Uncategorized

The Hum: 4/20 2019

If you live in Humboldt, you can imagine why four-twenty is such a big deal here – and it has nothing to do with blackbirds baked in a pie. For the uninitiated, 420 (or 4:20, or 4/20) is code for getting baked, as in the consumption of marijuana, or to be P.C. cannabis. Exactly why that number is lost somewhere in a smoky mist of lost memory cells for some.

The urban legend website Snopes.com debunks the theory that 420 comes from the California penal code section relating to marijuana use and pooh poohs the notion that there are 420 active chemical compounds in pot (for what it’s worth, High Times says there are 315). The folks at Snopes guess that the term came from a group of Marin County teen stoners who gathered every afternoon at 20 after 4 to share a smoke. (Was it pure chance that the initial legislative deal implementing California’s medical marijuana initiative Prop. 215 was Senate Bill 420?)

A controversial 4/20 gathering in Arcata’s Redwood Park 2008 ~ photo by Bob Doran

Whatever the source, the time and associated date have become synonymous with herb culture, which means it is an auspicious day to do something that stony types might want to attend, with special attention to jammish music, Dead stuff and, of course, reggae.

It’s 4/20 time at Humbrews, with Deadheads gathering for Hammond B-3 organist Melvin Seals and JGB in day two of a two-night run. (You’re supposed to know Melvin played keys for the Jerry Garcia Band.)

On Saturday, the Wave at the Blue Lake Casino celebrates 4/20 with The Miracle Show. You are invited to “bring back those flashbacks of that indescribable feeling that a great Dead show gave us all,” (for those not at the JGB show).

All day (noon-midnight) Blondie’s celebrates RedwoodStock on 4/20 with La Mancha, Over Yonder, Jade Moon (from L.A.), Los DuneBums, Cornbread Kelly. Flying Hellfish and Tonalites.

Forever Found (in Eureka) celebrates the “End of Prohibition” with a big reggae-centric bash with Rasta vet Don Carlos, plus Woven Roots and Object Heavy and local DJs and live artists galore. (Starts at 3 p.m.)

Skip ahead to 4:20

The Hum: A quick KHSU R.I.P. plus more…

Gregg “Vinny” DeVaney @ KHSU Pledge Drive ~ photo by Bob Doran

I’m in mourning. My dear friend died the other day. It’s not like it was a surprise. My friend’s health wasn’t that great, and frankly, as I grow older, I lose friends all the time. But losing KHSU is different. I was still suffering from a rough 2018, when I lost my radio co-conspirator Gregg “Vinny” DeVaney of Fogue fame, then my mom gave up on life. Oh well, what else can you say but R.I.P… I could go on and on, but that may have to wait for another day…

And in the end, Ed Campbell played a requiem by Stravinsky…
Phil Ricord gathered names for an R.I.P. ad in the Union ~ photo by Bob Doran

For now it’s time for some Humming…

The Sanctuary regularly hosts artists in residence. This time they’re puppeteers. They present Poppo & Baloney and the Dream Circus April 18, 19, and 20, an original tale told by a “multidimensional cast of puppets, dancers, and live musicians” in collaboration with students from Dell’Arte (and others, including my young friend Vela). “All things are possible with a little make-believe and your imaginary friend.” Kid friendly, but for adults too. Thursday and Friday @ 7 p.m. Saturday matinee @ 2 p.m. “Kids 12 and under FREE!”

David Jacob Strain and Bob Beach play some blues and more Thursday, April 18 (7-9 p.m.) at Westhaven Center for the Arts. David’s been playing mean slide guitar for decades, lately with Bob’s virtuoso harmonica.

Orpheus leads Eurydice away from the Underworld

Your chance to hear the Orphic Percussion Quartet in concert comes Friday, April 19 at the Arcata Playhouse. You might ask, what is “orphic’?

