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Mar 06th
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Features

Rainy Day Music

Rainy Day Music

’Tis the season for The Album Leaf
This winter California has seen more than its share of torrential rain, and The Album Leaf offers the kind of soundscapes which provide a perfect complement to the wet season; there isn’t a better song than “Shine” to have a track of forceful pitter patter layered beneath it. Indeed, Jimmy LaValle’s project is distinct mood music, and it will be coming to the Crepe Place for two nights this week, Tuesday, Jan. 11 and Wednesday, Jan. 12.

Although The Album Leaf may lend itself to distinct emotional interpretation, instrumental music is a funny thing. The electronically-based project has increasingly used vocals on latter albums, but in the absence of words, the emotion that one may project upon a given song may well have no relation to the feelings originally infused in it. Ironically, “The Light” may be the perfect soundtrack to a rainy day. But for all we know it was conceived on a sunny summer afternoon.

“There are songs that I’ve had that I feel [were written] when I was in a good space and happy,” says LaValle. “Then a lot of people think those songs are really sad and vice versa. I think it’s really cool how that works.”

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Love Your Local Band

Patti Maxine

Patti Maxine

At 72, Patti Maxine is one of the busiest players in Santa Cruz and she’s not slowing down. A solo performer and a member of the Island Breeze Band, ROMP, and the Saddle Pals, she’s also been in high demand by local folk musicians and Hawaiian music emissaries like Eddie Kamae and Cyril Pahanui. Anyone who’s witnessed her confident slinging of the slide guitar knows why. Still, it wasn’t necessarily by choice that the brazen stage veteran first picked up the lesser known style. As a young teen living in Roanoke, Va., Maxine sought to study the standard guitar. Her music teacher had other plans for her. “Unbeknownst to me at age 14, my teacher brought out a lap steel,” she says of her surprise  introduction to a guitar whose raised strings beg to be swiped rather than pressed down. “He laid it on my lap and I played with a steel bar, and that was it for me.” Soon she was playing Hawaiian music and winning contests despite the fact that the slide was rarely ever seen in a woman’s hands. “Me and this instrument was like a match made in heaven,” she says.

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Features

Sound Gardener

Sound Gardener

Bluetech welcomes Don Quixote’s patrons to his sonic greenhouse
When Evan Bartholomew composes a song, he begins with what he calls “a tiny seed.” “I’m silent for a minute, and I hear … maybe it’s a bass line; maybe it’s a rhythm pattern; maybe it’s something my hand is tapping on the steering wheel while I’m driving in the car,” he explains. “And then I go in the studio and attempt to sow the seed—get it down, get that idea tracked.”

It’s fitting that Bartholomew—who performs his downtempo electronica music under the name of Bluetech—should reach for this particular metaphor: His home recording studio in Hawaii is filled with literal seedlings. The musician has a nursery of more than 2,000 bromeliads, a type of epiphyte (a plant that can grow without soil) found in the tropical Americas. Because the habitat for the plants he collects is being rapidly decimated, some of these species no longer exist in the wild. He hopes to use his music to draw attention to this situation.

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Love Your Local Band

Ben Flocks Quartet

Ben Flocks Quartet

Ben Flocks, 21-year-old sax extraordinaire, understands there is no place like home. A former member of Kuumbwa Jazz Honor Band (he calls Kuumbwa “a sacred place”) who played the Monterey Jazz Festival stage this September (“one of the greatest experiences of my whole life”), the Bonny Doon native is currently studying at the New School for Jazz and Contemporary Music in New York City. There, he says, “350 jazz musicians are packed into two floors of a building in the Village.” He’s been looking forward to stretching his legs—and his refined musical skills—during his winter break and holiday return to town. “At school people tell me to bring my ‘Santa Cruz vibe,’ and now I’m trying to bring my New York vibe back and bridge these two places,” he says. Flanked by good friends and fellow Bay Area locals Jesse Scheinin on saxophone, Zach Brown on bass, and Michael Davis on drums, Flocks will lead his quartet through two sets at the Crepe Place, Thursday, Dec. 30.

