Blue Eternity Relaxes and Stimulates

Left to right: Manring, Oster, Weingarten last year

Last night I got more than I expected when I went to the 1400 Bar and Grill in Alameda, California to hear Michael Manring. Michael is one of the world's best fretless electric bassists, and he plays solo and with a variety of other interesting musicians.

I got there about 8 p.m. and found out that the music wouldn't begin until about 9:30 p.m. So--I sat and watched (without sound) a good portion of the London Olympics opening ceremony. I also started the first of two pints of Rye'd Piper, a strong, fragrant ale that 1400 offers on tap for a mere $5. When I heard a horn and bass tuning up around 9:15, I migrated to the rear of the 100-year-old facility to transition my attention to the music.

Blue Eternity, an ensemble of four fine musicians, puts out what you might call "Smooth Jazz" except that it is more than just smooth. Although the seven people at the round table near me continued with their animated conversation after the music started, I found myself riveted by the band's at times mellow, other times forceful music.

Trumpet and flugelhorn player Jeff Oster, the group's spokesperson and apparent leader, provided a clear and compelling part up front. I heard some of the great Jazz performers, such as Miles Davis, in his sound, and his own style, too. Jeff handed me his True CD to enjoy, which I will explore and blog about soon. Surrender is his latest effort, and you can find out more about it on his website.

The three other musicians are definitely not Jeff's "backup band"--all added significantly to the show. And Jeff, contributing something to the feeling of a jam, at times set down his horn and added incidental sounds from a triangle, metallic cup, or a small box that looked like a toy stove, all carefully placed on the end of his strategically located trumpet case. It all suited the mood.

Carl Weingarten, over to the left, made otherworldly sounds with his electric slide guitar, in open tuning and using looping, building a sonic orchestra of strings. Both as a perfect accompaniment for the other instruments and a thrillling soloist, he sounded like more than one guy. Carl kindly gave me one of his CDs during the break. Panomorphia is just the latest in a series of about 20 albums he's recorded over the last three decades. I look forward to exploring it and reporting back in a separate blog post.

Of course, I was there originally to hear Michael Manring, and he delivered, as always. We often think of the bass as a support, rhythm section instrument, and it does serve that function. Michael makes it do much more. While many of the selections were a mellow, trance-inducing sort, in a single droning key, a few times, Michael got things rolling and brought up the energy with his lightning-fast fingers on the fretless fingerboard. He uses various electronic effects, including something called an EBow, for extended sounds you can't get with just a pluck. He also started the second set with an extended solo performance that rocked the house, showing the tremendous range of colors and textures he can pull out of the four-string fretless bass.

After the show, I enjoyed a conversation with percussionist Tracy Tucker, who not only employed an amazing conga drum with an adjustable head (using a pedal), but sported some amazing tattoos on his arms. The theme was Indian spiritual, but also contained W.C. Fields' head. Whimsical, but serious too. Tucker helped keep the energy moving with his throbbing beat, coming closer to the foreground and then receding deftly into the background, maintaining the flow. He is also a shiatsu therapist, an area where he can influence the body in the same way his music affects the feelings and mind.

What an evening. Around 12:30 a.m., it ended and I rolled on home satisfied. A show at 1400 is an inexpensive and entertaining way to get out, and I will seek out the Blue Eternity musicians--separately and together--again. One memory--hearing Blue Eternity's last number and looking over to my left and seeing Sir Paul McCartney on three video screens playing "Hey Jude" in front of 2 billion people. The power of music.

A Double Dose of Schubert at Humboldt, Day Two

The Schubert Trout Quintet is a very famous and beautiful piece of music. Orchestral bass players often get to play it--or you may even say HAVE to play it--to satisfy the cravings of other musicians to play along with the biggest member of the string family.

Well, luckily, I LOVE the piece. I've already had two runs through it--and it's only Wednesday early morning.

The Piano Quintet in A major (Trout is really its nickname) is called that because it's based on a song Schubert wrote about the sad tale of a fish who struggles with the fisherman and dies (that's the thumbnail description). In reality, it is an achingly beautiful piece that gives a pianist and one representative from each member of the string family a workout.

My group met about 9 a.m. in our practice room to start. I was a little miffed because I had climbed the stairs to grab my bass, carried it all the way down to our morning meeting spot, only to find out that my assigned room was across the hall from my locker! Back up the stairs I went.

We quickly got down to business and the lovely sounds of the piece wafted through the room. After around 45 minutes, Daniela, our coach arrived. She did what good coaches do, and helped us identify areas we needed to work on (namely, all of it!). We selected the first movement and had to make a cut to get it down to a five-minute playing time. Then, we worked on the rough patches, and especially on the usual goal--playing well together.

We had no problem as people--I had a nice group-as I always seem to have. One of the many wonderful things about playing for five days in a row is that you get a different set of new friends each day. In this case, I had already played with two of the members and two were new to me. We worked through the piece in two morning and one afternoon practice sessions, broken up by our a.m. coffee break and lunch.

Strange for July--even in Northern California--was genuine rain--so our breaks were inside. I wore my porous and absorbent Levi jacket, but seemed to fare fine--it was not windy or particularly cold, so it just felt refreshing.

The joys of chamber music are great--if you like that kind of thing. We worked hard, but saw, over the day, our performance pick up speed, lock together, and by the end we were pretty happy that we had it down well. We drew the absolute final performance of the day, so we played after dinner. I wasn't sure I'd like that, but I had heard so much fine music by our turn that I was really in the mood.

After a brief reconnection before the evening session--and a few minutes in the green room, we stood backstage waiting, listening to a finely rendered trio just ahead of us on the other side of the curtain. Then, we strolled onto the stage for our turn.

