Brad Spurgeon's Blog

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Liner Notes to a Formula One Fan’s Song and Video For Daniel Ricciardo’s Monza Victory: “I Can Take Anybody Down,” by Kenna and Cox

September 15, 2021
bradspurgeon

Daniel Ricciardo, of McLaren, celebrates his victory in Monza on the podium.  Photo Credit: McLaren/LAT Images

Daniel Ricciardo, McLaren, 1st position, celebrates on the podium with his trophy. Photo Credit: McLaren/LAT Images

PARIS – Several of my lives and passions came together over the last three days resulting in a personally imposed lock-down thanks to the victory by Daniel Ricciardo at the Italian Grand Prix in Monza, Italy on Sunday. Now if that sentence full of facts gets your head spinning to sort it all out, how about checking out the result of all that passion, which is the video I put together for a song in tribute to Ricciardo, written and performed by a couple of Aussie expats in France who I met during my open mic wanderings: “I Can Take Anybody Down,” by Chris Kenna and Melissa Cox:

The last thing I imagined after watching the F1 race on Sunday – and being at first appalled by the crash between the two series’ leaders, and then ecstatic about Daniel Ricciardo’s victory – was an email from Melissa Cox telling me she had a song from Chris Kenna, and did I by any chance have any photos of Daniel Ricciardo to illustrate it in a video. The last thing I imagined after reading that email was that my next 48 hours and more would be occupied passionately making a video myself for what I feel is an absolutely fabulous, dynamic, and cool song of tribute to one of the finest, nicest, coolest and most deserving drivers in Formula One.

The situation, it turned out, was actually linked to the previous post in this blog, about Elliott Murphy. Melissa Cox and I, who had met at performances of Kenna and Cox a few years ago, got in touch because it turned out that she not only plays violin with Kenna, but she is also part of the regular band playing with Elliott Murphy! So those two worlds suddenly joined.

Kenna and Cox

Kenna and Cox

But whenever I had met Chris Kenna in the past in bars around Paris, where he is a mainstay of the Paris music scene, we had always spoken about his love of Formula One – which, of course, has been central to my own life and livelihood. And another passion of mine that then joined up in these last few days.

Well, when I heard this fabulous song for Ricciardo, and Melissa asked for photos, of course, another passion took hold: Making videos, mostly those involving music…but this time, with Formula One as a theme. And so, another passion suddenly joined up here, and little by little I got hooked on making this video.

Of course, time pressed as it seemed this thing should come out as close to Daniel Ricciardo’s victory as possible, while his many millions of fans are hot on the story. So that is where all these merging passions came together to force me into a personal lock-down and finish this thing. It would never have been possible, of course, had I not many friends, colleagues and acquaintances in Formula One who kindly helped me out, including especially Bernard Asset, who is one of the series’ best and most respected photographers – and who I worked with on my book about Formula One published at Assouline (which will be spoken of more in a future blog post), who incredibly selflessly allowed me to use a lot of his photos and even chose a selection, treated them and sent them very quickly. And there was the McLaren team’s media staff as well, who gave me access to their collection and videos; and Steven Tee, who is another of the great F1 photographers, and whose LAT Images is probably the biggest, best database of F1 photos there is.

The Extraordinary Musical Pedigree of Kenna and Cox

It was especially great fun to be able to make a music video for someone else from the Paris music scene, as I have made many for my own songs, but few for other people. And Kenna and Cox are no ordinary other musicians based in Paris. Kenna was a farm boy from south-western Victoria state in Australia, who grew up milking cows and trapping rabbits with his brother before dreaming of being a rock star. He may not be a household name, but got a lot of big tastes of that life and world as in Australia he opened for bands like Midnight Oil, Men at Work, The Church and Ian Moss (Cold Chisel), and then when he later moved to France – for the love of a woman – he not only has lived off his own gigs in small venues and bars ever since, but he occasionally supported big names here too, including for Jeff Beck, Peter Green and Tommy Emmanuel.

Kenna and Cox

Kenna and Cox

He has now been playing with Cox for more than a decade, when the two Australians ran into each other at a gig, and he asked her to play a tune with him. She is from Sydney, where she studied classical violin since the age of 10, but then later got discovered jazz, blues, folk, rock and world music. Although her dream had always been to live in Paris, she first tasted a bit of the rest of the world. To quote from her bio: “Under the name Black Sesame, she released an album of electro-pop songs in between residencies as a jazz singer in Tokyo and Guangzhou. But it was Paris she dreamed of; and an invitation to study film composition at L’Ecole Normale de Musique saw the dream become reality.”

So she got to Paris, and has never left – or rather, the two now live in a remote village and commute for gigs, recording, etc.!

