was successful now, and getting work, I was doing a Broadway show, I’d done many Broadway shows but this one’s called 1776. It was a hit Broadway show and I had been doing it for two and a half years, six nights a week and matinees and all that stuff. Finally Don Cherry called me. Don and I had been working with Charlie Haden and Don and I did a lot of stuff together. In fact he’s the one who turned me on to playing bamboo flutes. Anyway, Don said, “Listen man I’m teaching at Dartmouth College and I’m going to Stockholm, Sweden to open up a school for children for one semester and the faculty chairman said I could go for a semester if I got a substitute, so would you substitute for me for one semester at Dartmouth?” I said, “I’m doing a Broadway show man. I gotta find a substitute for a semester.”

So I did, I was able to find a French hornist who played my show for a semester. And I spent a week with Don in Dartmouth, first of all, observing him as a teacher. So I said, “Don I think I can continue your work.” And I was really continuing his work. He was doing music that was different. So I said, “I can do your work” ‘cause I had been playing with Sun Ra. So I accepted his position for one semester.

At the end of the semester he called me from Sweden: “Man, I’m gonna be out here for three years.” I said, “What!? I got a hit Broadway show!” “Can you please take my place man…?” So the chairman calls me and says, “We would like to offer you a three year contract to teach here at Dartmouth.” I was kind of sick of that show anyway, I mean, I’d been doing it for two and a half years, I said, “Well, I’ll just take a break from New York you know.” Even though I was extremely busy. But I said, “What I’ll do is bring the cats up here,” I said to the chairman, “If you give me a grant, you know to bring the musicians from New York here so I could continue my career.” He said, “Yeah!” So I brought up Max Roach, I brought up M’Boom, I brought up Kenny Burrell I brought up a whole bunch of cats because I wanted to play, I brought up Leon Thomas. So I kept my roots in it, but after three and a half years… But anyway that was my first real teaching position, at Dartmouth College.


Willard Jenkins: Were you married with a family at the time?

Brother Ah: I was married… I was divorced.

Willard Jenkins: Did you have children?

Brother Ah: I had two kids. Two sons.

Willard Jenkins: From your first marriage?

Brother Ah: Yeah.

Willard Jenkins: Are either of them musicians?

Brother Ah: No, the oldest boy, who is now in his fifties, he wanted to be a drummer and I got him a drum set and for some reason he wanted to go to Paris and sold his drum set to go to Paris and he never got back on drums. My youngest boy was a wonderful guitarist who was studying music in Los Angeles and he gave up being a musician so… My daughter is the one that’s really now and up and coming. She’s a vocalist, a composer, and an arranger. She has wonderful music out now, she’s going strong now, and so she’s the only one in my family to take on the music legacy, my daughter.

Willard Jenkins: So how did you evolve as an educator from Dartmouth to Brown University?

Brother Ah: Well, again, at the end of three years, I was anxious to get back to New York. To pick up my career, to get back with all those cats I worked with. And at one of my performances, there was a gentleman named George Bass who was very connected with Langston Hughes, he was teaching at Brown University in something called Rights and Reasons. Rights and Reasons was a project that he and the chairman of the African Studies Department, who was a historian, put together, to turn research into performance. So he came to one of my performances. I didn’t know he was out there.

After the performance, he came backstage and said he’d like me to consider doing my work at Brown University. I said, “Man, I’m going back to New York man, I mean I’ve had three and a half years of Ivy League,” and that was difficult at Dartmouth. It was very racist… It was an all-boys school when I took the job. When I first hit that campus man, there was a big Confederate flag across the Main Street, a huge Confederate flag. I said, “What!?” So I had a hard time dealing with racism at Dartmouth, very hard time. And it’s an Ivy League school again, Brown University, I said, and in Rhode Island, I said, “Well man, I’m going back to New York.” So he kept bugging me, so I figured the only way I can turn this cat down was to give him such a price, such a salary, that they would say, “No we can’t do that.” So I gave him this huge figure, and they said, “Ok.” I said, “What!?” [Laughs] I didn’t know I was making more than the chairman. I said, “What!?” Oh man, so that’s how I ended up there… So I went to Brown and stayed there nine years.