According to Classic Wisdom.com, “The Orphic religion, as well as their texts, was said to have been associated with the literature from the mythical poet, Orpheus. In the myth of Orpheus, his wife Eurydice suffers a fatal encounter with a snake. By journeying to the Underworld and composing a song that softens the heart of Hades, Orpheus is able to win his wife’s resurrection, but on one condition: he mustn’t turn back to look at her on his way out. Of course, he can’t resist one last look, and he immediately loses his love a second time. From then on, Orpheus can only recall Eurydice’s ghost through song.”

Young marimba master Cameron Leach spoke for the Orphic group. I started by asking about a connection with the local outfit Marimba One, who are usually responsible for marimba shows at the Playhouse. “We are sponsored by Marimba One,” he noted, adding, “although I’m personally sponsored by a different manufacturer.”

How would he describe the music? Is it classical music, neo-classical, experimental?

I’d characterize our music under the umbrella of “contemporary percussion ensemble music.” We are doing our best to bring together two things that sometimes are viewed as disparate in the contemporary music landscape—things that are easily listenable and accessible to a wide range of audiences, but also very high quality and substantial pieces that push the art form.

We think these two can go hand in hand, and are continuing to develop that idea through new commissions from exceptional composers. I’d say that in and of itself is an identifying factor of the group. We also all have experience marching with various drum corps, which is particularly uncommon among concert percussion ensembles. 

The instrumentation for the group is percussion quartet. We don’t really gravitate towards a particular setup, but recently we have been performing and commissioning pieces for mallet quartet (2 vibraphone and 2 marimbas—instruments that are typically provided at venues), and also smaller “suitcase pieces” which only require instruments that can be easily packed and transported.”

Friday, April 19 is your last chance to experience playwright Eve Ensler’s Any One of Us: Words from Women in Prison, this time at the Eureka Women’s Club. There’s a gourmet dinner at 6 p.m. Showtime at 7.

Remember those bluesy rockers the Clint Warner Band from a decade ago. They were allegedly “dubbed the ‘Hardest Working Band in the Region’ for 5 years straight” a decade ago. Well, they’re back to “melt the stage down” for a reunion show in the Wave Lounge at the Blue Lake Casino on Friday 4/19.

Also on Friday (4/19), Full Moon Fever returns to the Jam with tunes by the late great Tom Petty.

Yes, Piet and Pete are together again. Says Jam owner, Pete Ciotti, “I’m gonna be rejoining Full Moon Fever for a night this Friday April 19th at The Jam. It’s gonna be fun to dust off the guitar and sing some Tom Petty. I hope you all can make it out! 2 sets!!”

It’s kinda like 4/20-Eve crosstown at Humbrews, with Deadheads gathering for Hammond B-3 organist Melvin Seals and JGB starting a two-night run 4/19 & 20. (Melvin played keys for the Jerry Garcia Band.)

More on 4/20 haps coming tomorrow…

The Hum: Jenny Scheinman visits the City of Looms

Robbie, Jenny and Robbie

There’s a brief moment in local fiddler Jenny Scheinman’s movie/concert thing, “Kannapolis: A Moving Portrait,” when we see a man with a hat shot from below. He seems serious at first, like he looking off toward some unknown future. Then he looks down and sees the camera (and with it the cameraman), and that far-away serious look breaks momentarily, and he starts to smile. You’re supposed to smile for the camera. Sometimes you can’t help yourself.

Still from Chapel Hill, N.C., 1939 by H. Lee Waters

The cameraman was one H. Lee Waters (“H” for Herbert, but no one called him that), who ran a photo studio in Lexington, North Carolina (with help from his wife) for over half a century — 1926 on. 

He mostly made a living doing portrait work: weddings, school groups, people at church, shopping, at work, anywhere groups gathered, but as the Depression hit, the luxury nature of photography hurt his business. He had to find find another way to make some money with a camera, and he did, with a movie camera. 

H. Lee used his to make what he called Movies of Local People, focused on exactly that: folks at work, in the street, kids on playgrounds, parades, again, anywhere groups gathered in small towns in the South. The short flicks were shown in movie theaters before the main attraction — usually some Hollywood fare — and he got a small percentage of the take. As a side result the lives of “local people” were captured forever, set in amber for posterity. 

