SINGAPORE – So much for the puns. Singapore is fun. At least for a few days. I’ve been here since Wednesday evening, and managed to attend an open mic at The Beast on Thursday night, and doing a set that must have been close to an hour long set last night at the Prince of Wales pub on Boat Quay. Funny enough, the two things were connected, as it was MB Spinks who invited me to do a set at the PoW, and it was Spinks who used to run the open mic at The Beast. In any case, I’ve had a thoroughly enjoyable time in the extreme heat and humidity of this City State 80 or so miles from the equator.
The Beast is my first destination whenever I come to Singapore now, but I must admit, it was just a little bit more quiet than usual on Thursday and I wondered if it was because Mr Spinks was no longer running it. But I have been assured that it had to do with a big music event elsewhere the same night. In any case, the MCing was warm and professional, and I had a really nice night playing at The Beast, which is a kind of American whisky bar in the middle of this hot and humid … gee, I keep repeating that fact. But I have to wear about three shirts per day if I don’t want to be walking around in wet clothes. First MB Spinks at Prince of Wales in Singapore
Last night, it was off to Boat Quay to the Prince of Wales pub to hear MB Spinks and his cool singer songwriter, slightly country, sound. The Prince of Wales is one of a long line of bars and pubs along the riverfront in downtown Singapore, in a part of town that still has lots of vestiges of the old style of the city – i.e., no skyscrapers. Second MB Spinks at PoW in Singapore
The pub, like most of the others, opens out onto the quay, and pedestrians pass along the waterfront, walking down Boat Quay, and the “stage” is in the opening area of the pub facing out to the outside tables and the quay. So when you sing, you sing to the tables and clients of the Prince of Wales, but you also sing to the passersby, and hope they stop and listen, and maybe sit down and order a drink. first at the beast
A huge amount of fun, and also one of the coolest parts of the pub, since there is an air conditioner piping down overhead – although I must admit that my sweat-covered body after the set had not realized until afterwards that there was an air conditioner there. But what would Singapore be without the heat and humidity? A pretty hot place for music and musicians. OK, no more puns…. second at The Beast in Singapore
MONZA, Italy – So far so horrible on the level of my open mic experiences in Milan. Followers of this blog will have noticed – or not – that in the last few years I have mostly been playing on Thursday night at a blues jam in a bar/restaurant called Fermento. Well, this year, this very night in fact, that jam don’t exist no more!!!! But I have had a really, really fun and very cool musical experience in Italy in the least expected of places: In the Formula One paddock in Monza, where I do my day job this weekend at the Italian Grand Prix. How so? It gets kind of long and complicated, so I’ll skip that for the moment, but let me just say that the experience was all about a mini-concert given in the motor home of one of the Formula One teams, by an Italian singer-songwriter by the name of Joan Thiele. I’ll try to get the rest of that story down here in as few words as possible, but that won’t be easy….
So it turns out that the Formula One team, called Manor, has as one of its sponsors, the music app called Shazam. And it turns out that Shazam is doing few little mini concerts around the world in conjunction with Formula One. (Does that sound like an alternative to the tiny desk concerts on NPR??!! In a way it is!) And it turns out that they try to use a local musician each time. So, as the PR woman at Manor knew that I was interested in music, she asked me if I had seen they were going to have a mini-motor-home-concert in Monza tonight. As it turned out, a sucker for the image of a microphone, I had indeed noticed this playbill outside the motorhome not three minutes before. Joan Thiele – Save Me
So I went to the mini motorhome concert and found that, on the top floor of the motorhome – henceforth to be called a hospitality suite – they had set up a beautiful little playing area for the musician. There was a Fender Stratocaster, a ukulele, a couple of amplifiers, a microphone, and a mixing table. I felt envy and desire to go and play. Until I heard the musician, and said, no, I just want to listen to this. Enter Joan Thiele. What a mix of everything: A father who is Swiss, Italian, Canadian, Colombian, and who knows what all else, and Joan’s mother also a mix from one or two of those areas, and Joan having grown up partly in Colombia, but living in Italy now, and having spent two or three years in England, and learning her trade at open mics etc., this woman of – I think – 22 years old, got up with her Strat and used it as a kind of electro-music surrogate, and her voice too. Vocals that reminded me to a degree of Lana del Ray, and a sound that goes in that same direction – that’s my feeling, but there’s much more (in fact, I had a colleague who thought one of the songs reminded him of, “Down on my knees, I’m beggin’ ya…) – I listened quite hypnotised to the five or six songs she played. (Another colleague said she had Brooke Shield’s eyebrows.) Joan Thiele – Taxi Driver