Rusty Hassan: Was it at Dartmouth or Brown, where you acquired the name “Brother Ah”?

Brother Ah: At Dartmouth. I used to come into this classroom and they would say, “Ahhhhhhhh. Ahhhhh. Brother Ahhhhh.” And I didn’t know, you know, it was a nickname. I didn’t know if I started every sentence with “ah” or what, you know? So it was an international setting, it’s an all-boys school and they had students from all over the world. It was very international.

So everyone from different parts of the world came to me and say, “’Ah’ has a meaning in my culture.” One guy, he was from Mauritania, he said, “We twirl in the desert and we chant ‘ahhhh’ for our culture.” And then the guy from Egypt, he said, “You know ‘Ah’ is the name of the god of the moon.” Ra is the name of the Sun god, Ah is the moon god. Everybody kept telling me, so it stuck. It was a nickname, it just stuck. So when I got to Brown, the Brother Ah name followed me to Brown.

 

This is a random segue but my mind races to Kris Bobrowski my Dartmouth schoolmate -and we had mutual friends –who plays French horn and studied with Christian Woolf and has an improv piece which starts with her going to the beach and grabbing a piece of seaweed to form an improvised and variable in tone instrument.

The other thing that comes to mind is a story one of Don’s students told me via letter about Lucky Thompson and the racism he encountered in the Deep South, and told the students about. I believe that Dartmouth 1973 or so was literally Lucky’s last paid teaching gig. (I saw something about him in Seattle, and poor, at end of his life).

A link to Krys’ page shows that John Santos also teaches with her at CSM and lists “de la calle” meaning self-taught for his academic credential. John played with Charlie Hunter once in my series (pound for pound). He should have his own show, for Earthwise — which reminds me here I am futzing around on the blog when I have 2 shows on sale. Jane Monheit, 6/21/19 and Bob Margolin 7/6/19. And a few avails and offers to land, like a cakewalk.

andand: a fine young musician here, to rename nameless, trying to choose between Stanford and Brown.

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She did it Mxmtoon way

Posted on May 26, 2019 by markweiss86
Screen Shot 2019-05-26 at 1.29.18 AM

I found this on B Sides late night, nd could not resist posting

I think this is one of those scooter braun type stories where the artist starts singing in her lving room and positng to youtube and then she has an actual following and someone from the industry reaches out.

She did a small tour of Brooklyn, Schuba’s in Chi town, and I think Rickshaw stop in SF.

What’s next for Maia from the Bay Area pka Mxmtoon. Oakland’s own.

edit to add: the youtube page yields that she has management that also works with Young the Giant and Tallest Man in the World. Brooklyn and Nashville based.

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I’m not a fan of The National but just bought 4 tickets on AXS for their show at Frost, which is only 2 miles from here;

Posted on May 21, 2019 by markweiss86

After less than a minute of their set on Colbert last Tuesday, I had taped and just watched.

nat

that’s the tip of my foot, in New Balance, an Ehran Tool mug featuring my father’s mug, some dog treats, a ceramic rat bought at Sanchez mex of Race Street, and I presume the singer or a singer from The National, unless it’s just a guitarist doing bv.

 

That’s the whole item. The show is September 1, which gives me 100 days to bone up on their first 20 years or so, to optimize my enjoyment of the show.

I also bought: Joe Russo’s Almost Dead, Lionel Ritchie.

It’s a little extreme, and I digression, but I think I’m going to try to see all 25 shows at Stanford Jazz Workshop.

Also: Donny McCaslin plays the Bing second state June 8. (He played Cubberley, with Danilo Perez, Fall, 2000).

Plus I have onsales at Mitchell Park “Not Quite The Mitch” with Jane Monheit, June 21 and Bob Margolin, July 6. My focus — if that’s not self-cancelling term — is selling those 400 combined ducats at $20 each to replenish that $8,000 to the Earthwise coffers.