H. Lee’s work lives on. His negatives went to the Davidson County Historical Museum and the movies ended up in the Archive of Documentary Arts | David M. Rubenstein Rare Book & Manuscript Library, Duke University. Shooting in North Carolina and portions of Virginia, Tennessee, and South Carolina, Waters produced 252 films across 118 communities. There’s a treasure trove there. 

At some point someone one at Duke burned a DVD of some of the (silent) movies, and gave it to Jenny. She was enchanted and wrote hours of music, matching the feel with Appalachian instruments. Jenny’s friends Robbie Fulks and Robbie Gjersoe, both multi-instrumentalist string players from Chicago, signed on to fill in the musical gaps, again with a timeless Appalachian feel. 

Jenny talks about creating a soundtrack for H. Lee Water’s films.

Finn Taylor, a Berkeley-based filmmaker (think Sundance) was enlisted. He worked with editor Rick Lecompte, and sound designer Trevor Jolly, to turn the raw footage into something new. The project was initially rolled out in 2015 via Duke Performances (like CenterArts, but for Duke University in Durham). What you’d have to call a multi-media event centered on a Carolina town called Kannapolis, once known as “the City of Looms,” home to a textile mill.

Getting off work at the mill.

You may know Cannon for towels, sheets, stuff you’d find at Bed Bath & Beyond, Target, or K-Mart or wherever. They used to make that stuff in company towns like Kannapolis, until 2003 when Cannon went bankrupt and closed the mill. The Cannon label became part of Iconix, “a portfolio of strong global consumer brands across fashion,” etc. alongside Boxer shorts, London FogOcean Pacific and other product lines (plus Peanuts Worldwide, Charles Schultz’ brand). In short, they’re now made in China (or thereabouts), instead of in the U.S. of A. (A YouTube search for “Kannapolis implosion” shows you a huge factory collapsing, and with it, metaphorically, the textile business. 

Returning to Jenny’s musical “Moving Portrait,” it doesn’t exactly touch on current events, and is more interested, at least musically and visually, in the outer edges of America, where the South met the rest of the country, and the old met the new. 

Jenny is originally from Petrolia (where “shift happens”). Her fiddle took her across the country to play post-modern music with the likes of John Zorn and the downtown New York crowd. She’s played in righteous babe Ani DiFranco’s band, made Mischief & Mayhem with guitarist Nels Cline, drummer Jim Black, and bassist Todd Sickafoose, then came home, metaphysically and musically with a more folky record, The Littlest Prisoner (2014).

That was followed by Here on Earth (2017), which draws on the music she wrote for the Kannapolis project. It pulls you deep into the Appalachians, with tunes redolent of Scotch/Irish roots and touches of the blues, familiar yet totally original.

There’s resonator guitar and banjo, a little bit of electric guitar (Bill Frisell plays on the record, and but I’m sure the two Robbies suffice)…

…the only thing missing is the visuals.

I’ve been waiting patiently for her to bring it home, and thanks to gentle prodding from the folks at the Arcata Playhouse, it’s happening, and in a bigger venue, the Arkley Center, on Friday, April 5. There might be a few tickets left on this one-night-only performance. (Or maybe there’s a miracle out there.)

Listen to Lyndsey Battle speak with Jenny Scheinman about the show on KHUM radio.

“These are America’s home movies. They contain a clue to our nature, an imprint of our ancestry. They were shot before Americans had sophisticated understanding of film, and capture truthfulness that one is hard-pressed to find in this day and age now that we are immersed in a world of social media, video and photography. These people can dance. Girls catapult each other off seesaws and teenage boys hang on each other’s arms. Toothless men play resonator guitars on street corners, and toddlers push strollers through empty fields. They remind us of our resilience and of our immense capacity for joy even in the hardest of times.” – Jenny Scheinman

Jenny Scheinman ~ photo by Bob Doran

Event promoter and coordinator David Ferney from the Arcata Playhouse became aware of the project in 2015 when it first premiered at Duke University where is was commissioned. The university originally approached Scheinman with the idea of creating a performance piece with the archival footage of H. Lee Waters. Scheinman enlisted filmmaker Finn Taylor as a collaborator on the final project. Ferney had his eye on the performance film project and spent three years trying to coordinate a Humboldt screening.