As I write these words in closing, I think about how amazing life is when one thing leads to another in an organic manner that you could never have predicted between the moment of one action – for instance, Ricciardo’s victory, or Kenna and Cox meeting at that gig, me writing the Elliott Murphy item leading to Cox contacting me about the song – and the string of events that it sets in motion! And speaking of motion, and e-motion, check out the video and song now because there is LOTS of motion, locomotion and emotion in this “I Can Take Anybody Down” cry of victory for Daniel Ricciardo and his fans!

This blog item feels more and more like liner notes, and no liner notes are complete without the lyrics to the album (well, that’s arguable!), so here I am also going to post the lyrics to this song (which you can also find at Chris Kenna’s bandcamp page, with the song:

They call me the honey badger
And I hail from the west,
I’m an animal behind the wheel –
It’s the thing that I do best.
Nothin’ gets me higher,
Higher than the moon,
(Than) when I’m trippin’ major nutsack
On a Sunday afternoon.

When I’m thirsty for a shoey
Then I hardly use the brakes;
If someone holds me back,
Well I just pounce on their mistakes.
When they see that number 3,
With Lando by my side,
Well they know their race is over
So they take the corner wide.

I can take anybody,
I can take anybody down.
I can take anybody (passion and commitment)
I can take anybody down.

The boys in orange hold their breath
Until their faces all turn blue,
Well I’ll get them on the podium
If it’s the last thing that I do.
All the stallions and the toros
They’re all chafing at the bit,
(And) Mr Hamilton is arguing
With the boss down in the pit.

I can take anybody, (passion and commitment)
I can take anybody down.
I can take anybody, (passion and commitment)
I can take anybody down.

[Uh, watch your back, we’ve got the McLaren on turn 20]
Here comes Danny Ric
[We need to go faster otherwise we let the McLaren pass]
Here comes Danny Ric
Coming up behind you
[Keep pushing – mate, you need to go now]
It’s Danny Ric, oh yeah
Coming up beside you
[Oh shit, he’s got you]
It’s Danny Ric!

I can take anybody (passion and commitment)
I can take anybody down

Five Musicians In Search of Nothing: Thriving in a Covid World

April 7, 2021
bradspurgeon

PARIS – One year into the pandemic that has killed live music and the life I spent most of this blog writing about – open mics, bar gigs, jam sessions etc. – and you might think that the musicians of the world would have collapsed and taken their music to heaven by now. That would be to underestimate the spirit that drives musicians onwards: To make music no matter what! In the last few weeks I have seen a sudden harvest of initiatives, sounds, CDs, gigs and things that to me show how so many of the musicians I have met over the life of this blog – 11 years old last month – have taken advantage of the lockdowns in their respective countries to forge onwards in making music and promoting their careers in ways that the gigs can no longer do.

And what a great feeling of pleasure it is to see how they have progressed through the mess that was thrust upon us all, setting the stage for even greater things when the curtain rises again post-Covid trauma. I want to just mention a few of these bits of news from musicians I have met, played with or just heard at open mics over the last decade. I’ve got five examples with five representative videos that I invite you to check out…and why not support them with a buy!

1) I met Greg Sherrod at the Some Girls open mic on rue de Lappe near the Bastille in Paris around a half a decade ago. I came in like any other night, signed up to play, and there was this guy from Connecticut who had just arrived for a short stay in Paris, and as a singer songwriter, and longtime performer with bar bands, had come to Paris with the goal among other things of playing in some jam sessions. It turned out he had been reading this blog for a long time in advance to prepare the trip, and so how fabulous that the first open mic he attended I was there, and he recognised me! So began a mostly long-distance friendship that is still going strong. (Can you believe it that it was Greg in Connecticut who introduced me to the fabulous Netflix series “The Eddy,” that takes place in France?)

The news from Greg is that he is launching a national campaign on June 1 to sell his latest CD, “Do You Feel It?” I loved his CD that he released a few years ago and that I spoke about on this blog, but this new one has even MORE of his energy and bubbling, bursting, addictive feeling! Greg’s really got a unique voice and style, and I implore you to go and check this out on Greg Sherrod’s bandcamp page. It’s really different, and I wish him the best of luck on the national launch.

2) Regular readers of this blog will know the name of Paddy Sherlock. But maybe not the way I am about to talk about him. As his name suggests, Paddy is Irish. But he is also a decades-long Paris expat, and host of the also decades-long music night at the Coolin’ Pub in the Latin Quarter, which sadly, closed a few years ago to make way for an Apple Store (more or less). After that, Paddy hosted an open mic that was exclusively devoted to original songwriters, and started at the Tennessee Bar before moving to O’Sullivan’s Rebel bar. It only ended when Covid started, and I imagine Paddy will be back to hosting it after the pandemic ends.