 

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Features

In Flight

In Flight

The globe-trotting angelic strings of Carlos Reyes
What do MC Hammer, Marky Mark, the Pope and now Don Quixote’s have in common? They can all attest to the musical talents of Paraguayan violinist and harpist Carlos Reyes.

A child prodigy—he picked up the violin at age 3 and a half and had his first public performance at 5—Reyes grew up under the influence of his father, Carlos Reyes, Sr., a musical and national hero in Paraguay.

Through the years, the younger Reyes mastered the harp, guitar, bass, mandolin and keyboards, but his father always had one dream for his son: to become a respected classical concert violinist.

“My father started it all with me,” says Reyes, who remembers his house being filled with string instruments as a child. “We played our Paraguayan folk music as a family and did shows together, but that was just a side thing; the concert soloist was what I was being groomed for.”

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Love Your Local Band

Mothers

Mothers

Sometimes a band’s style of conversation perfectly parallels its music. Disjointed, loudly confident, unpredictable and pure non-stop entertainment, a sit-down talk with members of Mothers seems to take a cue from their full-throttle, metal-tinged songs. Behind their respective black attire, baby beards and cigarette smoke, singer/guitarist Matt Wilson and drummer Matt McClain chat about the new Santa Cruz quartet on the deck of Caffe Pergolesi. Guitarist Matt Hintze pops in for brief cameos as he wipes down the tables and works the venue as a nightshift barista. With bassist Dustin White (middle name: Matt), the band of Matts has transformed Wilson’s previous songwriting project—the more subdued Motorcycle Snakebite—into an abrasive, technical juggernaut in which McClain’s cymbal-breaking attacks furiously brew behind a jagged interlocking of guitars. Wilson says, “When people first see us they won’t understand what it is, but I think they’ll like it because—” McClain interjects, “Definitely not because of our looks!” Laughter ensues. Wilson’s sweet and earnest manner is a foil to McClain’s ceaseless sarcasm and jokester jabs (“We’re really influenced by Mariah Carey,” the drummer quips).

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Features

Souliving the Dream

Souliving the Dream

Soulive’s pursuits span the Beatles and new bands
Earlier this year it broke that Abbey Road Studios in London—the legendary halls first brought into public consciousness by the Beatles—was in dire financial straits, staring at closure in the face of urban development. It’s a sad commentary on the state of the music business.

Well, Soulive—the jazz-funk organ trio gracing the stage at Moe’s Alley on Wednesday, Dec. 15—knows a thing or two about the economics of running a studio. It also knows a thing or two about the Beatles, given its three-month-old LP of cover tunes, Rubber Soulive. And though Beatles covers may not be the most original of ideas, the inspiration behind Soulive’s take on these classics comes from a natural impulse.

“Initially, we’re like ‘Yo, let’s do a British Invasion album,’” explains drummer Alan Evans. “Obviously a lot of those tunes we wanted to do were Beatles tunes, so it just kind of evolved into what it became. We’ve done original albums forever, as long as we’ve been together. We’ve thrown in maybe a couple cover tunes on a few of those albums, but we just felt like it was time to do something completely different.”

Though it’s an album of pre-written material, Rubber Soulive is still true to expectations of the trio’s (rounded out by guitarist Eric Krasno and Alan’s brother, organist Neal Evans) faithful. While far from being abstract interpretations of the Beatles, the groove-based funk backbone of the band remains in tact. Still, one wonders if an all-covers album would have been possible under Soulive’s previous business arrangements.“We have all the control, we do whatever we want to do,” says Evans about creating the band’s own label, Royal Family Records. “For us it was always kind of frustrating that we’d be ready to record something, but no, you’d have to wait for a certain amount of time, things like that. Those kind of decisions that we just had no control over, that was really frustrating. Now it’s just that we have so much music we want to put out.”