“I knew it was special and felt that it needed to be presented in Humboldt.” said Ferney. “I originally approached Merrick McKinlay at the Minor Theatre and we planned to present it there, but we felt the capacity was just too small. Jenny suggested the Arkley and everything fell into place.”

The Minor wanted to stay involved so in addition to being a sponsor, they are providing the projections for the movie. “The Arkley has been great with helping us make it all work. It has really been a coming together of a great team to bring this special project to our Humboldt community.” said Ferney.

About Robbie Fulks and Robbie Gjersoe:

Guitarist and singer/songwriter Robbie Fulks, a mainstay of the Chicago folk scene, has released 10 solo records on the Bloodshot, Geffen, Boondoggle (self produced ), and Yep Roc labels. He’s made multiple appearances on NPR’s “Fresh Air,” “Mountain Stage,” and “World Cafe”, PBS’s Austin City Limits; NBC’s TodayLate Night with Conan O’Brien, and 30 Rock. Film use of his music includes True Blood and My Name Is Earl. From 2004 to 2008 Fulks hosted an hour-long performance/interview program for XM satellite radio, “Robbie’s Secret Country.” His compositions have been covered by Sam Bush, Kelly Hogan, Sally Timms, Rosie Flores, John Cowan, and Old 97s. As an instrumentalist, he has accompanied everyone from the Irish fiddle master Liz Carroll to New Orleans pianist Dr. John.

Robbie Gjersoe is a multi-instrumentalist, composer, songwriter & occasional engineer and producer who has worked on a variety of musical projects wide-ranging in style and content over the last 30 years. He plays guitar, bottleneck slide, resonator, dobro, baritone ukulele, mandolin, nylon string, cavaquinho, viole, 12-string, lap steel, pedal steel, and bass. With Screen Door Music, which he co-created, he has composed and performed soundtracks for many films including Grand Champion, Robbing Peter, and Vanishing Of The Bees. His music was used in the movie The Hot Flashes and the TV show The Mentalist.

About Finn Taylor:

Finn Taylor wrote and directed Dream With The Fishes (Sony Classics), Cherish (Fine Line), The Darwin Awards (Fox and Icon Entertainment) and Unleashed (Level 33 and Voltage Entertainment) and co-wrote Pontia Moon, produced by Paramount Pictures. A three-time Sundance alum and native to the SF Bay Area, his recent feature documentary, Kannapolis: A Moving Portrait, premiered at the National Gallery at the Smithsonian and the Metropolitan Museum of Art, NY and is continuing to tour throughout the country through 2019.

His most recent feature film, Unleashed, won six audience awards, at festivals across the country, including MVFF39, and was picked up for US distribution by Level 33 and foreign distribution by Voltage Entertainment. Variety, in its 50th Anniversary edition, selected Finn Taylor for its prestigious list of “The Top 20 Creatives to Watch.”

Jenny writes saying,

“Hello friends! Here we go again – more music and shows! A week from today my movie and live music piece Kannapolis: A Moving Portrait will commence a tour of the west coast. This piece is about community, so I’m especially excited to be finally presenting a hometown gig at The Arkley Center in Eureka!

We will also be bringing ‘Kannapolis’ to The Savannah Music Festival where I will be in residence as a teacher for a full week along with Bryan Sutton, Darrell Scott and Mike Marshall – very much looking forward to that!

In May and June Jenny Scheinman & Allison Miller’s Parlour Game will be in the northeast, midwest and west coast. We have been working really hard to finish our debut album – it is mixed, nearly mastered, and we will be celebrating its official release at Newport Jazz Festival in early August.

Also I wanted to let you know that I will be leading a new string program at Jazz Camp West this summer in beautiful La Honda, CA. The faculty there is extraordinary, and from my friends’ accounts it is a completely transformative experience to attend. Feel free to email me with questions, and please spread the word to string players far and wide. 

