Dwight sent us this shot of fours guys who went out to hear Margaret Explosion last night. The shot looks like it was caught caught on a surveillance camera. The Little closed the Cafe for a private party last night. Sorry about that. We’ll be back next week.
Peggi spent many hours preparing for today’s pre-hearing on our tax reassessment issue. As we headed into the library for encounter we noticed another couple coming out. The woman had a manila envelope and the man had his hands in his pockets. So I put my hand my packets. We signed in at a desk in the basement in front of three tables where people were making their cases. This was a carpeted rec room with colorful signs on the walls. One read, “How Many Ways Can You Tell A Story”. Others read, “Tell It With Stories”, “Have Fun With Words”, Some Words Rhyme” and “Tell It With Puppets”. We started laughing while picturing the idea of Peggi presenting our case with puppetry.
Last Wednesday’s Margaret Explosion gig started real slow with only two people in attendance, a couple with broken English accents. They have been here before and they stayed for full ride. We had a pretty good crowd by the end of the night and on the way out the couple said, “See you next time”.
This gig is so casual, it is perfect for Margaret Explosion considering we don’t have any set list, we never practice and we make up most of the night rather than play songs. We have this affliction where our songs never sound as good as they did the first time, when it really wasn’t a song at all.
Truth is most of them are a lot closer to daydreams than songs. This first tune from last week just sort of floated by for that couple.
We skied into the woods this morning under pure blue skies and ahead of the 40 degree temperatures. Peggi had rubbed glide wax on our waxless skis and they were so fast they wanted to go right out from under us. My right right arm felt sore and then I remembered arm wrestling with Monica over the weekend. I will not underestimate her one hundred pounds again. She challenged me and we wrestled to a draw. Actually I called the draw and quit. She is amazing.
Peggi and I hooked up Rick and Monica and skied up to Lake Ontario over the weekend. They invited us over for lunch. We had leftovers of mushroom barley soup from Polska Chata and artichoke, roasted red pepper, Kalamata olives hard Sicilian cheese ($2 extra) from Nino’s. Rick let us borrow a Dick Cavett set of dvds.
We watched “The Woodstock Show” last night. I remember watching that with Dave Mahoney after he talked us into leaving Woodstock early because he thought they were going to run out of food. Joni Mitchell made the Jefferson Airplane look silly with her a capella version of “The Fiddle and the Drum”. Up next was Sly and the Family Stone and Debbie Reynolds (ouch). Sly was very cool but Dick Cavett acted like Sly was incoherent. He was just being Sly for crying out loud. Dick Cavett was starting to piss me off. Janis Joplin had a real dorky band but she was still amazing. Dick fawned all over her because she read a book or two. David Bowie looked kinda geeky and nervous fiddling with his cane. Maybe it was speed. Mick Jagger took complete command of the camera and made Dick Cavett look tiny.
We still have another disc or so to go. I wish they had left the original commercials in there
Bootsy Collins at King All Stars recording session at PCI Studios in Rochester, NY
I spent the morning in the basement working on a painting that required a fair amount of attention to detail. The face I was working on emerges from a white background and I was struggling with the edges so it wouldn’t look like a mask. Every move I made felt heavy handed so I’d paint it out and sneak up on it again. Bootsy Collins’ “Can’t Stay Away”, especially the falsetto refrain, was stuck in my head. I find the only way to deal with something like this is to play the song and exorcise it so I came upstairs and cranked it.
4D Advertising did a cd cover for “The King Allstars” on After Hours Records and I’ve had this Polaroid of Bootsy in my desk drawer since whenever that was. Tom Kohn and Marty Duda brought all the King Records guys to Rochester and recorded them in PCI Studios. We did the packaging for the cassette and lp as well in those days.
Peggi and I saw Bootsy in the late seventies at the War Memorial with Parliament and Funkadelic. Anita Ward opened the show with a twenty minute version of “Ring My Bell”. Don’t get started with that song. That’ll stick in your head for a while. We saw George Clinton in the eighties at the Warehouse in Rochester and Bootsy was a special guest. He was sensational and stole the show both times. What’s Bootsy doin’?