First single from “Dusk,” the new CD from Paddy Sherlock

If, that is, he is not too famous and in demand thanks to his latest CD, “Dusk,” which not only has been playing regularly on one of France’s top radio stations – FIP – but has also been getting fabulous media coverage, including as I write, being called the album of the week by the French edition of Rolling Stone magazine! A video of one of the songs, “Like a Diamond,” which I link to above, has more than 20,000 views in a short period of time. In short, it has taken the lockdown for Paddy to apparently break out in a big way. Paddy, a multi-instrumentalist, but trombone specialist, is also a very cool songwriter and singer, and actor, and that all comes together on the video, as you will see.

Misja Fitzgerald Michel

Misja Fitzgerald Michel

3) The only musician on this short list who I did not meet at an open mic is Misja Fitzgerald Michel, one of France’s top jazz guitarists, whom I met through a mutual friend, a photographer. And what a discovery! I say he is a jazz guitarist, but he is pretty much an all-rounder, and never more so than now that I can tell you about his recent exploit. (Misja did a fabulous CD a few years ago playing guitar along to the singing of Hugh Coltman of cover songs all by Nick Drake. A kind of Nick Drake tribute album that got some great critical reviews.) In fact, he has had two very interesting projects in the past year or so since Covid, one being his CD with a vibrophone player named Franck Tortiller, but the one I wanted to draw your attention to now is astounding!

Making of the Elzbieta Sikora piece with Misja Fitzgerald Michel

Just as the virus began threatening everything, Misja managed to get in a concert in Paris playing along with a symphony orchestra a piece written by the Polish composer, Elzbieta Sikora, based on a piece by Wanda Landowska, and instead of using the piano, chose to use the electric guitar as the lead instrument. It was directed by Marzena Diakun. Playing just before the coronavirus broke out, the intervening time allowed the project to develop both a CD and a video of the performance. I sat mesmerised listening to and watching his performance, in this extraordinary moment that out-Fripps Fripp and that requires all of Misja’s technical knowledge and feeling, in a virtuoso performance of a kind on an electric guitar that I’ve never heard, and an extremely cool idea. Check out the video of the making of the performance to see if you agree!! And you can find out more about the performance on the site of those who put it together. Here is a great description of the CD.

Gaelle Buswel

Gaelle Buswel

4) Researching this next performer on this blog itself, I discover that the first time I ever heard Gaelle Buswel sing was as far back as 2009! It was at the Cavern bar in Paris, at the weekly vocal jam, and I was immediately subjugated by her performance. In fact, I can’t think of a better way to describe her than the way I did on this blog the following year: “Gaelle Buswel has an amazing voice, extraordinary charm and stage presence, and she…gee, she has a little of that Bruce Springsteen quality of looking like she’s loving every minute of the performance and the communication with the audience.”

Title song of Gaelle Buswel’s latest album.

I saw her perform a few times after that, but it was mostly in watching from afar that I have seen Gaelle’s career take off and actually explode. And with good reason. You can add to the above description her untiring work, application and will power! She works ceaselessly from what I have been able to see in receiving her newsletters for years now and following her career. She has opened for Ringo Starr, ZZ Top and Deep Purple; she has played many of the greatest blues festivals in France and elsewhere in the world, including winning prizes at the Cognac Blues festival, and elsewhere, and she has now just put out a new CD in the middle of Covid, and got herself splashed all over the covers of the French music magazines as a result. It just keeps going upward, this career, and damn the virus! Check out the video of the title song from the latest CD above – oh yes, and I forgot to mention that Gaelle, although French, specializes in not only singing all the rock and blues classics of the English-speaking world, but she also writes her own songs in English….

5) I finally got up the courage to apply myself to today’s post when I saw a familiar face looking out at me through a video on my Facebook, and I decided to give a listen. Joe Danger is a fixture of the Nice bar music scene, and I heard and met him too for the first time almost a decade ago. I last saw him a couple of years ago when I was visiting Nice and eating in a pizzeria with Ornella and found myself sitting at a table beside Joe! We never got to know each other very well, because I was never very long in town, and Joe was never very long off stage. Despite his name, and his perfect English accent, Joe hails from Germany! But he has lived in Nice since the 1980s, and he has been eternally attracting masses of young listeners to his various nights playing music in places like Jonathan’s music bar. I’ll never forget the first time I saw him play there, in the cave in the basement: The place was empty. Completely. And then Joe took to the stage, and suddenly, within minutes, the room was bursting at the seams with twenty-somethings, all coming to listen and go crazy to Joe! He was in his mid-to-late 50s! But he had something they loved! And as soon as his set ended, they all deserted the bar….