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Palo Alto’s ‘grassy knoll’ of rock and roll

Posted on May 20, 2019 by markweiss86

Bo Crane, 67 — a Paly and Stanford grad — is giving a talk at Palo Alto Historical Association next month — their annual dinner — about rock and roll. He published a book or chapbook on such — maybe he used notes I sent him about more recent artists with roots here.

The Weekly had a blurb about CSPAN doing a segment on Palo Alto, or several, including one that featured six minutes of Bo, and some stills and a bit of footage that is likely not Lytton Plaza or El Camino Park, and so far about 300 views online.

Bo repeats the story about Jerry Garcia a music teacher at Dana Morgan Music on Bryant scratching away on a banjo in the alley and then Bob Weir of Menlo Park saunters by and the rest is history.

I call this the grassy knoll of rock and roll — or the psychedelic movement — in that he looks like he is talking about “back and to the left” in Oliver Stone or real life or Magruder. (I had never heard anyone say that Weir turned from Hamilton onto the alley, if that matters — I’ll have to replayto see if he was heading up or down, west or east before turning to the left or right to hear and meet Jerry).

A much better story and that much more recent and therefore plausible — and the principals are both living — and nearly lucid — is about how Gregg Rolie of Palo Alto met Carlos Santana after a police raid on a jam session or smoke out near Shoreline in Palo Alto.

The Dead or Bob and John Mayer and friends are playing next Friday and Sat at Shoreline and I am going if I can figure out where my electronic tickets are: Ticketmaster, Stubhub, AXS, who knows?

I’ll probably go to Bo’s show. I know him slightly from a men’s biking group I was briefly trailing — Bo is very fit and does know a lot of area bike paths, if that gives his view on rock any authority.

There’s a guy named Bernstein who used to book blues shows into a warehouse downtown and tour managed or roadied with Willie Nelson and wrote a chap book and spoke to PAHA (and then emailed me a few times back and forth). Andrew Bernstein, relative of my Gunn classmate and party-mate I think Steve Bernstein but not the slide trumpet player from Berkeley — he lived way up to Page Mill and in fact Andy Zenoff and Matt Maltz once rolled a musle car trying to race me and my new Chevy Camero down. Excuse the digression (Kudos to Matt for a winning season for Gunn softball, he leads).

And: in 2004 as publicist for an art gallery downtown showing his lithographs and drawings, I got mayor Bern Beecham to issue a mayoral proclamation about Jerry Garcia’s history here — actually April Higashi the jeweler and admin for the Jerry office had promised to donate a drawing or litho for display and sell us at printing cost the first known photo a print of Warlocks playing locally. That deal was force majeured when the gallery owner flaked out and cancelled my music series there – -and stiffed me on my cut of the Jerry take and I think bogarted the actual parchment document from COPA. (I had booked Steve Mule, Malcolm Welbourne Ethan Iverson, AJ Roach, Jack Walrath — John Ellis, of the Charlie Hunter Trio, got axed in the kerfluffle. )

Anyhow, Bern said he do it if Steve Staiger would verify my version of the story, and Steve showed both the Palo Alto registry of 1964 listing Jerry as a music teacher and a clipping from Palo Alto Times about the music teacher engaged to a debutante. Sarah.

And then: Steve and I enjoyed an exchange in which I would nominate people for the fictional so far “Palo Alto Rock and Roll Archive” including Ian MacKaye, Chris Appleton, Matt Flynn, Tommy Jordan, Maya Ford, Richard Marriott, Steve Jenkins, Hershel Yatovitz and Manny Moore.

I also spoke up at a Jerry Hill meeting (that Lenny Siegal attended) about putting a marker where Rolie met Santana.

I’d say Blink 182 for Earthday Rock and Bike at Cubberley Auditorium (cafeteria — library — childrens museum) for 150 kids for $6 or two-for-one solar powered is worth noting if “the beatles slept here” is.  Although by my own reasoning, I nominated running into to jazz man Josh Roseman at Printers Cafe as part of my 500 Palo Alto jazz tropes, itself a panel at PAHA (that featured Akira Tana, Seward McCain and Rebecca Coupe Franks, and filmed by Brian George).

Also: dribs and drabs: Social Distortion and Dead Kennedy’s at The Varsity.