And I suddenly found myself forgetting I was in the Formula One paddock. As it turned out, I need not forget this: The Formula One paddock is a hugely diverse place. And it also turns out, then, that in that world, another of the reasons that we had Joan Thiele – who is working on her first album, and her A&R person from Universal Music was there with her – is also represented by Trident Management, which is a management and promotions agency that also owns one of the Formula One support race teams in the series known as GP2, the Trident Motorsport team. So it all suddenly fit together, in a way. Trident also represents two very well-know Italian musicians, Eros Ramazzotti and Jovanotti. Joan Thiele – Hotline Bling
In any case, the other thing that fits together is that this being within the Formula One paddock, I, as a print media man with a print media pass, cannot use the video I made of Joan’s hypnotizing performance. The Formula One promoter sells audio visual rights to the television and radio companies for huge sums of money, and that then means that print media journalists cannot use any audio visual footage – or sound files – that they gather in the paddock, without fear of huge problems.
So my recordings will have to wait for the future. But in the meantime, I’ve decided to cut and paste some of Joan Thiele’s music videos that I find on the web into the blog to show who it was I got to hear and speak to today in the Formula One paddock and feel that from a musical point of view, my trip to Italy, even if it wreaps no musical stage-time for me, will have been fulfilling in another way! A nice discovery. Check her out, Joan Thiele.
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…. Follow @BradSpurgeon
PARIS – I waited 36 years to see Rickie Lee Jones in concert, having bought her first album in 1979, when it was released, and having been hooked ever since. Last night I saw her in Paris, but I think I will still have to wait another 36 years before I get to hear her singing live. Attending a concert with virtually no sound on the vocals? Can this really happen? I don’t know. I do know that most open mics I attend every week in dive bars have better sound than what I “heard” at the Bouffes du Nord theater in Paris last night….
As soon as I noticed last week that she was playing at this old theater, a 7-minute walk down the street from my place in Paris, I bought the most expensive tickets in the house, two of them, one for me, one for my girlfriend. We’re both fans. I was a little too late to get seats on the floor, but as the seats in the “corbeille” were the same price as those on the floor – i.e., 51 euros each, or 102 in total – I decided that was probably just as good as the tickets for floor seats. I think I was wrong.
It was the first time I have gone to a show at the Bouffes du Nord, and I can say that this is one impressive theater in middle of Paris’s rough neighborhood of La Chapelle. You enter a nondescript building and find yourself facing what looks like a lost, inner theater that might have been built at the time of the Roman Coliseum. You then enter the theater itself and find what seems was built as much as an indoor circus as a theater to stage drama. It is all bricks, wood, has a fabulous open proscenium arch with a full view of the empty stage behind, a massive floor area extension of the stage (i.e., which is floor-level), and several balconies of seating in the round.
We sat on the first level of seating above the floor – to me it is a kind of balcony, but the theater calls it a corbeille, or basket. As we sat down, we were absolutely delighted to be above the stage, slightly stage-left. The view of the band, and of the central microphone where Rickie would sing was just perfect. I was sure we were better off there than on the floor….
Bouffes du Nord
My first disappointment came when someone entered the floor just before the concert and announced that we were not allowed to take photos or videos. I couldn’t get anything on the blog, I thought. But at least it would mean I could just thoroughly enjoy the show. Wrong. I now suspect the reason they said we could not take videos is because they were embarrassed by what they knew would follow: No vocals mic, no monitor for Rickie, or a guitar through the vocal monitor, or feedback through the vocal monitor, or no rhythm guitar through the monitor, or no vocals through the main speakers, or no rhythm guitar through the main speakers, and lots and lots and lots of desperate requests from Rickie Lee Jones to the “sound engineer” to please do something to get it all right!