Thank all of you so much for listening and staying involved in the arts. 

Love & gratitude,
Jenny

Jenny Scheinman on Tour:
April 4 – La Jolla, CA – Lawrence Family JCC (Kannapolis)
April 5 – Eureka, CA – Playhouse Arts @ The Arkley  (Kannapolis)
April 6 – Corvallis, OR – Oregon State University (Kannapolis)
April 11 – Savannah, GA – Savannah Music Festival (Kannapolis)
May 9 – Brooklyn, NY – Barbes (Parlour Game)
May 10 – Brooklyn, NY – Barbes (Parlour Game) 
May 11 – Baltimore, MD – An Die Musik (Parlour Game)
May 12 – Millheim, PA – Mother’s Day Matinee @ Elk Creek Cafe!(Parlour Game)
May 14 – Durham, NC – Sharp Nine Gallery (Parlour Game)
May 15 – Columbus, OH – The Refectory (Parlour Game)
May 16 – Madison, WI – Art + Literature Laboratory (Parlour Game)
May 17 – Chicago, IL – The Green Mill (Parlour Game)
May 18 – Chicago, IL – The Green Mill (Parlour Game)
May 19 – Cleveland, OH – Nighttown (Parlour Game)
June 4 – Berkeley, CA – The Freight & Salvage (Parlour Game)
June 5 – Healdsburg, CA – Healdsburg Jazz Festival (Parlour Game)
June 7 – San Diego, CA – The Athenaeum (Parlour Game)
June 22-29 – La Honda, CA – Jazz Camp West (Teaching Residency)
August 3 – Newport, RI – Newport Jazz Festival (Parlour Game)
photo by Bob Doran

The Hum: A Chat with Alice DiMicele (coming 3/14 & 15)

Alice DiMicele ~ photo from Debra Thornton Photography

Alice DiMicele is heading this way — again — playing two local Playhouses. She’s been making something she calls “organic acoustic groove” music for several decades, and since her headquarters are in Southern Oregon, well, she comes through Humboldt often. I figured it was time for another chat to get up to date. Dropped her a line and suggested a virtual interview. She was out walking her dog and the weather was threatening, but she was ready to roll.

“It’s starting to rain, but I have a waterproof phone,” she began. “What do you want to know? The basics are, I’m coming to town to play two shows in Humboldt: Thursday, March the 14th at the Arcata Playhouse, and Friday, the 15th at the Redwood Playhouse in Garberville.

“Thirteen-year-old phenom Delaney Rose is opening both shows, which makes me very excited because I’ve known her since she was a baby. Her mom Francine is one of my favorite people to sing with.” (You may know her from Francine and Nimiah.)

“I’m coming solo this time around, which is exciting because most of my last shows, for quite a few years, have been with a band. Kind of fun for me to just bring my guitars and get to pull out old tunes and be real spontaneous.”

I’m always interested in how musicians keep doing what they do. In your case, I know you just finished a big IndieGoGo campaign to raise funds for an album. Did you reach your goal?

“I’m putting out a new live album with my band Force of Nature called Live at Studio E. It was recorded there in Sebastopol. It’s owned by Jeff Martin who used to be a Joanne Rand’s bass player, when she had the little big band.

“I actually did a small crowdfunding for it because I didn’t need a huge amount to get it to the presses, so I kept it small, only two weeks long, and raised my $5,500 or so that I needed to pay for all the expenses. I’m very grateful that folks are willing to preorder like that to make it happen for me. The album is really fun, kind of a snapshot of the band that I showed up with last time in Arcata.

It seems like the old ways of the music biz are fading with the coming of streaming with Spotify or whatever. Is it still important to put together an “album” for selling on your merch table, and who knows where else? I assume the income stream mostly comes from touring, although even that is a gamble.

“Oh yes, it’s all a big gamble, but I guess it really always has been. Definitely my living comes from people buying CDs and buying tickets to shows. Spotify is great for the listener, but it does not provide any type of income for me. Even though I get lots of plays, it’s such a small amount of money that it ends up being like $3 a month or something ridiculous like that. 