It's funny that the stage looks far away from the seats but the people look close when you're up there. I glanced out briefly, but spent most of my time and attention on my music stand--and feeling my fingers on the familiar fingerboard of my bass as I listened and played along with our group. Nana, our violinist, counted us in and off we went!

The bass part has some wonderful half and whole note runs that flow below the more active melody parts that are incredibly enjoyable to play. One section, in the middle, is a piano solo, and I like to sing along with the part. One of my colleagues noticed this and teased me about it later (in a good-natured way, of course). Sorry, it's the Trout, and I can't help myself.

After our successful performance (we came back for a second set of bows), I went right behind the stage to a practice room to tackle Schubert's Octet. In this case, we played as a tiny orchestra, with violin, viola, cello, bass as well as oboe, bassoon, clarinet and horn (is that right?).

The piece is fairly long and twists and turns through slow and fast sections, but other than a few stops to re-sync ourselves, it flowed along nicely. I was pleased that all the players sounded good--and seemed to be having as much fun as I was. By around 10 p.m. we played the final notes, and smiles broke out everywhere. We had made it--and topped off another fine day of chamber music.

Then--two hours of drinking and snacking in the dorm meeting room. Ah, the college life!

Humboldt Chamber Music Workshop--Day One

Rossini

The chamber music workshop week always begins with a group meeting in the  main theater to learn the details of the week's activities and anything else you  might want to know to get around. This being my second time up here, I had a good idea of what to expect. Alan Geier, the workshop director, explained it all in his friendly, humorous way, welcoming us back--and helping to relax the newcomers. We learned where to get the music (the music library), details of the schedule, Do's and Don't's, things to watch out for, and the rest.

Then, we were released to go crowd around the posted lists of who's playing what with whom where. I got assigned to some Rossini quartets that include bass, in the Art Building. Luckily, it's just across from the main theater, but I still had to climb up the Music Building stairs (no elevator during construction) and grab my bass before I went there. But I arrived and found my musical companions.

One of the many beauties of the workshop is that you play a different piece, with different people, each day. Also, the professional coaches rotate, too, so you get the guidance of different experts. Since I'm the only bassist signed up (as usual) there is never a "bass coach," but our cellist coach was great at guiding the group to play well together.

First, we looked at the three Rossini quartets on our music stands and then decided on one to run through. We then isolated the particular section we would be devoting the day's efforts to "perfecting" and went with that. You have to do this to get good enough at it to do well in the afternoon recital.

Gioachino Rossini is best known for his opera, The Barber of Seville, and the piece we worked on had an operatic quality, with expressive voices from the different instruments. The violin even gets to "laugh." I had two sections of solo work that I was able to pull off during the afternoon performance. Whew.

Things started coming together and improved over the day. We had our first session, then took a break in the courtyard with coffee and snacks. I've always liked this part, both for the social pleasures but also to get a break for my hands--and my eyes. Unfortunately, I am the ONLY person who stands all day, and this is more standing. I really should find someplace to sit down.

I lollygagged a little longer, and found my cohorts already there when I returned. We worked on our quartet--two violins, a cello and me on bass--through until lunch, with direction from Carol, our coach. It's hard sometimes to sync your playing with the other musicians--but therein lies beauty and satisfaction. We gradually tune in to the others. Intonation improves, the speed increases, we get more even, and play sections in which we share the melody or pattern in the same way so it sounds euphonious.

In the afternoon, we played late in the first of the two hourly sessions. Just after we played, we went off to dinner. It seems like there's lots of eating at these events. The food is OK--but it is "dorm fare" and I heard some grumblings about the consistency and flavor of the chicken. We went back for another hour of fine performances--every group seemed to be aware of the five-minute rule so it rolled through. Then--off to freelancing.

Freelancing gives you a choice to play what you want when you've completed your daily assignment. I played the Schubert's Trout Quintet--a favorite of chamber music players because of its beauty and also it seems to be the first piece anyone thinks of that includes a bass. We bassists are not in the center of chamber music but on the periphery. So--I'm glad to play it, and usually, at least one of the five of us is doing it for the first time--exciting and challenging. We played it fairly slowly, but the group focused and really heated up the room. At last, it came to its satifying conclusion and we packed up and headed back to the dorms for a little alcohol, snacks and conversation.

And so ended the first day. Today, we do it all over again.

Gates of Eden Band Celebrated July 1

Co-host with the most Frank Goulart*

A fine time was had by all at the 20th Annual Gates of Eden Reunion Party on Sunday July 1 in Hayward, California. The five bands were excellent, the food was copious and delicious, there was plenty of Bud in the cooler. It was hard to believe that Gates of Eden was 44 years old.

I wasn't there in 1968 when the band was formed, but some of those attending--and playing--were. I would have liked to play with them back then, I was a high school sophomore in Concord, 25 miles away. The spirit of the 1960s--and the love of playing music together--lives on.

I've been so lucky to be part of this group of enthusiasts over the last few years and this annual private party is a summer highlight.

Herd of Cats (photo courtesy Chuck Yolland)

There were five bands, all different, all worth hearing. First up was Herd of Cats, which delivered a fine sound of "Straight ahead Jazz with a touch of funk" (per their business card). It was the only group to feature an upright bass and a saxophone. The same gleaming set of drums kept rhythm behind the Cats and everyone else all day. Some fine solo work on the sax, guitar and keyboard, and a great way to get the afternoon moving.