Yes, readers of this blog will know that I have a mountain of worldwide experience playing in and even occasionally organizing, open mics in rowdy, lowd, crappy dive bars all over the world. Readers will also know that I rarely make complaints about the sound systems in said bars. In fact, I rarely have complaints to make, since most of the time a friendly and responsible organizer of an open mic will do his or her best to make sure that we can hear the vocals and instruments.
Last night, the Bouffes du Nord pretty much never got the sound right, with the exception of when Rickie went to the piano and sang and played from there. Suddenly, some eight or so songs into the show, she seemed to be able get right into the music, and so could we. In fact, the best thing I take away from the concert is the knowledge of just how professional she is, how fabulous her voice remains at 60 years old, and how cool her personality is on stage.
Having to deal with a venue that cannot get the sound right on one of the finest pop music vocalists of the last 36 years and letting down a near capacity crowd of 500 people paying 51 euros or 41 euros, is just the most extraordinary an unbelievable thing I’ve ever seen!
I should have done a bit of research on the theater beforehand, though, and I’d have realized that bizarre things are part of its history from the beginning, if this entry from wikipedia is to be trusted: “Founded in 1876, it had an erratic existence and seemed that it would never get off the ground. In its first decade it had no fewer than fifteen artistic directors, the most notorious being Olga Léaud who fled the theater after her production had failed, taking the contents of the theater safe with her.”
It seems it went on to have a fabulous and important period as the home of Peter Brook’s avant garde company, from 1974 until 2008. It is still partly a theater for drama production, and perhaps that is why the soundman was having so much trouble. I am used to not hearing guitars or vocals on loud, blaring rock bands, but not with the quiet, mostly laid back music of the band from Montreal that accompanied Rickie: There were five musicians (drummer, violin (and various strings and percussion), lead guitar, keyboards and bass) and it was all excellent accompaniment.
Rickie ran through more than an hour and a half set of songs from her oldest to the latest album (“The Other Side of Desire“), just out, and she did a magisterial job, but never, ever did the sound get done right. On “Chuck E.’s In Love,” not only did we barely hear the vocals from where I was sitting, but her amazing intro on her acoustic guitar was all but lost. On “Last Chance Texaco,” the mic was just totally out of sight, so there was no sense of being able to experience the extraordinary kind of performance that we find on a few youtube recordings of this performance.
Through it all, Rickie did the perfect “grin and bear it” act with smiles and non-stop efforts to get the soundman to please do his job. She did this through feedback from monitor, through the lead guitar player’s guitar coming through her monitor, through no voice through the monitor, through too much voice through the monitor. For me, at some points, from my vantage point, I felt I was ONLY hearing her voice through HER monitor … at those moments when it was stronger there.
When I left the show, outside the theater I spoke to a woman who had been in the front row on the floor, just wanting to hear her reaction. She immediately expressed sympathy for Rickie, saying it was really too bad she was having problems with her monitor, but she said that from her vantage point in the front row, she could hear the vocals and all the rest throughout the performance. She was, in fact, in pretty much the same line of sight and level as the sound engineer, who stood a little behind her, so there is a possibility that the sound engineer was in fact doing the best job with the audience vocals sound – not the monitor – that he could.
That would mean that the theater itself is to blame for the bad acoustics, and/or the lack of effort made at putting speakers high enough for the corbeille and balcony spectators to hear properly. I heard, but I have not been able to confirm, that in fact, the Bouffes du Nord has only recently decided to turn into a concert venue as well as a theater. If that is the case, then clearly it needs to make some investments in creating an adequate sound system for concerts, either that or cease to charge ticket prices of a top venue rather than making it free like a local bar with its open mic.
I do know that I was not the only one who felt bad for Rickie and her band. But I could nevertheless see enough through all of it, that in my wait of 36 years to see her live, I was not let down by her performance and the continuing strength of her voice – which part of the time was so strong I could hear enough of it without the mic to know it was still entirely there.
PARIS – Aside from a great long cool and fun evening at the Baroc on Tuesday evening, I’ve just had spots of music here and there, and mostly there, over the last few days since Raphaëlle’s open mic at the Noctambules on the Place Pigalle last Friday. (Speaking of which, do NOT miss Raphaëlle’s Noctambules open mic tomorrow at this absolutely fabulous location, as this is becoming a not-to-be-missed Paris open mic, playing music overlooking the historic place….)