“So I definitely rely on the support of people who love my music enough to go ahead and buy the CD, or buy the download, and buy tickets and come to shows. I’m grateful that I still have a career, although I am definitely living more on the edge than ever. One would hope at my age I would have a little more security. But the muse provides. I’ve got to trust that.

“The crowdfunding thing has really helped because even people who don’t want to physical CD or download have a way to make a donation towards the music. I’m grateful for the generosity of my fans and friends and family.

What was the last song you wrote? More about rivers and love?

“I seem to be writing less, but the songs seem to be a little more potent. I’m currently working on a song called “Compassion.” That’s kind of my obsession right now, developing compassion in myself and wanting for compassion to be developed in our world. 

“The current political state of our government is so much about “me first, I got to get mine,” and not really caring about others. I’m quite distraught over it all and so I think what is coming out in my music is my sense of wanting to look deeper at ways of caring for everyone.

“Seems like homelessness is out of control. It seems the income gap is just getting so much wider and so many people are despairing right now. The focus of my music is to try to bring some Joy, but also to go deep and remind myself and the listener that compassion really needs to come first. Without it we are really doomed. The last election gave me a little bit of Hope with all the gals that got elected all over the country. I still think we need a council of Indigenous Grandmothers for President.”

What is the Grandmothers Empowerment Project you’re involved with?

“Grandmother’s Empowerment Project is a 501c3 that I helped start and that I’m on the board of directors for. We give housing stipends to Native American elders here in the Klamath Siskiyou bio-region. One of our recipients is grandmother Agnes Baker Pilgrim, aka Grandma Aggie, who founded the International Council of Thirteen Indigenous Grandmothers.

“A group of us used to just pay Grandma Aggie’s rent, but with the recession, around 2008, most of the folks that would chip in every month had to stop, so we started this nonprofit so we could get money donated by a bigger donor. [We had one, but] that donor has since stopped his yearly donation, so now it’s left to me as the fundraiser to try to raise all the money. It’s quite a job, but our elders need the help. Where I live in southern Oregon is Grandma’s traditional homeland, but she can’t receive tribal benefits or support unless she lives up in Siletz, on the reservation. She wants to live in her traditional homeland, so we support her to be able to do so.

What else have you been doing?

“I’ve been at this troubadour thing for a very long time. I did my first coffeehouses in 1983 and started touring in 1987.

Alice in 1983

“My favorite thing is to play for folks and take them on a journey through the music. There is something magical about playing concerts. Each one is unique but there is a thread that weaves them all together. Music creates intimacy in a room full of strangers. We laugh together. We cry together. We explore myriad emotions through song and story. We raise our voices together and hopefully we leave the show feeling a little lighter or unencumbered.

Alice DiMicele

“I like to think of concerts as a place to deposit unwanted stress, fear, anxiety, and negativity. A place to gather energy with kindred spirits. Kind of like being in the forest. Music has that same kind of negative ion effect on people. And my greatest wish is to send folks home with some inspiration to wake up the next day and make the world a better place by being a little happier and a little more compassionate, to appreciate the little things a little more and to relish in the wonders of the natural world.”

The Hum is the digital home of Bob Doran. @bobdoran

The Hum: Lucky 13

The number 13 is synonymous with bad luck. They say it’s considered unlucky to have 13 guests at a dinner party, many buildings don’t have a 13th floor and so on. Apparently it goes back to the Bible and the last supper, where Christ and the twelve apostles made thirteen people at the table, counting the betrayer, Judas Iscariot.

Judas Iscariot (on right), retiring from the Last Supper, painting by Carl Bloch

That said, for some unknown reason, Wednesday, March 13 turns out to be a good day for showing us the eclectic nature of our Humboldt music scene.