Bob Martin, who plays guitar with Margaret Explosion, arranged for Claudia Engelhart, Bill Frisell’s live sound engineer, to talk about her craft for Bob’s business client, BSW. Frisell was in Buffalo last night so Bob got some free tickets. Ken Frank, Peggi and I met at Bob’s office and got in his VW for the trip to Buffalo. The four of us (that would be all of Margaret Explosion) were going to have dinner when we got there and the trip usually takes about an hour. It was snowing and the expressway was moving pretty slowly. We passed a few cars that had spun off the road and decided to wait until we we got to the New York State Thruway to see if it was in any better shape. It wasn’t so we turned around and came back.
It was still snowing when we woke up and we have another ten inches or so coming today. We’re supposed to play at at the Little tonight. We will have to do some shoveling and skiing first.
We stopped in on the Dave Cross family benefit at the German House last night and walked in just as Phil Marshall was ending his set. We heard he did a great version of “September Song” and told a few stories about Dave who recently died of a brain tumor. Phil played in a version of Coffee with Dave and they did a cover of a Raymond Scott tune that wound up on a European compilation. They played a gig at the Bottom Line in New York and Dave was smoking joints all the way down there. Phil said he was pissed that they were jeopardizing the performance but it came off flawlessly and Phil learned some sort of lesson from this.
Nod at the German House in Rochester New York
Nod took the stage next and the sound was big. Chris Schepp made it bigger on magical keyboards. Peggi wanted to dance but didn’t. The only ones up close were the little kids playing on the dance floor. Nod has a new cd coming out in a few weeks. Chris was excited about the art work he did for the package. He recycled some commercial piece that he originally did for Dick Poole’s agency.
We were standing with Martin Edic during Nod and it was impossible to talk. He appeared in Peggi’s dream last night offering some advice on a dispute we were having with some neighbors in Mexico. I guess we had bought some beachfront property in Cozumel or Playa del Carmen and strangers were swimming in our pool. We were considering building a wall. Martin offered his advice and Peggi wrote him a check for $500.
After Nod, we walked down to Tap & Mallet and had a pint of McBane’s Bitter. I checked in on the paintings I have there. The place was packed. We chatted with Joe Tunis and Chris Reeg who had just finished their “Deciduous vs Conifer” gig at House of Hamez and then called it a night.
Respect Sextet played the Village Gate Atrium on Tuesday night so there was a serious conflict with my painting class. I checked their website and it said they would be be doing a clinic at their alma mater, the Eastman School of Music, at 4PM that same day.
So we found our way to Room 305 and sat in the back in desk/chairs. The word “idiomatic” was underlined on a chalk board and under it were three descriptions,” dance based”, “variation” and “improvisation”, three things that don’t immediately come to mind when you think of this prestigious school of music. The other green blackboards were permanently lined with musical staffs. The G clef was waiting.
There were about twenty five people in the room, most of them Eastman students. Josh Rutner, the group’s sax player, closed the door and the group launched into one of drummer, Ted Poor’s compositions. They started reading and just as quickly moved to playing and the band sounded great. It felt like we were inside a big, warm speaker. I gather most of them graduated in 2003 but they sound like seasoned pros, in full command of some meaty music.
Between songs they discussed making money with music, getting gigs, doing without health insurance, and life in NYC versus Rochester. Bass player, Malcolm Kirby and Ted Poor are apparently making a living with their music. Josh said, “I think I’m happy”. The Eastman students all talked of moving to New York, Boston or Europe after graduation. Trombone player, James Hirschfeld, in a Sun Ra t-shirt, said getting together to play involved an insane amount of travel. “It would be like driving from here to Fredonia to rehearse.” They emphasized the importance of their formative weekly Wednesday night gig at Java’s while they were here going to school. They released a 3 inch cd of Sun Ra’s “A Call For All Demons”. It was recorded live at Java’s in 2002 and gives you an inkling of what you missed.
I snuck out of painting class at the Memorial Art Gallery and caught a few of their songs outside the Bop Shop in Village Gate. These guys are my favorite group to have ever come out of Rochester.
The Chiropractor (Gary Seidel) from the “Community Icons” series by Paul Dodd. Acrylic house paint on billboard paper, 54″ wide by “60” high 1989
Steve Hoy was in Rochester and Personal Effects was playing down at Scorgies. We were hanging around after the gig and we started hopping parking meters. I landed wrong and jammed my leg up my back like I was trying to shorten it or something. I had muscle spasms and saw my doctor about it. He prescribed muscle relaxers which didn’t do much. The pain continued so I saw him again. He prescribed pain killers which did quite a bit. Except I was working as a free lance graphic artist and I couldn’t work while taking them. Friends kept saying, “Go to a Chiropractor” but I gave my doctor one more shot. He told me there was not much choice but to get in bed and rest for a week.