I’d like to hear from: Gina Arnold, Danny Scher, Nick Dement, Stevie Nicks — played the Cub, as a high school, under a pre-Fleetwood band name or band per se.

A little choppy but: Randall Klein told me recently the roots of SFJazz is in an Oregon (jazz band) show he produced at The Varsity circa 1976.

Scher for his part –before booking the dead into frost and building Shoreline for BGP — booked Journey into the tri-school (Gunn-Paly-Cubberley) formal spring, 1979 but when I met him for the first time in 1995 16 years later he said his proudest palo alto moment or fondest memory was booking Thelonious Monk in Paly the month after MLK was killed.

and1: I’m still trying to verify (even for Plastic Alto) my claim that I saw JB Pritzker (future governor of Illinois) sing “If I Were A Rich Man” at Beth Am in 1975. Leah Garchik doesn’t believe me.

Oh: I saw Amy French of COPA at Coupa (!) today and apropos of Bo Crane I said she should be in the book.

andand: vintage Irving Penn of Dead and Jefferson at Pace in Palo Alto this spring

afivingate

if you ask me, and you did not, but I have a blog, and witnesses, but AFI for 420 kids — ok, 412 — at The Cub, capacity 300 — is more epic than the Beatles Room at Crowne Plaza, which is silly. Which is like something I saw driving to Seattle via “Jefferson” rumors have it that Jack London slept here, but he did not.

 

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Two weeks later; or 20 hours

Posted on May 18, 2019 by markweiss86

 

I’m focusing on advancing my shows June 21, with jazzsinger Jane Monheit, and July 6, with blues guitarist Bob Margolin (and guests Jimmy Vivino, and Mitch Woods). Both concerts will be at the new Mitchell Park Community Center El Palo Alto room. We will sell 200 tickets for each show, or offer such. Tickets are $20, available at the door, and you can rsvp here or at earwopa@yahoo.com. I’m mulling over other places to offer hard ticket advance ducats, or online ticketing services.

Jane, who is also doing a free outdoor show at Los Gatos, will be touring with her piano player Andy Langham. I went to see Jane’s combo at Yoshi’s last month, to advance this event, and milled around backstage, wondering if I should make contact. I approached a tall, well-dressed man, sucking the fresh air, behind the club, and took him for the driver. Andy is a big fella, but I could not tell that from my perch at the club. He chuckled and led me in to meet the rest of the band, and his boss-lady.

beth0519

Custer

Beth Custer and friends played last night at Palo Alto Art Center, her show based on the writings of Paul Hawken, “Drawdown”, which in her use seems to mean a concerted effort, so to speak, to reduce carbon in the atmosphere.

Beth’s project, a commission from SF Arts, repeats tonite at the 55 Taylor Street New Music center.

Here is a 2-minute clip, mostly instrumental, of her group featuring clarinet, voice, cello, violin, piano and percussion.

 

 

 

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May Fete VS Little Feat

Posted on May 4, 2019 by markweiss86

1, There’s a small dog, in the parade, with a mini Giants bat;

2, There’s a fat man, in the bath tub, with the blues.

Screen Shot 2019-05-04 at 7.42.43 AM.png1.a. If you be my Dixie chicken, I’ll be your something something (Tennessee) man…

  1. b Duffy eats a prescription chicken stew but prefers buffalo lung treats, from Colorado edit to add the next day bw: we completed the May Fete Duffy and I and a good time was had by all. I marched with Camille Townsend and Jack Morton of the Recreation Foundation, and handed out postcards for Black and White ball, coming October 4, 2019. Here also are some stills from a live video of Lowell George, Emmie Lou Harris and Bonnie Raitt, circa 1975; Also, when I came down for breakfast — spinach fritatta, Terry was listening to a podcast about the arts with Ted Leo and Aimee Mann who i guess are also and item and a band, and although she said she had never heard of either of them she liked the podcast. I saw Ted Leo the first time during noise pop at Gamh and then also stumbled upon them or him (with Dessa Doomtree) at the Macelester spring fling, in 2009. I think i spoke to him.

  2. not quite a podcast, or interesting:

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