Let’s start with an evening with Lou Barlow at Siren’s Song. You may know the indie rock icon from Dinosaur Jr., Sebadoh, or one of his other bands. I heard he was coming from Chris Colland of Eureka Garbage Co. fame who tried putting a house show together, at least until the Siren’s Song folks stepped in. Lou posted a message explaining…

“In 2019, I continue my small space 7:30 showtime tour. I did this throughout 2018 and it was really good. The general set-length seems to be about 2 1/2 hours, which is what it takes to play the requests I get and the corners of my catalogue (Sebadoh, Folk Implosion, Dinosaur Jr, solo, etc.) [that] I like to touch on every night. I also tend talk about the songs, my kids, and whatever else happened that day. I’m most comfortable in this setting, please join me if you can.”

Don’t hesitate, only 50 tickets available. (It’s probably sold out already.)

Meanwhile 3/13 in Ferndale, at the Old Steeple, iconic singer/songwriter Greg Brown sings a few and tends to “talk about the songs.” (Along the same track, but different.) Again, the show may be sold out. Check before you drive all that way.

At the Arcata Theatre Lounge that night (3/13) it’s Big Wild (aka producer Jackson Stell) who “crafts lush soundscapes and sweeping melodies that challenge the status quo of electronic music,” on his “Superdream Tour.”

Originally a hip-hop beat maker known as J Beatz, Mr. Big shifted gears after leaving Massachusetts on a “life-altering trip to Big Sur,” where he succumbed to Cali’s “natural glory and open spaces to create the atmospheric and wide-spanning Big Wild sound, traversing electronic, indie, pop and beyond.” Openers TBA.

Over at the Miniplex 3/13, it’s Japanese psyche from Loolowningen & The Far East Idiots. (Loolowningentranslates as“wandering people.”) The Tokyo-based “poly/cross/multi/liquid-rhythm/math/prog/alternative rock trio crafts “ink wash painting-like sounds and unicursal rhythms, for all wanderers.”

Like-minded local support supplied by Blackplate and Idyll.

Back in downtown Arcata, Claire Bent and company are at The Basement. They tell us: “Claire and the boys are excited to bring the “funk” to The Basement on Wednesday March 13th! This is an early midweek show from 8 PM to 10 PM for all you early risers 🙂 Claire will turn it on as the Princess of Soul. So if you just want to chill out or want to get those dance grooves moving in your body, come out! We’d love to see you.” I assume the mention of “the funk” means she’s with Citizen Funk, which is a change of pace for The Basement with a shift to rock instead of jazz.

Of course since this is a Wednesday, that means it’s Whomp Whomp Wednesday at The Jam. Appropriately ChopsJunkie of ShadowTrix Music has a track titled “XIII.”

ChopsJunkie

WHOMP Representatives Esch, Riskii, and Elegvnt laid down more EDM…

And last but not least, at Humbrews 3/13, there’s the Grateful Bluegrass Boys with “classic rock through a bluegrass lens,” of course with Dead covers this band out of Santa Cruz.

Is that eclecticism or what?

The Hum: Joan Gold knows color.

Joan Gold messaged me the other day saying, “Hello Bob, I have not been able to put the video on my web site as I would like to have it.” She is referencing a recording I made the other day when she gave an artist’s talk at the Black Faun Gallery. She’d asked if she could use it, of course I said yes, but warned her I’d used a Facebook live feed to broadcast her talk. I wasn’t sure how could she post it.

“I can easily upload a Vimeo or YouTube version if you could convert it,” she continued. “Otherwise, there is another less desirable way I might be able to do it which I will attempt if these other versions are not possible. Obviously I don’t know beans about videos.” She does know color however.

It took some educating for me to figure out how to move the recording from Facebook to YouTube, but eventually I figured it out. Here’s her talk, which you can also watch in her site: joangoldart.com

The Hum: Mardi Gras 2019 Edition

Phat Cat…

Let’s talk holidays, specifically, semi-religious holidays. Carnival and the related Mardi Gras, aka “Fat Tuesday,” are age-old celebrations marking the day before Ash Wednesday, the beginning of Lent, when some folks start fasting. Big parties use up all the meat, drink and other stuff they’re about to give up.