Next, came the first official appearance of the Sycamore 129 Blues Band, the largest ensemble of the day. I think I counted nine of us. I'm the guy in the red shirt playing the bass and loving it. The band jams monthly at the Sycamore 129 Odd Fellows Lodge, hence the name. With an upcoming public performance on August 12, everyone wanted an outing in front of a sympathetic, receptive audience, and we got it. We have male and female singers, guitars, bass, keyboard, drums, harmonica and lots of smiles. Sorry there are no photos of our beautiful female singer, Geri.

Another part of Sycamore 129 Blues Band*

One part of Sycamore 129 Blues Band*

In the middle of the show came Roctapus. The four-man band pumped out solid rock--all but one song an original. The musical quality made them seem like songs you would have heard somewhere... "Was that a Dead song?" I asked myself. I was shadowing Frank, who had a nice fat bass sound coming from his two big cabinets, which contained four 10's and one 15, from the looks of it. Some flawless rhythm from guitar and drums and guitar solos that evoked Garcia and Santana, to these ears.

The great sounds kept happening with the Blues Bottle Band. I've heard these guys several other times and they are a very tight unit, honed from working in clubs and getting folks up to dance. These guys delivered on the three-part harmonies along with rockin' and groovin' to some well known winners. They did Motown, Doo wop, and later rock classics. All of the musicianship was impeccable and moving, and Dave Chimpky's solos were even more astounding than usual. It was heaven.

Roctapus*

But wait, there's more. Last, but not at all least, the local favorites the Diehards came up and knocked everyone's ears for a loop with their sensational versions of beloved favorites. They can do the Beatles' Nowhere Man and then turn around and do a credible job of Fleetwood Mac's Rhiannon. Much more than a living juke box, they put real spirit into the performance, playing most of the familiar riffs but making each piece their own. At the end, they led us all in a friendly and slightly ecstatic singalong of California Dreamin'.

What a fine day.

Blues Bottle Band*

 Big thanks to Frank and Julie for hosting this great event again! We got pretty good weather, too--nobody roasted this year. Thanks to everyone who came to hear the performers, too. It's always more fun when there's an audience.
 


*All photos, except for Herd of Cats, courtesy of Wendell Beaudrow.

The Diehards*

Hayward Municipal Band - a Community and Family Tradition

Besides the sign, it looked like this 2008 photo today.

What could be better than a fine summer afternoon spent hearing live music in the park--for free? The Hayward (California) Municipal Band has been delivering the goods since 1957! I enjoyed their concert today sitting outside on a perfect 70-degree day.

The band, nattily attired in their match powder blue coats with pocket patch and caps and contrasting black trousers, sat in the Tony Morelli Bandstand and played a pleasing variety of music. Ably conducted by Kathy Meier, and emceed by her brother, Mark Morelli, the show kept the folks on the grassy fields happy. Tony Morelli, for whom the bandstand is named, directed the band from almost the beginning (1960), and when he died the baton was passed to his daughter, Kathy (Meier). She has been with the group since the age of three, when she started passing out programs--and joined as a flutist at 15.


Today's show, as always, began with the National Anthem. We are used to hearing someone sing it at the ballpark, but done by an excellent instrumental ensemble it gives me goosebumps--kind of thrilling! Small American and California flags were displayed appropriately on the bandstand.

The show was programmed to not stay too long on one particular kind of music, so it then transitioned to an uptempo Spanish march, Amparito Roca. Next, the mood shifted again to a more standard classical work, the Finale from Dvorak's New World Symphony. This is a favorite classical music piece that is probably somewhat familiar to many people who are not classical music "fans."

Osser' Beguine Again (a pun) brought more Latin rhythms to the bandstand, contrasting nicely with Ralph Vaughn Williams' Sine Nomine--an uplifting hymn. This piece had a nice xylophone part in it, and while it started out in a sharply defined four-to-the bar structure, it softened as it progressed--a satisfying transition.

Outdoor concerts are not like indoor performances. Here' you're going to hear birds chirping (they seemed to favor certain pieces and parts thereof) and an occasional baby crying. Because it's a picnic, my sensitive ears picked up the crinkle of a chip bag a few times, and at one point dogs started yapping at each other behind me. There were some conversations, too, but it wasn't really a problem.

The first half included the Cheerio March, which featured an audience participation section (LA LA LA first and then whistling in the second). I participated in the first, since I can't whistle proficiently.

No Man is an Island, 16th-Century poet John Donne's words put to music, provided a showcase for band Manager Lolita Morelli, wife of Tony and mother to Kathy and Mark, to sing for us. She also added California Here I Come, which I think is a crowd favorite. A medley from Camelot, including Camelot, Follow Me and If Ever I Should Leave You, preceded the intermission.

I got a chance to meet and talk with Lolita and Kathy during the intermission break. It's easy to see their great enthusiasm for the band.

The second half got everyone moving with the stirring Drums of America, which gave the percussionists a chance to shine. Then came music from Wildcat, a broadway play from 1960 that starred Lucille Ball in the original New York production. Then, an interesting piece--John Philip Sousa's 1912 With Pleasure, that had a ragtime feel rather than a march beat. I didn't know he wrote those.

When I was attending the Castro Valley Community Band concert last week (also conducted by Kathy Meier), they did a medley of Chicago songs (the group, not the city) that knocked my socks off. This show, it was a medley of John Denver tunes, including Leaving on a Jet Plane, Country Roads, and Rocky Mountain High. The musicians' skill playing this piece demonstrated their mastery of different styles, as this had nothing to do with a march or a Latin style composition. My only wish was that the medley had included the bridge from Country Roads, but in a medley, you have to stick with the main themes, and those were clearly delineated.

Where to go next to show their versatility? It was Gershwin. The group got the syncopated Jazz feeling exactly right, doing what was one of the highlights of the afternoon for me. So much of the work of Mr. Gershwin is part of the American musical consciousness--and the band really did it justice here, with Sentimental Rhythm, I've Got Rhythm, Someone to Watch Over Me, and more.