Joe Danger singing his “Let’s Get Rich” song.

I am putting up the video I saw of Joe’s today because I think this song he wrote, “Let’s Get Rich,” speaks totally, completely and perfectly of the feeling of the moment for musicians who make their livings out of playing live music, especially in bars. While it is telling the story of low-down times and lack of money, it is the act of writing and playing – and Joe says he is currently about to record it with a band – that shows the kind of backbone, faith and spirit of fighting on that is really behind all of these musicians at this difficult moment. Way to go Joe Danger! Way to go all of them!

PS, don’t forget to check out my own lockdown effort that I posted about recently, which is my song about our crazy, sick world of the moment on another level: “What’s All This Talk!?!”:

My own song, “What’s All This Talk!?”

Caveau des Oubliettes is Back – and Just like it ever was….

September 5, 2018
bradspurgeon

Caveau des Oubliettes Jam

Caveau des Oubliettes Jam

PARIS – Just a very short post to celebrate that in this time Paris when night music joint after night music joint is closing down as the Parisian population becomes more and more bourgeois and gentrified and refuses to accept the sound of music at nighttime, I can celebrate with a few words to say that a longtime mainstay of the Paris live music scene has returned after months of being closed down. The Caveau des Oubliettes on the Rue Galande in the 5th Arrondissement, near Shakespeare and Company and Notre Dame, has re-opened after its change in ownership and renovation. And it looks the same as it ever did.

Well, of course, the little problem of paying 12 euros for a 50 cl of IPA beer will steer away many a poor musician. Or at least no doubt limit their spending to say, one beer, rather than probably three beers at 5 euros each (and therefore earning more money for the bar).

In any case, the jam I attended on Sunday night was one of the many it has during each week, and this one was the blues jam, now led by Youva Sid, who I met a few years ago at his own bar venue in Menilmontant.

The great news is that this place looks as if it has basically not changed at all. It has just cleaned everything up to make it look more stylish – but the jam principle is the same. Bring your instruments, make your presence known, get up on stage and play!

Another Fabulous Find in Milan at the Arci Turro Open Blues Jam

April 22, 2017
bradspurgeon

Arci Turro

Arci Turro

MILAN – This is just the kind of thing that confirms my increasing belief and understanding about the Milan cultural scene: It took until Wednesday evening for me to discover one of the coolest open jams in the city. And the Arci Turro open blues jam has been going on weekly for more than three years. How could I have missed it? The answer is simple and goes back to that bit about my understanding….

Milan is spread out all over the place. There is no real concentration of any particular kind of life in the city – except perhaps the most easily recognizable Duomo kind of life and its major commercial center in the middle of the city. Elsewhere, to find an open mic, an open jam, a theater, a music venue, you have to know where they are, either by word-of-mouth, or long, long experience and contacts.
Arci Turro blues jam second

Of course, it is all up there on the internet in one form or another, but that seems not very clearly communicated either. In any case, the xxx open jam takes place in one of the coolest bars I have discovered so far.

Located in a completely residential and/or business area just off the via Padova area, the venue sits on a side street with complete anonymity. It has a completely laid back club house sort of feel to it, with large dining tables in the front room, a neat bar in the back, a giant billiards table – the kind with no ball pockets – and a multi-level back porch with more tables and chairs. It is also decorated in almost a clubhouse kind of way, with newspaper clippings pinned to a corkboard, books in shelves, and various other bric-a-brac.
Arci Turro blues jam first

In fact, it is something of a clubhouse, as it is the location of an association that is linked to all sorts of events, and just happens to have this bar and jam – the blues jam is run by Giulio Brouzet, who joins in on harmonica and vocals, depending on the situation. There is also an upright piano, and basically it seems every kind of instrument is accepted.

I played with my guitar and sang, and accompanying me were a trumpet player, a violin player, a harmonica player, a drummer, and a lead guitar player. There may have been more, but as you sit in something close to a circle halfway between the two main rooms of the venue, I’m not sure I saw all the people who were playing along when I did my number! And, yes, I did not do a blues song, since I don’t know how to play any – so although the emphasis here is about 90 percent blues, the jam is open to other things, or at least a broad definition of blues.
Arci Turro blues jam … after the jam around midnight….

In any case, the atmosphere is so cool at the Arci Turro in both the jam and the bar in general, that I will be sure to return whenever I can. It also happens to be on the same night of the week as the Joy Milano jam that I have written about several times, but as it turns out, the Arci Turro ends around 23:30 and the Joy Milano only really gets swinging into high action at around that time, so you can go from the one to the other. As did several of the musicians last Wednesday, I was told. But I was so comfortable at the Arci Turro that I hung around for another hour or so talking to people on the back porch and drinking some of the many available wines….