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Love Your Local Band

The Getaway Girl

The Getaway Girl

Living up to her moniker as The Getaway Girl, Courtney Jones recently did something many East Coasters do: she fled to the sunnier shores of California. But it wasn’t without incident. Only one state away from her home in Virginia, Jones’ old Jeep Cherokee, which was lugging the singer/songwriter, her Yamaha mock grand piano and her acoustic guitar, beckoned for attention and started overheating. Trudging onward, a year ago she landed in Santa Cruz after, she recalls, “the welcoming committee at the border of California said, ‘Welcome to California—and just so you know, your car is shooting out black smoke!’” Along with that fixer-upper, the 24-year-old brought to town her songwriting skills she’d exercised in bands while living in North Carolina, a knack to play back anything she hears despite not knowing chords, and a determination to master the keys in original songs. And, like you’d suspect, she did so in perfect getaway form. “Once I moved out to California I was locking myself in my room for hours trying to figure out new chord progressions,” she says. The sweet result? Her solo musical project now greets listeners as a piano pop endeavor dripping in spacey ambiance and affecting lyrics that can bounce with a lighthearted bop or amble with languid fluidity reminiscent of Missy Higgins.

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Features

Don’t Stop Now

Don’t Stop Now

How The Bad Plus makes avant-garde accessible
If there were ever an oxymoron that made absolute sense, it would be the phrase “avant-garde populism” when applied to The Bad Plus—the progressive jazz trio that is making its near-annual stop at the Kuumbwa Jazz Center for two sets on Monday, Dec. 6.

Indeed, the group is defined by a few sets of sweet contradiction: classical and contemporary, proficient and accessible, vanguard and conventional. Made up of bassist Reid Anderson, pianist Ethan Iverson, and drummer Dave King, The Bad Plus has put out seven albums over its 10-year existence, and that tag of avant-garde populism—originally coined in the New York Times—continues to hover around aptly.

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Love Your Local Band

Molly’s Revenge

Molly’s Revenge

A challenge of being a Celtic band from California? Credibility. Living far from the Green Isle, the Santa Cruz-based players in Molly’s Revenge have had to work that much harder to get respect for playing traditional music native to a foreign region. Still, the members have mastered a rare style despite their stateside home, and it’s gained them plenty of nods from notable players. “We may not talk with the accents, but the music speaks with the accent for us,” says founder David Brewer, the man behind the Highland bagpipes. With John Weed on fiddle, Stuart Mason on guitar/mandola, and Peter Haworth on bouzouki, Molly’s Revenge catapults audiences (in both elite venues and casual pubs) into a wicked seizure fueled by strident Celtic covers and originals. It seems that emerging as outsiders to the scene has given the band the freedom to, shall we say, experiment. Don’t expect kilts, expect kick-ass takes on Celtic classics. While in Scotland and Ireland bands traditionally play sitting down, Molly’s Revenge treats its stage show with the dynamics and theatrics of a rock show; everyone performs standing, and flailing movements complement the stomping rhythms.

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Features

Another Roadside Attraction

Another Roadside Attraction

Le Serpent Rouge presents musical entertainment’s latest odd couple: jug band music and belly dancing
Rachel Brice of Le Serpent Rouge isn’t going to let a momentary setback spoil her good mood. “Right now we’re sitting by the side of the road with a broken-down vehicle, but that’s fine—we’ve done that twice already,” she cheerfully tells GT by cell phone. “We’re broken down and sick, but it’s fun!”

Brice, a former Santa Cruz resident currently residing in Portland, Ore., serves as artistic director and choreographer for The Indigo Belly Dance Company, in which she performs alongside her former Bellydance Superstar colleagues Mardi Love (Urban Tribal Belly Dance) and Zoe Jakes (Beats Antique, Yard Dogs Road Show). Brice explains that Indigo’s tribal fusion belly dance style, which contains elements of 1920s jazz, American tribal, electronic fusion and old-time dance forms, owes a great debt to turn-of-the-century vaudevillian variety shows. “Our belly dancing, in a lot of ways, is inspired by what we would imagine that we would want to do if we lived in that time,” she states.