As with many Christian holidays, elements of old Pagan rituals have lingered. Wikipedia notes, “Popular practices included wearing masks and costumes, overturning social conventions, dancing, parades, etc.” Are you looking to “parté?

The Mardi Gras & Masquerade Phat Tuesday Parté at Phatsy Kline’s Parlor Lounge has it going on.

Eat, Drink and DANCE!!! ~ Masks encouraged!
No charge to enter! That’s right it’s FREE! 5-7 pm they have “Meowy Hour” drink specials and Jambalaya/Gumbo feasting begins!!! (Supports AC Samoa Soccer)
7 pm Brazilian Butter music DJ Marjo Lak spins Brazilian Bossa Nova
8-10 pm The Bayou Swamis!
10 pm Copperton3
11 pm DJ Learix

Now I posted a note last week asking about gumbo, and this feast seemed to be the local answer. A fan of the Bayou Swamis posted it, and they are definitely ready to laissez les bon temps rouler Cajun style.

Randle Lundberg on accordion – photo by Bob Doran

They tell us,

The Bayou Swamis have stolen the funky Zydeco dance beats from the swamps of Louisiana and planted firmly in the marshes of Humboldt County. They have a repertoire of Cajun two-steps and Zydeco stomps, and they also swamp up classic swing tunes, country standards and traditional ’50s rockers. Their music continues to spread the swamp gospel and to keep fans dancing and clapping into the night!.

A special line-up for this evening will be Randle Lundberg – button accordion, fiddle and vocals / David Bradley – acoustic guitar and vocals / Marla Joy – bass guitar and vocals / Jonathan Kipp – Drums / Kate Koelmel-rubboard, triangle, vocals…

~ Costume up for a chance to win a nights stay at the The Inn at 2nd & C… Green, Gold and Purple Baby!

  • Meanwhile, at The Sanctuary it’s a different sort of music (with accordions) with Szkojáni Charlatans, “aninternationally traveling Balkan & Gypsy quartet based out of Hungary, and bringing Romanian and Hungarian folk tunes with a strong repertoire in Serbian, Bulgarian and Macedonian music,” who are here with Het Hat Club (or maybe it’s some combination of the two, there were two events listings. Anyway, the touring ensemble consists of:
  • Kjartan Code (US): Vocals + Bass
  • Valentin Desmarais (FR): Saxophone
  • Janos Bito (HU): Accordion
  • Isaac Misri (US): Guitar and tambura
Het Hat Club
The Tidepool High Divers

I haven’t heard this band, but I like the clever name, and the smile cowboy shirt on one member, and the photo that comes with it, with attention paid to background (with distant tidepools) although, as a photographer, I couldn’t help but notice something most you probably overlooked: Two out of four band members have their eyes closed. Rule of thumb for group shots: Take at least as many shots as there are members if you want everyone to have their eyes open. We blink much more than you probably think.

This Tuesday youth poets will be shinin’ at Word Humboldt! Incredible local poet Norah Gray will be hosting a special youth open mic to start the night from 630 to 730. All young people 18 and under are free to come rock the mic with us and and then we will have our all ages open mic for the remainder of the night! Bring your words and come and support local youth poetry!

Word Humboldt is a community space for you to speak your truth, be heard, and enjoy yourself away from the stress of the week.
Join us for a night of spoken word, good times and community at Northtown Coffee in Arcata, CA!

(Please forgive me for falling into editor mode, but “press” info does not typically need quite so many exclamation marks!!)

The Jam has another Tuesday thing: Top Grade Tuesdays:
“Get your weekly dose of dancehall, reggae and hip-hop from two of Humboldt’s premiere reggae DJ’s. Alternating weeks hosted by Cassidy Blaze and Real Youth. Check for weekly drink specials and authentic Jamaican cuisine.” (I should mention here, the Jamaican couple who does food there does a fine job.)

ZeroToFierce.org


There’s also an opening reception tonight for Shē-ärt frəm Thə härt/ visual art show, part of the O2F Festival (Zero To Fierce)…
Details on the women-centric event at Arcata Playhouse or ZeroToFierce.org…