Total Musical Release and Relief at the Blues-sphere in Liege, Belgium

August 27, 2016
bradspurgeon

blues-sphere

blues-sphere

LIEGE, Belgium – That was easily one of the longest periods that I have ever gone in the more than six years of this blog without putting up a post. In fact, and of course, it was almost one of the longest periods during that same period where I did not go out and play music in public somewhere, crying out my insides on stage for all those willing to subject themselves to it. And it all goes down to my summer vacation, which was spent entirely working on my job writing and writing and writing, and doing all sorts of other administrative chores that I really don’t even want to have to think about, let alone talk about. And it all ended last night in Liège, at the Friday night jam of the Blues-sphere club not far from the Meuse in this fabulous Belgian city.

The Blues-sphere is a really classic kind of blues-jazz bar with a long front entrance leading into a room full of photographs of historical blues and jazz musicians, with a big stage with keyboards and drums, and a multi-pronged room allowing for every kind of spectator – from those who want to listen, to those who want to talk. A great sound system, and above all, a barman-manager who not only loves music, but also loves to get up and play his harmonica from time to time when he feels inspired by the music.

I’ve written about the Blues-sphere before, and I’ve probably usually mentioned about how intimidated I am about going to this very cool venue outre-Meuse because it is so much Blues and so little mainstream pop or rock – at least in my perception of it each time I go. But last night, debating with myself as to whether or not I should go, I found myself realizing that I had really no excuses whatsoever, and having overcome a few of the biggest hurdles of my year in other levels, I decided I needed the break, and the first time on stage in more than three weeks….
Third at the Blues sphere in Liege

So I went with much trepidation. I need not have worried. It turned out to be just the elixir that I needed. I was also very lucky in finding that at this open jam evening there was a crew of people from nearby Aachen who were there and looking for someone to play along with – they were a bass player, guitarist, keyboard player, and a local drummer. And I said, “Sure, but forget the blues with me!” Well, except to the extent that all rock and pop comes somehow from blues roots. Pretty much.
Interpretation at the Blues sphere in Liege

So we got up after some pretty fabulous local musicians – and an American from a nearby Dutch town – and we played whatever came into our heads. I got to exchange between leading the group with my guitar and vocals on my songs, to playing along with the bass player doing his songs and singing. I was almost invisible during those moments, as my capacity to really jam is somewhat limited! But sometimes that’s the best thing, is to be invisible on stage.
First at the Blues sphere in Liege

In any case, it was a fabulous night of music and human warmth at the Blues-sphere, and it recharged my batteries, and I highly recommend this venue to anyone wanting to recharge theirs….
Second at the Blues sphere in Liege


Fourth at the Blues Sphere

Fifth at the Blues sphere in Liege

Update of Thumbnail Guide to Shanghai Open Mics, Jam Sessions and other Live Music

April 19, 2016
bradspurgeon

Shanghai, China

Shanghai, China

I have updated my Thumbnail Guide to Shanghai Open Mics, Jam Sessions and other Live Music, after having returned yesterday – pretty good timing this time.

But the problem is, and this is slightly depressing, most of the updating I did on the list was to remove open mics and venues that no longer exist. I was unable to update with any new venue, although I was able to improve my section about the House of Blues & Jazz, as I had not actually played there until this trip….

So take a visit to my Thumbnail Guide to Shanghai Open Mics, Jam Sessions and other Live Music.

So check it out!

The A-stounding, Out-standing, Still-standing, Last Stand at the Jam of the House of Blues & Jazz in Shanghai

April 18, 2016
bradspurgeon

House of Blues & Jazz

House of Blues & Jazz

I was really, seriously, beginning to lose faith in my last days in Shanghai. I mean, the trajectory of my worldwide open mic adventure has almost invariably been, up. Like every city I go to year after year there is a snowball effect of discovering new venues, new scenes, new musicians and a kind of inexorable growth sense. (Don’t mind me, I’ve just traveled 24 hours back to Paris from Shanghai after not sleeping for like about the same length of time before that.) And I began really feeling bad about things in Shanghai because it seemed that all of the places I had played in the past had disappeared: Bee Dees; Karma Lounge; Not Me; Oscar’s; and like, did the Melting Pot still have its Sunday jam?

No matter how much research I did every single day, I could not find evidence that an open mic I had attended in the past still existed today. And so it was that my open mic for my first four nights was my own hotel room. I played away, morning and night, whenever I could find a down moment between an otherwise massively busy weekend at the racetrack.

And I wrote emails to friends, acquaintances and fellow musicians I have met over the years in Shanghai. And either they did not respond, or they did not exist, or they now existed elsewhere.