OK, it was a band concert on a Sunday afternoon in the park, so what better way to conclude the show but to return to basics with the always popular The Stars and Stripes Forever. It bookended the show nicely with the National Anthem up front, and got everyone clapping along.

This concert is part of a series provided by the City of Hayward in conjunction with the Hayward Area Recreation and Park District. It started last week and runs through July 24th--each one on Sunday at 2:30 p.m. in Hayward's Memorial Park. Admission is free, so you can bring a picnic (no alcohol) and have a great time. Check the band's blog for an advance look at the program.

Community Bands Give Much to the Public--and the Musicians, too

Castro Valley Center for the Arts - a fine community venue

I had the pleasure last night of hearing a performance by the Castro Valley Adult and Career Education Community Band. It was just a bit over an hour of rousing, happy music from a variety of sources. From the National Anthem (we all stood) at the beginning to Gershwin's American in Paris (a band version), to a medley of music from the band Chicago, it kept going and seemed to move the 300 to 400 in attendance.

Community bands and chamber orchestras are fascinating in their purpose and in their contribution. Members, who are mostly over 55, are nearly always not professionals, or even former pros, but are people who perhaps took up an instrument as early as grade school and then, if they were lucky, kept playing their whole life. Some have taken a long break, resuming after years--or even decades--and are finding pleasure in renewing their commitment. Some, like me, are late bloomers. I began my instrument, the upright bass, at 51.

Although many ensemble members are along in years, but there is nothing missing in these folks' musicality or endurance.Gordan Pappas, who arranged five of the selections the band played last night, had a long career in music education locally and elsewhere. He is a youthful 89. The fine trumpet soloist, Harry Hanover, is 85. He showed off his excellent tone and cascades of notes in one of Mr. Pappas' arrangements of themes from Mozart's Die Fledermaus.

All the pieces had interest, but some were remarkable above that. Young Choi Ying Chiu stepped away from her percussion assignment to solo on the xylophone in Tico Tico. She ran through the challenging piece with her hands a blur while putting out a crowd-stirring performance. Kathy Catanho played a sensitive saxophone solo in What a Wonderful World (originally made famous by the voice of Louis Armstrong). During the Clarinet Polka, the entire clarinet section (and bass player) put on men's fedoras before they took on the up-tempo rendition.

I was impressed when the group took on the Chicago Medley. I tried to restrain myself from singing along to Searching (for an Answer), Color My World and Does Anybody Know What Time it Is?

An encore of  Stars ad Stripes Forever brought the crowd  back to where the show had started and was a well chosen finale.

Kathy Maier directed the nearly 50-person band with vigor and flair. For comic relief, Master of Ceremonies Mark Morelli read from the concert notes and made wisecracks about the conductor and at one point before Fledermaus, cracked a saxophonist joke.

Playing in organized musical groups like this not only please audiences but keeps the musicians young. The effort, discipline and mental stimulation surely make a big difference. Did I mention that this concert was free to the public? I would have paid to hear it.

Be sure to contact the Castro Valley Adult and Career Education office to learn the upcoming schedule for the Community Band and the Chamber Orchestra season, which begins in September. And-- if you once played and want to resume, the band (and orchestra) are always looking for more players.

Happy to Play the Blues

I just played bass this afternoon with some talented musicians at Gary Lamb's monthly Blues Jam at the Bistro in Hayward. It was my first time playing there--I've enjoyed listening and drinking good beers on tap before but had never ascended to the small stage.

I must admit I was just a little nervous, since it was a new thing for me, but I didn't really feel unprepared, either. They called out the key and I just jumped in. This was a rite of passage, in a way, because I played with people I'd never met and was able to fit in and sound good. That's a milestone in a bass-playing career that started only nine years ago.

It's not that difficult to play the Blues bass--if you're had some practice. I've been hanging with my buds (dawgs) lately, putting together a show for August 12th, and I think my blues playing has definitely moved up a notch. It's ironic, though. The Blues are about pain and suffering but playing them is such bliss.

The lead guitarists I played with--and listened to later--were amazingly good. That's where the real mind-blowing performances come from. And the bassist who followed me,Vic, was incredible. I took notes--and he was friendly afterwards as we compared bass tattoos. He got terrific sound from his 1964 Fender Precision. We had fine drummers and harmonica wizards as well.

I'll be heading on over there next month to do it again!

Wind Symphony Satisfies

I just got back from an enjoyable evening of orchestral music--without a single stringed instrument on the stage. Instead, it was a wind symphony, known also as a concert band, filled with a skilled contingent of horns and woodwinds--backed by a powerful percussion section.Over the course of the show we would hear a brass quartet, brass ensemble, woodwind ensemble, and in the second half, the whole group together.

I need to thank Amy, my fellow bassist, who not only played with me last Sunday on Beethoven and Balalaika music, but performed as a tuba player tonight with the group. That's a tuba pictured.

I heard the CSU East Bay Wind Symphony, along with separate ensembles from it, in the theater at the Hayward, California campus. The group was expertly led by John Eros, who kept the beat perfectly with his baton.

The show began when four young men in tuxedos walked onto the stage with their trumpets and trombones. They played Paul Hindemith's Morgenmusik from Ploner Musiktag, from 1932. It was kind of a wake up for the audience to focus their attention. Nicely done, with sharply defined harmonies and everything tidy.