I checked out Dr. Donald Siedel, a Chiropractor whose office was around the corner from my house on Culver. He put me on my back and had me hold out my arms and he pushed against them. I had no strength at all in some positions. He rolled me over and told me to take a deep breath. When I exhaled he popped my spine so the knobs lined up. He didn’t prescribe anything, he just manhandled me. Fifteen minutes later I was standing outside of his office wondering what the hell had happened. I felt dazed like he had zapped me with something. And my back felt great.
In follow-up appointments he taught me how to “free” myself. He gave me a little pamphlet and circled the exercises that help alleviate my problem. I do these all the time when I feel locked up. But every once in a while I go through a bad patch where the exercises don’t help. I swivel my hips like Elvis. I do the egg. I do the dog, leg openers and hip openers but I still feel stuck. I miss Dr. Siedel. I heard someone filed a bogus complaint against him and he had to leave town.
As we were leaving town to celebrate Peggi’s birthday on Friday we got an email about a a Nod show at Monty’s Krown. Nod shows are kind of rare these days and we were bummed that we would have to miss this one. Chris Schepp (see Chris’s reviews of Pete LaBonne) is playing keyboards with them now and we haven’t seen him with the band yet. Frank De Blase interviewed Nod for “City Newspaper” this week and he asked them what they had that wasn’t being offered. Joe Sorriero (guitar and voacals) answered, “Just a lack of freedom. Sometimes you see music and wonder, “Why doesn’t this person explode in some manner now?” Or “Why isn’t there one part that’s just off-kilter or wacky before coming back to the song?”
These few sentences perfectly describe Nod’s indescribable music. They have released a few cds on Steve Shelley’s “Smells Like Records”. 4D did the scan of Sue Stanton’s needlework for the cover of the cd shown here. Joe and Sue got hitched this summer and Tim and and Brian (Nod’s bass player and drummer) did a Nod tune during the outdoor ceremony. I’m looking forward to hearing the whole threesome with keyboard next time.
The first thing I remember about Shawn Irons is him driving some sort of mobile home thing that he had rented for us to do a couple of out of town dates. We were on the New York State Thruway playing some sort game and laughing when he got pulled over. He was doing ninety and didn’t even know it. As the cop approached our vehicle, Shawn turned toward us and said, “I don’t have my license. Can someone let me borrow theirs?” There was total silence.
He printed up Personal Effects business cards with his name on them and then told us he wanted to manage the band. He had no managerial experience or managerial skills but he had a mischievous smile and lots of energy. Martin Edic described him as a “big character” and he was a ball to be around. We hear Shawn died in his sleep last week in San Jose.
“Big wood and brush. Big wood and brush. Do you know the difference between big wood and brush?”, “Jimmy Carter Says Yes!”, “Little Love Bug”. These songs, from a cassette tape that Chris Zajkowski from the Squires of the Subterrain gave us, have been stuck in our heads for twenty years. And we don’t even have a tape player anymore. The cassette was a collection of song poems, hand labeled, “Beat Of The Traps”, and I think he got it from someone in NRBQ. The songs were lyrics by anonymous people put to music by studios that advertised in the back of magazines. A couple hundred bucks and you had a box of 45’s with your song on it.
Our friend and neighbor, Monica, had just returned from Paris and so we had her and Rick over for dinner last night. We made barley mushroom soup from the Moosewood cookbook, chicken marinated in a lime juice vinaigrette and a green salad. Rick made a no cholesterol angel food cake for dessert and we ate that while watching “Off The Charts, The Song Poem Story”.
The charming Gene Marshall, who claims to have cranked out 10,000 songs, was responsible for “Big Wood and Brush” and “Jimmy Carter Says Yes” and he stole the show. He dominates his band and bulldozes arrangements on the fly while “sight singing” lyrics that have just been put in front of him. Improvisation is one thing but watching him try to keep a straight face and get through these songs in one take was thrilling.