And then…and then… finally, on the last night of my stay in China, I remembered the House of Blues & Jazz. I remembered they had a jam on the Sunday night. I remembered it was probably not too far from my hotel. I then learned it was 15 minutes’ walk from my hotel. And I went. I still could not tell if it was really still a jam session on the Sunday night.

And my music is neither blues nor jazz. And I remember this place made me feel a little insecure the first time I went there about three or four years ago, and I remember walking out without trying the jam, so much was I scared. But last night, waiting for my 7 AM flight back to Paris, I had no choice. If I did not play on the House of Blues & Jazz stage, then I would have lost my week in Shanghai in terms of the buzz I seek on the open mic stages of the world. What a horrible lost opportunity that would be.

But it was, honestly, very sad to go to this city where in the past at my peak I was able to play in maybe six different places, and find that nothing existed anymore. Or practically. The one I did last year on the Monday still exists, but it’s now Monday and I’m back in Paris….

So I went to the House of Blues & Jazz, and I found this fabulous stage again – big enough to hold a piano, drum set, bass player, lead player, a singer or two – and a great sound system, and a vibe somewhere between laid back and classy, with its wood panel interior, and the three or four television screens of the stage action ensuring that everyone gets to see and hear what’s happening.

And I listened to the fabulous house band led by Greg on the vocals and guitar. And when he announced the jam, the open stage, I finally knew I had to push for it, and that my drought of a week in Shanghai would end. And boy did it end. It was like, after four nights in the hotel playing to no audience, I suddenly had an audience, and I could explode.

I only got two songs, but it was enough to play with the backing band, and before this great, fabulous, large audience, and just let go. I had the time of my week in Shanghai. And I not only recommend this excellent jam – which has much more than jazz and blues – but I will definitely be returning myself. (If I have the good fortune to get back to Shanghai….)

Four Nights of a Week, Culminating in a Gig (And thence onward to Wynton Marsalis, the Olympia, the Giant, the Orgasmic Master and the Smelly Woman)

February 7, 2016
bradspurgeon

Wynton Marsalis

Wynton Marsalis

PARIS – Monday, Tuesday, Thursday and Friday. Those were the nights out this week. More than lately as I work on various personal projects and the blog gets left a little bit behind. Where I would have done four posts in the past, I’m doing one. Things will no doubt change as the projects I’m working on get caught up…. But in any case, it was a great four nights out and it varied from regular open mics to a cool new jam to an incredible concert at the Olympia by Wynton Marsalis and the Jazz at Lincoln Center Orchestra!
Someone at Bliss

On Monday I dropped off at an open mic that just began its second year: The open mic of the Bliss bar near Les Halles. This is a posh back room to a sizeable bar brasserie, and the sound system is great, there are lots of musicians, a jam feel to the thing, but ultimately also if you are into live karaoke – i.e., you sing but need a backup band – then this is also the place for you. They say they accept basically all styles, but from what I saw, the accent is on soul – maybe funk too. I’ll have to return to confirm, as I got there too late to get up on stage, and I only stayed for around three songs.
Group at Some Girls

Knowing I had failed to arrive early enough, I moved on fast to the Some Girls open mic on the Rue de Lappe, which is quickly becoming a personal favorite, and which is quickly become a personal favorite for many other musicians, I can see that! From there I went up the street to the Yellow Mad Monkey, but I was too late to play there as well, alas.
Someone at Some Girls

On Tuesday, I decided to drop over to the Zebre Rouge to see if the open mic was still happening there, as they now have a new open mic and jam on Thursdays. In fact, no. The old open mic was not happening, but there was a wild and cool jam in the basement. This was jazz, funk, far out stuff, sax players, drummer, guitar, bass, all sorts of mad stuff. Very free and easy and worth it if you want a classic cool instrumental jam.
Jam at Zebre Rouge

I went from there to La Féline to take part again in this, hopefully, growing open mic on the amazing stage of this popular bar near the Menilmontant metro. I know it would be a much wilder success already if it took place on one of the bar’s busier nights – but in fact the bar does not need the open mic on the busier nights, obviously, because the place is packed on those nights….
Another at the Feline

From there I wandered over to the Café Oz open mic where things were just booming. It felt at that time of around 10:30 PM as if the verdict is in and the old Coolin vibe – of one of Paris’s then best open mics now defunct – has now transferred to the Café Oz. Again, though, I was too late to get my name on the list. But I had a great time talking to friends….
One at the Cafe Oz

And thence onward to Wynton Marsalis, the Olympia, the Giant, the Orgasmic Master and the Smelly Woman