Then, the rest of the brass joined the four to play Vaclav Nelhybel's Numismata (1965). Pretty impressive with the two tubas, French horns, and euphonium. Then, they all exited, stage left and turned the show over to their woodwind colleagues. Not only were there clarinets in abundance, but a saxophone or two, a row of flutes, and even a contralto clarinet--so large it sat with its bell on the ground while the curving tube delivered the mouthpiece to the proper height. You could hear it holding down the bottom, especially before the tubas joined it in the second half.

The woodwinds got some heavy support for the following selection, In Another Time, a newly composed work by Nicholas Vasallo, who teaches at the university and created this lively piece especially for this concert. It's great to hear music by living composers, and I got to meet him afterwards. The bass drum player jumped into the air as he struck powerfully on his instrument during this piece. Nobody would sleep through this exuberant composition.

The intermission gave me time to stretch and to talk with Lea, my orchestra colleague, who had joined the group on French horn for the concert.

The combined forces of the woodwinds, brass and percussion opened the second half with a rousing John Philip Sousa march, The Black Horse Troop. Then, a change of pace, with two pretty Irish melodies by David Gillingham--one traditional and one newly written in 2000. The grand finale was the martial-sounding Symphony No. 3 by Boris Kozhevnikov. It had me wondering what was going on in the Soviet Union back then. Had party secretary Khrushchev pounded his shoe at the United Nations yet?

Then, applause, and it was over. The nicely dressed, pleasingly skilled musicians left the stage. It was surely worth much more than the $5 ticket I had bought. I walked into the cool evening air in a happy frame of mind.

As a string player, I tend to think along the lines of the "full" orchestra, but these guys really did a great job.

The Shins - James Mercer Strikes a Chord

Funny how you learn about things. I was reading through the March 26, 2012 issue of the New Yorker and discovered a story on the Shins. Because it was in the Music section and on the opposite page I noticed a flowery photo of bandleader James Mercer, I read the article and learned a little about them--including getting a review of their new album, Port of Morrow (pictured).

The Shins, which is James Mercer's songs and singing with various musicians, sounded like a band worth exploring. Originally from Albuquerque, New Mexico but now situated in Portland, they have been active for 16 years. I had heard a little about them before and the story was compelling but it wasn't until I happened to see the CD sitting in the rack at Starbucks that I plunked down my $12.95 and grabbed my own copy.

Funny--the packaging looked shiny, with dark photos of Mercer on the front (surrounded by positive blurbs from music industry reviewers and him with his musicians on the back with the song list. Dark and sober. It turns out, that's a fake cover--the real paper sleeve has a gray and black design that, it appears, was deemed too dull to market at a coffee place. In any case, I slipped it into my car's CD player and the fun began.

The Rifle's Spiral starts it off quickly, and then Simple Song and It's Only Life keep the momentum going. Simple Song reminded me of something by U2. Mercer was presented in the New Yorker story as being a quiet, modest performer, but the material on this new album has plenty of power and impact.

As someone whose first set of favorite songs dates from the Lyndon Johnson administration, it's always good to find new artists that I can relate to. Last year it was a fling with Owl City--also the workings of a single person, only in that case, there isn't even a backup band--Adam Young does it all on his songs.

Who does James Mercer sound like? I hear some John Lennon, Paul McCartney, Elton John, Gerry Rafferty--and Jon Anderson of Yes. A little David Bowie in the final track? The chord changes are exciting and satisfying and the little details of production make for a musical adventure.

I've already played through the CD several times in the car and had a couple of headphones-in-the-chair close examinations. Very worth it--and it's good to live in the 21st century at least part of the time.

Weekend of Music and Beer

Somehow, the last three days became a whirlwind tour of music and beer. Today, starting with my oatmeal with almonds, I will get back to normal.

Friday night, I met three people from a company I work with through my job at the Devil's Canyon Brewing Company's monthly public events. Music was by Billy Manzik, featuring Billy on guitar, a guy on saxophone and a lady upright bass player (always a treat). It went well with the two beers I sampled--a light champagne style and the Kaleidoscope dark.

Afterwards, we went to a Louisiana style restaurant where a third beer, along with a pound of spicy shrimp, went down much too easily.

Saturday evening I went to hear the highly talented Stadler Gibbons Band, featuring Mike Stadler, Mary Gibbons, with ace pedal steel and dobro player Jon Mitguard and incredible bassist Chuck Irvin--who makes it look easy (it's not). They played at the Urban Island Concert Series, which takes place at the loading doc behind the Urban Island used furniture store. The evening began with a surprisingly entertaining duo, The Red Shoes, comprising two young ladies that appeared to be high school seniors playing fiddle with cello, occasionally switching up for ukelele. Their stage presence and apparent total lack of stage fright was charming--and they had the chops to keep it moving with just the two of them.

The next act, Emily Bonn and the Vivants, delivered a powerful shot of old-time dance tunes, honky-tonk country, and western swing. Emily writes a lot of her own material and her powerful voice invigorates the show. Accompanied by a tap-dancing violinist, a double-bassist with the longest mustache I've seen in some time, and a stirring accordionist, Emily's guitar playing and presence made this a group worth watching--and following.

Stadler Gibbons was the headliner, and they gave the kind of performance that has kept me following them around for the last year. Mike has the fine pipes of an old folkie, as does Mary, and the musicianship is extremely high level. As a bassist, I appreciate Chuck's versatility and style, and Jon's pedal steel is out of this world.

The beer this time had to happen afterwards, since the Urban Island provided a solitary Thai food truck (the roti was tasty, but no alcohol was available). We went to the Hobnob bar nearby for a couple glasses of Arrogant Bastard Ale. Yum.

Sunday I shifted gears and listened to fine chamber music performances by the Summer Quartet (strings) and the Hillside Quintet (winds) at my local library. All nine people are members of the Castro Valley Chamber Orchestra, of which I also am a member. Afterwards, some of the musicians went to a local Mexican restaurant for beer and, it turned out, some tasty food. (I had the golfos).