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Love Your Local Band

Five Eyed Hand

Five Eyed Hand

When guitarist Chris Zanardi dishes out the inside scoop on his band Five Eyed Hand, there’s no shortage of quirky band member details befitting the ensemble’s fusion psychedelic-meets-funk soundscape. Drummer Derek Bodkin isn’t just an anomalous frontman from behind the kit, he’s also an award-winning professional whistler (he performs a whistle solo on the song “Good Mood Trot”). Bassist Jeb Taylor was struck by lightning as a child while hiking the Himalaya (“I think it messed up his vocals during his adolescent years and he’s the only member that doesn’t sing,” Zanardi laughs). Violinist Mike Henderson is known to untraditionally whip out the slide here and there (“He’s a virtuoso that plays everything from classical to rock”). With each member brandishing his own extensive resume of projects, Five Eyed Hand formed in 2006 to boast a motley crew of experiences and styles that continues to go strong. From sexy funk to beastly bluegrass jams to precise jazz instrumentals, the quartet hits Don Quixote’s with Marco Benevento on Friday, Dec. 3.

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Crop Circles

How the confusion over GMOs is undermining the organic movement

 

Week of Festivals: Full Moon, Lantern Festival, Purim, Holi

It is a week of many different festivals along with a full moon, all occurring simultaneously. Thursday Chinese New Year celebrations end with the Lantern Festival (at full moon). Thursday is also the Pisces Solar festival (full moon), Purim (Jewish Festival) and Holi (Hindu New Year Festival). Sunday, March 8, Daylight Saving Time begins at 2 a.m. The festival of Purim celebrates the freedom of the Hebrew people from the cruel Haman (a magistrate) seeking to destroy them. Esther, the Queen of Persia, who was secretly Jewish, saved her people from death. The sweet cookie hamentaschen celebrates this festival. Friday, March 6, is Holi, the Hindu Spring Festival celebrated after the March full moon. Bonfires are lit the night before, warding off evil. Holi, the Festival of Colors, is the most colorful festival in the world. It is also the Festival of Love—of Radha for Krishna (the blue-colored God). It is a spring festival with singing, dancing, carnivals, food and bhang, a drink made of cannabis leaves. Holi signifies good over evil, ridding oneself of past errors, ending conflicts through rapprochement (returning to each other). It is a day of forgiveness, including debts. Holi also marks the beginning of New Year. At the Pisces Solar festival we recite the seed thought, “We leave the Father’s home and, turning back, we save.” Great Teachers remain on Earth until all of humanity is enlightened. The New Group of World Servers is called to this task and sacrifice. Sacrifice (from the heart) is the first Law of the Soul, the heart of which is Love. This sacrifice saves the world.

 

The New Tech Nexus

Community leaders in science and technology unite to form web-based networking program

 

Film, Times & Events: Week of March 6

Santa Cruz area movie theaters >
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Latest Comments

 

Water Street Grill

YOLO gets reincarnated

 

What would make Santa Cruz better?

A lot more outdoor activities such as outdoor movies and concerts, food and art festivals, and more multicultural activites. Emmanuel Cole, Santa Cruz, Bicycle Industry Product Developer

 

Thomas Fogarty Winery

When looking for a bottle of something to have with dinner, Gewürztraminer 2012 is not the first wine to come to mind. Given the popularity of Chardonnay, Sauvignon Blanc, Merlot and Pinot Noir—to name but a few—Gewürztraminer sits low on the totem pole.

 

So Long, Louie’s

Louie’s Cajun Kitchen & Bourbon Bar closes, plus Back Porch pop-up, and 2015 Outstanding in the Field tour