Watkins & The Rapiers performing live on WXXI’s Sound Stage
We went to the old Rohrbach’s location in the basement of the German House in Rochester’s South Wedge last night. Watkins & The Rapiers were playing there surrounded by TV sets tuned to various stations. “Body Parts Found In Chicago” was displayed the the bottom of the screen on Fox News. I couldn’t tell what we were looking at. We went out with our neighbor, Rick, and he ordered a pitcher of beer. We ran into Bob Mahoney and Jan Marshall and had a nice time chatting while the Regan brothers sang their super catchy songs and select covers like Ricky Nelson’s “Travelin’ Man” and Dylan’s “When I Paint My Masterpiece”. I slept like a baby and woke up with “Even on Christmas Day He Wore Black” stuck in my head. Peggi said she was singing “Mighty Nice of you to Treat Colorblind This Way” and they didn’t even do that one.
Dick Storms of Archive Records writing contract for Hi-Techs second single
Martin Edic came out to see Margaret Explosion last night. He had a Polaroid with him from 1980 or so. He was going to scan it and send us a copy but he hadn’t configured the scanner portion of his printer/copier/scanner yet. And he wouldn’t give up the photo. It got us going through some old photos and we came across this one from that same time period. I think this was a signing ceremony for the our band at the time, called the “HiTechs“. We have the candles lit. Dick Storms from Record Archive is shown on the right with a contract in his hands. Peggi is smiling so it must have been going well. Martin, shown behind Peggi, is reading something. He reads anything within reach. Bob is smoking. Those were the days.
Dick released a couple singles of ours on his “Archive Records”. This contract must have been for the second one, “Screamin’ You Head” b/w “A Woman’s Revenge”. “Screamin’ You Head” got some airplay and notoriety when Danceteria DJ Iolo Carew added it to his dance charts for Rockpool. “A Woman’s Revenge” was based on a one of the photo novellas that we used to buy down at Bertha’s on East Main Street in Rochester. Martin was the bass player for HiTechs and Bob was the guitar player in Personal Effects so this must have been right on the cusp of that transformation.
My father emailed me this photo. He took it at the Margaret Explosion gig over Christmas. I didn’t really care for the art on the walls back then. It changes every month and there is already some new stuff up for our gig tonight.
I have a painting show there in January of ’09 and I got an invoice in the mail today for $50 for the privilege. Apparently you have to be a member of the Little Theater Film Society in order to exhibit there – a worthwhile cause. The Crime Faces ought to liven up the place. Here is link to the Rain Dance from our gig at RIT on Saturday. Phil Marshall is on guitar while Bob was in Anaheim.
Our snowmen’s heads have both fallen off in the rain but their sculpted bodies are looking good. We put our rain gear on to walk in the woods. When the temperature goes above freezing things can get ugly but down by the creek the woods were misty and beautiful. It was a good day to contemplate the lyrics to “The Willows” from Ursula K. Le Guin’s novel, ”Always Coming Home”.
We knocked off a quote for a website for a dance troupe in Detroit this morning. We had promised it last week but we never got to it. Peggi put the turkey in the oven and then headed out to pick up her mom. I watched for the little pecker to pop out. It’s a free range turkey that never ate meat. The label says it has 70% less fat. I don’t think of turkey as having much fat to begin with. We bought it at Palermo’s Italian Market on Culver.
Duane stopped by and helped me shoot a new batch of paintings. He works for Lowel Light in Brooklyn and he set up four Tota lights, balanced the white point and set up a manual exposure with his Sony Cybershot V3. They came out pretty good but it will take me a bit to crop them and adjust the levels. When work was done we kicked back with a dvd of a 2002 live performance of Lou Reed’s Metal Machine Music. I have an 8-track of that thing out in the garage that I want to put on eBay some day. Peggi walked in with her mom. My brother and his family are in town from New Jersey and they are headed over here for dinner. My parents will be here too, so with Duane that will be eleven. We put the extra leaf in the table.
We started the day in front of the fireplace in our pjs reading the New York Times. Our nintey year old neighbor brings the paper up to the door while we’re still sleeping. Peggi read Maureen Dowd and Frank Rich out loud while I cut up some fruit. I read “The Year In Ideas” in the Magazine section and wish I hadn’t. The “Cat Lady Syndrome” piece about the parasite you can get from your cat gave me the creeps.