Now it, Monday, and time to get back to work!

Red Paint CD Release Party Tonight - a Culmination

Tonight, Red Paint, an Alameda, California-based four-piece rock band, takes the stage at its first ever CD Release Party. It's the culmination of everything the group has worked for since it started up in lead guitarist Shaun Reid's livingroom in October of 2006. It also features Colin Close as lead singer and rhythm guitarist, Tony Herrin on drums and me on bass. Colin writes most of our original material.

For me, it began long before 2006. Sure, I got my Fender Precision Bass Special on my birthday in 2003, but my actual first bass goes back to when I was just 18, living alone in semi-poverty in San Francisco. I had dreamed of bass playing for years, perhaps from listening to Paul McCartney's brilliant work with the Beatles and other 1960's pop music. In any case, I was strumming my guitar and trying to start a modest career as a soloist in the image of, say, Bob Dylan. It was going slowly, with open mike nights at the Coffee Gallery in San Francisco's North Beach and a few little parties and events.

In any case, I decided to take my sole item of value--my coin collection--to a pawn shop in the Tenderloin and acquire a bass. I must have read about Jazz musicians doing this, I don't know. In any case, there was a green Fender-style solid-body electric bass. I made the swap, and saw all those remarkably unworn 19th-century Indian pennies, along with my $2-1/2 gold piece, slip away forever.

I took my new possession home and plunked away on it for a while, but, without an amplifier, I wasn't much good to anyone. Sadly, not too much later, someone broke into my ground-floor apartment and stole my bass. I figured it was a message. I devoted my energies thenceforth to my college education and tried to forget about bass playing, although I did still strum and sing with my guitar over the years and spent one fun year playing bluegrass mandolin.

A 50th birthday is a milestone. I decided, in lieu of a Ferrari or an affair, to acquire the bass I always wanted. I advanced this idea to my supportive wife and she said, "Go get it!"

After some shopping around I settled on the electric bass I still play most of the time. Although I acquired two other bass guitars over the years, and have made a whole second project with the upright bass, I stand today ready to play our band's 11-song CD (all original songs) live in front of as many friends and relatives as are willing to answer an EVITE and actually show up. You can hear some of it on our Facebook page.

We recorded this music a while ago, in two different studios, but it took a while to plan the event and get the date. We are excited to offer a second set of new original songs and a few covers in our second set. For our fans, it's a chance to hear something new from the band. You really have no good excuse for not being there, unless, of course, you're reading this in Anchorage, Alaska or Peru or Poland.

I always wanted to be in a band, was drawn to bass playing since Nixon was president, and love music. What could be better than this?

Red Paint plays at High Street Station in Alameda, California on Saturday, January 21, 2012 from 7 - 10 p.m.

Accounting for 2011 - Big Growth

The goal with Test Driving Life in 2011 was to post daily. I did that--and somehow, at the beginning two extra posts slipped in, so there were 367 posts last year.

Total Views for the year were 35,091, and the number grew steadily all year, from 647 in January (after practically nothing in December 2010) to 2,312 in July and up to 6,254 in December--the best month of the year.

Test Driving Life is focused on two main subjects, Cars and Music, but the third, category, Miscellaneous, actually had more items.

Cars - 106
Music - 101
Miscellaneous -158
There were two additional stories that were specifically dedicated to both cars and music. Add them all up and you get 367.

My end-of-the-year survey shows that the Miscellaneous subjects included at least 28 categories, from Art to Food to Anniversaries (birth and death), Architecture, Tattoos, Movies, Health, Sports, Travel, Social Issues, the News, and more.

The top 10 stories of the year were:

Audi A2 May Return - Hooray   9/3/11     2,292 views
Ford Pinto Turns 40 - Join the Stampede  6/5/11   1,801 views
My Worklife in a Nutshell  3/25/11   975 views
Bob Dylan is 70 Today -- Really?  5/24/11   942 views
Jack Casady - Bassman Then and Now  6/6/11  691 views
Fiat 500 Brings Cuteness into the Present  8/2/11  644 views
Christina Perri - Jar of Hearts  3/1/11  491 views
George Harrison's Cloud Nine - Post Beatle High Spot  11/10/11  459 views
Paul McCartney Meets a Girl from the Motor Trade  5/6/11  436 views
Three Beatle Weekend  10/10/11   384 views

Of the top 10, three were related to cars, including the top two, which were far ahead of the pack. Of the seven remaining, six involved musicians, of which three were related to the Beatles. Christina Perri was not the only musician from today who was featured in the blog, but is the only one to crack the top 10.

Test Driving Life continues, but may not be daily. Check regularly, though. Thanks.

Starting 2012 out with a Bang!

Here in mid December, I am already planning for events for my two areas of personal interest, music and cars. Each receives an important event in January following a great and busy 2011.

Musically, Red Paint presents its long awaited CD Release Party, where the band will play the new American Tender CD (pictured) live from end to end, and then present a second set of new songs and covers. It happens on Saturday, January 21 from 7 p.m. at the High Street Station in Alameda, California. See Red Paint's Facebook Page for more details.

Just a few days later, the Western Automotive Journalists presents Future Cars -- Future Technology. It's a noon to nine event for automotive journalists and other people in the field to meet to discuss what the cars we'll be driving soon will be like--and what they'll be using for fuel. The ride and drive features cars like Mitsubishi's new all-electric i (pictured). That's on Tuesday, January 24. See the WAJ website for details.

It's fun to have twin passions, and it looks like they'll be moving along nicely by late January of 2012.

After that, February 8, 2012 will mark 20 years since my first published automotive article. Watch this space for more as the day gets closer!