Thursday was the day of being a spectator, no playing music for me – although I still find it difficult to go somewhere as a spectator alone. And I must say, although attending a concert by Wynton Marsalis and the Jazz at Lincoln Center Orchestra was a musical experience I will remember for the rest of my life, the seating arrangement as a spectator was something that made the trip nearly persuade me that I never wanted to be a spectator again!
Threesome at the Feline

I bought a very, very expensive ticket of 90 euros in order to get as close as my bank account would reasonably allow, and I found myself in a triple disaster situation: Sitting two rows ahead of me was the tallest man in the audience, which blocked my view of the stage (which was still half the hall away). Sitting behind me was a man of perhaps 60, 65 years old who seemed to enjoy the music so much that during periods when the entire audience was quiet due to being enthralled by the virtuosos onstage – particularly during a solo, piano, sax, trumpet or other – the man seemed to have mini-orgasms, letting out high-pitched, rather feminine cries of joy that while intended for no one but him, seemed to come directly into my ear on every important note of the solo. But the final horror outweighed both the orgasmic master seated behind, and the giant seated in front. This was the woman sitting one seat away from mine on my right, who smelled of some absolute horror killing odor that was impossible to identify. As soon as she came in and sat down, looks from all around – including the orgasmic master right behind – centered on the woman and whatever her smell was. It was so bad that you gagged. In fact, I had to breathe through my mouth for the entire concert. Had she failed to correctly dry her coat after a wash, and it spoiled? Had she spilt milk all over the whole thing a few hours before and let it dry out? Did the putrid chemical smell in fact come from her???!!! It was this latter possibility that led me to hold my breath on speaking to the usher and asking that I be moved to some better seat – but the place was pretty much full….
Communal Well at les Agapes

But still, the concert was so good, I mean the music, that I had no regrets about my fluke seating situation. These were amongst the tightest playing, most modern jazz musicians I’ve ever heard live. My references range from seeing as a child or teenager both the Duke Ellington Orchestra (with Ellington) and the Count Basie Orchestra (with Basie) and this Lincoln Center orchestra with Marsalis was just so crisp and hot. The sound quality reminded me that however good recorded sound is, live sound is better. These people played those saxes and trumpets like they were keyboards – just astounding. Hearing the clarinet of Rhapsody in Blue in a live situation for the first time, was an amazing experience like few I’ve had before, musically. (And I even enjoyed the Tuba rendition at the end of the Jackson’s song “Blame it on the boogie.”)

Friday was more relaxed. I was invited to perform a gig, as a warm up act for a local Paris band of Americana and blues, called, The Communal Well. I had met one of the members a couple of years ago, and had been meaning to go for some time to see a gig. Well, when I announced my CD being out a couple of weeks or so ago, the guy invited me to perform as an opening act in a 30 minute set for them at show they were putting on at a bar/brasserie in the 16th Arrondissement in Paris, a restaurant called, “Les Agapes.” I jumped at the chance, asked Félix Beguin if he could join me on lead (yes, he said), and so went and had a fabulously fun 45 minute or so set just before the main act.
Another Communal Well at les Agapes

Communal Well were very cool, a cross between The Band and … their band…! Very much how they describe themselves, in fact: between Americana and blues, a little of both, and more. I took some short videos to put up here.
Woman singer with Communal Well

From there, I went on to celebrate the birthday of a friend, and we ended up, of all places, spending quite some time drinking down the Pigalle Country Club, which is where the photo on my CD was taken….
Yet another Communal Well

A fabulous week, all in all…. Oh, and now it’s time to go watch the Super Bowl. So excuse me….

Great Vibes, Great Music, a New Haven Discovery and Just Plain Great Fun on the Rue de Lappe in Paris

January 26, 2016
bradspurgeon

Some Girls

Some Girls

PARIS – For a while last night I felt I had stepped back in time three years to the Ptit Bonheur la Chance open mic in Paris. That was one of the best open mics in Paris until it closed in 2013, and since then, the city has not matched anything quite like that intimate and hip vibe. I’m not saying there are not lots of fabulous other open mics, but nothing quite like that one. Last night, still in the opening stages of this new open mic at the Some Girls bar on the Rue de Lappe, near Bastille, suddenly, it felt like the Ptit Bonheur. Of course, the fact that it’s the same Ollie hosting this one who hosted that one might have something to do with it.