I popped a Charlie Mingus DVD that we bought on Amazon in around noon and watched the 1964 rehearsals of “So Long Eric” and “Meditations on Integration” which were recorded in Sweden. Mingus’s “Town Hall Concert” with those two songs (only those two songs) on it was one of the first jazz albums I bought and every bit of it is so memorable. It came out right after Eric Dolphy died and Mingus changed the name of “Meditations” to “Praying With Eric” for that release.
Charlie Mingus is quoted as saying “Eric Dolphy is a saint”. He should know. The “Cornell 1964” cd that was just released by Mingus’s widow has the same tunes on it as well. And now comes this amazing DVD with recordings from three European stops that same year. The music remains so memorable because it is an absolutely beautiful composition performed by incredible players. Watching them (Mingus, Dolphy, Dannie Richmond, Clifford Jordan, Jaki Byard & Johnny Coles) rehearse and perform this music is an incredible treat. Thank god for the Europeans. I might a couple copies of this for Xmas gifts.
Chiminea in backyard in late Fall
We went out to walk but got sidetracked in the backyard. We started a fire out there in our Home Depot chiminea and stood around like a couple of bums eatting peanuts.
We went out to see Rochester’s Chesterfield Kings last night at the German House. They have been together about thirty years or so now. Their original drummer, Doug, just died. We caught a few minutes of the opening band and it was way too loud so we left and had a beer down at Tap & Mallet. We sat in the Road Mask room.
Greg Prevost oof the Chesterfield Kings
The Kings were great. Greg is a star. I’m not sure what he was singing about but it all sounded good like Iggy or the Dolls or the Cramps. Greg plays harp a lot these days and he must have brought his yellow Newspaper Recycling box to the gig because he kept tossing out handfuls of paper. He crawled around on top of the PA system and worked his way through the crowd to the back of the room and then got up on the bar there and started banging his mic on a Heineken bucket. I took a photo of the floor when the show was over.
Floor after Chesterfield Kings show
We had my mother in law over for dinner tonight. I rode along while Peggi took her back to her place. I laid on the floor in the back of the Element and looked up at the treetops through the sunroof. Peggi was playing a Charlie Mingus cd.
In fact, Neil Young is much better than his band. He reaches for the sky. His band is the gauge by which you judge whether or not he made it. Shea’s in Buffalo is a beautiful concert hall. Relatively small, ornate, great sound and not a bad seat in the house. Neil’s wife Pegi opened the show with Ben Keith on pedal steel and Neil’s bass player, Rick Rosas. She was better than Social Distortion, who opened for Neil in the eighties.
Neil Young Buffalo 2007
Neil’s acoustic set opened with a beautiful version of “Hank to Hendrix” and a brave version of “A Man Needs A Maid.” Almost as good as the 1971 show. The crowd cheered every time he played harmonica like it was a miracle. And a bunch of idiots started clapping not in time to one song. There was guy sitting in front of us who told us he was thirty and he loved Neil. He said he was going to get his first tattoo when Neil dies even though his mother would hate it. He said he was wearing a four dollar brown leather jacket and Hunter Thompson shades for the event. This guy had the loudest whistle in the world.
We were happy to see Neil Young’s road manager dressed like the devil he played in Greendale. He was doing big paintings on canvas while the band played and he would bring one of them to the front of the stage and put it up on an easel before each song. They usually had the name of the song on them. I saw MX80 do something like this a long time ago.
Not rest and relaxation, rock and roll. We are driving down to John Gilmore’s house in Geneseo and then taking his car to see Neil Young in Buffalo. Neil is playing acoustically and then with Crazy Horse and his wife Pegi is opening the show. I really like the recently released cd with a DVD of his acoustic tour from 1971 at Toronto’s Massey Hall. I saw that tour a few days before that show in Chicago. I hitchhiked up there with my late friend Dave Mahoney. I have seen Neil many times since and he always pushes it. We saw the country tour at the War Memorial and we saw the Rust Never Sleeps tour. And then we saw him at the ice rink in Buffalo just before we started the war with Iraq. I remember a bunch of people down front unfurling a big banner that read, “Fuck Iraq”. The crowd roared. Neil had a peace sign on stage and I don’t remember anyone cheering for that. I especially love his movie, Greendale.