Hey! Come Hear Barbwyre!

Last night I went to hear Barbwyre, an excellent trio of musicians that play their country/folk/bluegrass sound to perfection--mostly original compositions. I've heard them before and they delivered--sounding even better perhaps, if that's possible. Over Rob's agile electric bass are Jon's pedal steel, dobro and guitar and Dana's mandolin, guitar and beautifully built cittern (octave mandolin).

They were playing in a perfectly nice venue - the High Street Station in Alameda, where I have seen them, other bands, and even played with my band, Red Paint. So--where were the people? I counted nine in the audience, including myself, and I later learned that three of them were relatives of the band. A couple more straggled in later.

It seems that being good isn't good enough. What is it that motivates people to come hear you? Red Paint, as it gets better, is still working on this issue.

Please--Support your local live musicians! Thank you.

Jammin' - Music Comes Alive

When you play with a group of musicians, say, a band or an orchestra, you normally rehearse the material you're working on together. It could be the set of songs that you perform regularly, refining over time, or material for an upcoming concert. This can be fun and it can also be a lot of work--or even become routine.

Then, there's the jam session. Somebody wants to play something, calls out the chords, and you're on your way. From the bass player's perspective, it's great because, along with the drummer, you're carrying the music along, and you have to be on your toes for changes. It's structured, but you can improvise as you go.

Last night I had the chance to play with some people I know and have worked with before. After a Halloween meal, we plugged in, tuned up and were on our way. It's a good thing they invented the blues because if you know the key you can step in pretty easily, and that's what I did. The Hayward Odd Fellows Hall rang out with guitars, piano, drums and vocals, and the fun began.

As we put away our instruments later, I knew a good time was had by all--and I was happy I was able to play this way now. It's exhilarating. (Thanks, Kevin, for putting it together).

Booklamp Helps You Find the Books You Love

Have you ever used Pandora.com to find music you like? It's great for helping you discover performers and recordings that are similar to what you enjoy. I've got many "stations" set up that track on a performer--or even a single song and have learned of many new artists that sound a lot like ones I already know and love.

Well, it turns out you can do that with books too! My wife told me about Booklamp.org, which is the public face of the Book Genome Project, operated by Novel Projects, Inc.. This company was founded in 2003 to start the initial development around the Book Genome Project. which identifies, tracks, measures and studies the features that make up a book using today's massive computational power. The project is managed and developed by a team based out of Boise, Idaho, but has input from many other places.

The whole idea of a genome project is to discover the "StoryDNA" of books based on their content--not on popularity--and analyze and detect what's in there. If Pandora has more than 400 ways to analyze a song (major/minor key, presence of harmony, fast/slow, string accompanyment, etc.) the Booklamp people do the same kind of thing. Fundamentally, a story is made up of many components, but a good portion of it has to do with setting and content, which StoryDNA tracks.

You type in a favorite author or book and it will give you recommendations based on its research and its continually growing database. The project is non-profit and costs nothing for you to use. Like Pandora, the more you use it the more benefit the project receives as well. If you really want to help them, put them in touch with publishers--that's a major source of their information.

As a test, I put in A Clash of Kings by George R.R. Martin, a popular book in the Song of Ice and Fire fantasy series. The major ingredients it found were Medieval weapons and armor, Military campaigns, features of the body (?), Nature/Fields/Hills, and Horses. It processed my request and found a list of similar books, including other George R.R. Martin books first and them titles by Lynn Flewelling (Hidden Warrior) and others. I recently read A Clash of Kings, so if I wanted to set up a Fall reading list I'd be set.

Mike Stadler and Mary Gibbons Do It Again

You know you like a band when you seek them out and go see them again. That's what I did last night, when I heard Mike Stadler and Mary Gibbons play at the Frog and Fiddle in Alameda, California. Along with Chuck Ervin on upright bass and Jon Mitguard on pedal steel and dobro, they put out a smooth, clean, finely honed country western blend of bluegrass, folk and Texas swing that satisfies.

My friend Bruce and I got there just when it was starting out and heard a long first set from a table right in front. It was my first visit to the Frog and Fiddle, and I found it was a compact, friendly space with Guinness posters and guitars on the walls, a well-stocked bar on the right and intimate table seating in the rest of the place. I visited the surprisingly spacious (and pleasingly clean) restroom before I left and can tell that the place is well maintained.

I didn't write down the numerous tracks the band played, but Mike and Mary are both fine solo singers and a strong duet. Jon sang a few himself while working the beautiful pedal steel and occasionally, his dobro. Chuck kept up a strong pulse and even leaned in for four-part harmony on one number. Mike likes to switch between his acoustic and electric guitars and sometimes puts his mandolin on his broad shoulders for a more bluegrass-style song.

I was once again pleased to hear three songs by a favorite of mine--Hal Ketchum. Mike took the lead on two while Mary led on Past the Point of Rescue--one of Hal's most popular tunes.

Putting the talent up front is a nice draw to pull folks in from the street, but the club is also lining up regular music performances, so Alameda is becoming a real place to go for live entertainment.

Wine, Tapas and New Orleans Jazz Satisfy Completely

Last night, I was looking for some action and decided to visit a small restaurant that was featuring a quartet. Based on not much more information than that, I drove to the warm center of San Leandro, California (just over the hill) and checked out The Vines Wine & Tapas, which sits right next to the popular Englander restaurant/bar/music venue.

Well, it turns out the quartet was Mike Slack's New Orleans Jazz Band, and they put on an energy-packed show worthy of Bourbon Street. Spun off from the larger San Francisco Feetwarmers, these guys filled the charming, brick-walled, wood-ceilinged venue at just the right volume and intensity to make it possible to talk with the friendly wait staff but at the same time motivate the crowd.