Greg Sherrod Album

Greg Sherrod Album

Other things that have to do with it are the perfect mix of the small size of the bar, the clients who come not for the music but for socializing – but who like the music – and the clients who come for the music. And then, there were the musicians. Oh, yes, last night was a great one. Some of the people from the Ptit Bonheur came around, now having learned of Ollie’s new joint, and then there were the unexpected guests, the discoveries, the people from out of town who just suddenly show up on their European tour to take in a Paris open mic and have some singing fun. That was the high point of the night, was that: Greg Sherrod, a blues, soul, rock singer from New England. Having come to Europe to play in England, Belgium, France and the Netherlands – did I miss anything? – Greg was on the last leg of his journey, visiting Paris. And the people in the Some Girls bar last night were in for a treat.
First Greg song at Some Girls

When he told me he sang the blues, I prepared myself to hear the usual guttural howl of the blues voice we know all over the world that is transmitted like some kind of disease for which there seems to be no cure. But then I heard Greg, and suddenly the room lit up, and I knew I had to get a bit of him on film, and I knew he was a bona fide original.
Girls duet at Some Girls

When we posed for a photo afterwards, Greg and Ollie and I, I said to him, “I feel like I’m about to get my photo taken with Jimmy Rushing.” Actually, it’s not really true. I’d say, Greg’s voice falls somewhere between Rushing and Joe Williams. But really neither. He’s got his own voice.
Girl at Some Girls

He sang a couple of classics, with Ollie on the guitar, he invited Aurelia to join him, and today as I looked up a few details about Greg on the Internet, I found that he was just doing what he does all the time: Tying together the band and the public in a single bond. Great and cool surprise at the open mic, in any case, was this Greg Sherrod of New England, a local legend in New Haven.
Another at Some Girls

I had intended to take part in two or three open mics last night, but the vibe was so good at Some Girls on the rue de Lappe that there was nowhere else to go….
First one at Some Girls

Another bit at the Some Girls

From Two Down Venues to an Up Moment in a Public Square, Playing in Liège

August 26, 2015
bradspurgeon

blues-sphere

blues-sphere

Belgium? Liège? My weekend across the border turned out to be my least interesting in recent years in Belgium. So I just want to post a few words before moving on to more fun times at the open mics in Paris in the coming days.

The whole trip from Thursday to Sunday in Liège might have taken another turn, but the new open mic/jam session that I seemed to notice on the Internet on Thursdays was impossible for me to attend, as I had an important meeting Thursday night for my job (which is why I’m sent there in the first place!)….


First bit of jamming at the Blues-Sphere in Belgium.

So I took the first opportunity to explore on Friday night, with the Surlet open mic and the Blues-Sphere open mic being the only ones left for the weekend, according to my research and knowledge. But when I showed up at the Surlet – on rue Surlet – I found it to have apparently transformed itself into a laid back chicha bar with no music “in sight.”


Second bit of jamming at the Blues-Sphere in Liège.

That was a disappointment, obviously, as the rare number of open mics in Liège seems to have been diminished even more – although I’ll have to confirm that before removing the Surlet from my open mic list for Liège. I then walked up the street to the Blues-Sphere bar, which has one of the city’s best known jam sessions, on Friday night.
<a href="http://

//platform.twitter.com/widgets.js“>A moment of me playing in the public square in Liège, caught and tweeted by one of my colleagues.

But entering the bar for probably the fourth year in a row I was still recognized by no one, and when I asked for a beer and noticed that they practically only had Leffe on draught, I said I wanted any beer at all except Leffe. So the guy served me some kind of strawberry or raspberry flavored beer, which I felt was a reaction to what he took for a not-very-macho dislike of Leffe! I took it as an insult, but made no comment, and simply drank the beer, which was nevertheless tasty as a fruit juice.

As I drank it, I watched the jam go on, and at no point did any musician or organizer approach me to ask if I wanted to take part, although everyone saw my guitar bag. So listening to the jam, pure blues, pure electric, I said to myself finally, “I don’t need this. In the past, I’d have taken to the stage just to mark my territory in Liège. But this time, I have nothing to prove to anyone, least of all myself, and I just don’t see the point of invading the stage and doing a couple of songs that are not the blues….”

So I finished my beer when their set ended, and I left without anyone saying a word to me about whether I wanted to play or not. No problem. The Blues-Sphere is a very cool club, but not really for me this last weekend – despite having spent some cool nights playing there, maybe twice on stage as I had come too late last year, I think….

Still, I never give up on my open mic mission attending the Formula One races, and on Saturday night I went out to dine with some colleagues, and brought my guitar with me – just in case, and as I always do when checking out the terrain. We had a fabulous meal in an Italian restaurant, and then went bar-hopping in the Carré district, and on the way back to the hotel I suddenly felt the inspiration and need to whip out the guitar and play a few songs in a public square. I was then joined by a local North African guy who did a rap in French while I played the backing sound on the guitar – my Gibson J-200.

That moment in the square was more fun than anything I’d have done at either the Surlet or the Blues-Sphere, so I considered the musical part of the weekend to be a success of a kind after all…. But not the kind I really seek out at open mics. Liège seems to be dying, musically….

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