I sat by myself at a small table close to the band. A smiling waitress handed me a single-sheet menu filled with, naturally, wine and tapas offerings. Tapas are appetizers, meant to not distract from conversation in the Spanish cuisine, and they certainly didn't distract from the Jazz.

I ordered two items from the menu of about 27 selections. From the Cheese and Meat section I picked the Manchega cheese made from sheep's milk (creamy good, and it came with raisins, walnuts and slices of baguette. The other was the Garlic Shrimp from the Tapas listing. Delightfully rich, it was five luscious shrimp with garlic sauce on top of baguette slices. Be sure to see the complete menu by clicking the restaurant's link above.

Meanwhile, the band took a break and I was able to talk with them. It was Mike Slack, the leader, on cornet. He used four different mutes for a range of sounds, but always blew strong and true. Louis Armstrong is a major force in Dixieland Jazz and surely was an inspiration. Pete Main deftly handled the clarinet and saxophone, switching off as needed. He also blew strong and sweet, with a warm tone and quick fingers.

In the the rhythm section was Bill DeKuiper strumming a nice Gibson guitar. His chords kept things moving, and his solos were melodic and showed alacrity. I especially liked his Wes Montgomery style octaves. Carrying it all at the bottom was Tom Clark, playing a beautiful blonde string bass. He kept that baby moving throughout, and got plenty of shots at virtuosic solos too on the warm-toned gut strings. He told me he's played for 50 years and you can really tell. All four musicians blended together well, just like the delicious food on the small square and rectangular plates in front of me.

Songs included fast and slow numbers, including the traditional Just a Closer Walk, the Winin' Boy Blues, and a rousing "When the Saints Go Marchin' In" to close the show.

I picked a nice glass of 2007 Baileyana Pinot Noir from Edna Valley, California, which arrived in a large wineglass--the better to enjoy the nose. It was a recommendation from the wait staff. I was full from the food, but decided I'd better sample from the desserts too to make the evening complete. The lava cake with vanilla ice cream was perfect--the cake hot and softly melting in the middle with the ice cream a firm scoop. I came out even with alternating bites!

The entire meal was $33, including tax--quite reasonable. You could have one tapa and skip dessert and it would be downright inexpensive. The music was free, but of course I threw money in the tip jar and bought one of the group's CDs called West End Blues.

The band plans to return to the Vine in October, but you can check their schedule, and the Vines is always there Tuesday through Saturday from 4 to 10 p.m. at 135 Parrott Street in San Leandro.

Lonesome Locomotive Rocks at the Milk Bar in S.F.

On a busy weekend of listening to music, I report in from last night's couple of hours of Lonesome Locomotive music at the Milk Bar on Haight Street, near Stanyan. My drummer, Tony, and I ventured to the historic Haight-Ashbury district and enjoyed the powerful and perfectly synched up sounds of the young band, which has been playing together a lot after forming last year.

My specific interests were hearing my friend Mike Meagher--the bassist, and he didn't disappoint. I also wanted to see the venue and meet the person who set up the musicians. I succeeded. Other band members include Michael Rosen, Brian Byrnes, Erin Cassidy, Steven Sparapani, and Kit Ruscoe. The vocal harmonies of Rosen and Byrnes were strong, Byrnes' leads evoked the Dead (at least two of the songs they played were by the seminal S.F. band). The drums were exactly right and played with enthusiasm (I saw at least one instance of baton-like stick flipping--a little flair).

The venue is long and narrow with the bar along the left, booths up front on the right (empty last night) and a cozy back room containing a small stage--about big enough for five people. In this case, Steven the cellist, when he joined in on a couple of numbers, took the left side of the L-shaped raised platform.

Besides enjoying the music and sampling the half dozen beer choices on tap, I met Amy, a young woman who spent much of the evening successfully rolling a hula hoop around her hips. A second woman joined her at times. We were served by an attractive traditionally tattooed and coifed female bartender.

The small crowd seemed happy to be there and the vibe was mellow. The Sunday Bluegrass schedule at the Milk Bar starts in midafternoon every Sunday, so Lonesome Locomotive were the third band to go on. We arrived just a little before their show. You could spend the day there--and I plan to show up earlier next time.

After a couple of beers over the two hours, we were hungry, so we visited Escape to New York and enjoyed pizza by the slice and Cokes. The perfect meal for 9:30 p.m. on a Sunday night! They had an autographed album by Elvis Costello on the wall.

Mountain Tamer -- Youthful Rock

I was just stepping into Panama Red in Concord to get a cup of coffee when I met Andrew. He saw my bass tattoo and we discussed our ink. He had a detailed gramophone on his right arm, a gorgeous Canadian maple leaf on his chest near his heart, a long tableau of a night sky on his left shin, and a few smaller ones.

In any case, as he prepared a latte for me, the 19-year-old musician told me enthusiastically about his band, Mountain Tamer, and gave me his cd demo of four songs (pictured). It contained just over 12 minutes of surging, jangling songs, featuring guitar, bass and drums, with some vocals not unlike those of Robert Plant or Jim Morrison. It isn't the music I normally listen to, but it was pleasing in an intense way. It surely would entertain a group of young men and women in a club--not for dancing, but for setting the right mood. Urgent, yet laid back. Nothing sounded amiss or out of place for a band that is just playing its first gig.

There's a lot of music out there for the listening. I feel like I'm 19 myself when I pick up the bass and play with my band. And Andrew, who's about the same age as my younger son, and I shared something today.

You can find Mountain Tamer on SoundCloud. I learned about this exciting music site from Andrew, too.