On Sunday night it was a quiet walk over the St. Ouen flee market and a small temporary art gallery where Joris Delacour was showing off his artworks, and holding an informal jam on the sidewalk in front. I managed to get this one nice little bit of music on video, having spent most of the jam wondering what or if I should play next. This one gives an idea of the feel of the area, which seems not to be anywhere near Paris, if even France.
From there it was on to a quiet Monday night stopover at the gig of Brislee Adams, who organizes and MCs the excellent Café Oz (Blanche) open mic on Tuesday nights. He had one of his once per month gigs at the Aux 2 Moulins bar restaurant on the Rue Lepic. This café is known lately for its appearance in the Amelie Poulain film. But Brislee brought it to life with his one-man band of popular music, and at least one invited guest….
And so onwards to Tuesday night at the Baroc, one of Paris’s longest running and best open mics. It felt in many ways like a classic night at the Baroc since you never know quite what to expect, and we got that, but also because the regular MC, Réjean, was on vacation, so the task was taken up with enthusiasm by Paul Cash. Cash is a character who has long been a part of Paris’s open mic scene, but interestingly, his contribution has been more in the area of the Slam spoken word open mic than in the music open mics. I say “interestingly” because Cash, in addition to being a poet, is also a highly talented pianist and composer.
With his draw there were some unusual acts, like the band of jammers that took us all back a few decades into something very hippie-like. At the end of the evening Paul handed out prizes for a draw, mostly consisting of small art books he put together, as he is also an artist….
PARIS – After performing my gig at the Baroc last night in Paris with Joe Cady on the fiddle and lead guitar and David Hummel on percussion, I have realized that I do far too few gigs. Why? Because it was simply so much fun! I played two sets of nearly an hour each, and still had some songs in the pocket that I either forgot to play, or decided for various reasons not to do. David’s drumming was perfect, and Joe’s fiddle and lede guitar were gutsy and emotional – I realized what it is I like about Joe Cady’s playing. It has that quality that Neil Young has of raw, ripping feel and a personal sound.
Between the two sets a Japanese woman sang some songs in French – and part of a Gainsbourg translated in Japanese. And then after the second set the stage was taken over by jammers, and Joe and David stayed up and jammed with them while I cooled off with a cold beer at the bar….
Brad Spurgeon and band at Le Baroc
A fabulous evening, and I rarely have so much fun singing my songs and the covers.
PARIS – I don’t know if anyone noticed, but I was in Oxford over the end of last week and the weekend, and I posted only one item on this blog about my musical moments there. In fact, I actually played three nights out of the four that I was there, and just got lazy about posting…. So here’s the round up of the rest of it, and a little talk about things to come.
After the great night at Catweazle on Thursday, I got back to Oxford from Silverstone a little late, and I was pretty sure that I had missed the chance to take part in the Oxford Folk Club open night on the Friday. But I was staying in a pub-hotel – in the Cowley Road area – and decided that I’d have a small dinner and then walk over to the Oxford Folk Club anyway, just because you never say something is finished until it is.
It was about a 25 minute or so walk from the restaurant to the pub on the Abingdon Road, a when I arrived it turned out that they had already announced the last performance of the evening, and it was happening. I whipped out my camera and caught a bit of it. But this folk club being one of great spirit and openness, when the organizer saw me entering, she came right over and asked if I wanted to play. People in Oxford open mics know what time of year it is, by the way, by when I show up: “Ah, Brad’s here, we must be back in the summer for the British Grand Prix….”
So I went up and played a couple of my traditional folk songs and…thanks to my walk, my meal, my long day, and my lateness at the open mic, I immediately forgot the lyrics to not just one of the songs, but both songs, in the middle of the songs!!! I cannot remember the last time I was hit was such a memory lapse even once, let alone twice. No worry, I did manage to get enough out in each song – “Only Our Rivers Run Free” and “Raggle Taggle Gypsies” that I think it was still a pretty ok set….
The next open mic was not until Sunday, and that was the longstanding one run by Nigel, who also ran it at the Bookbinder’s pub down the street a few years ago, but moved to the Harcourt Arms – in the Jericho neighbourhood – since around 2011. This is a classic, warm, open mic, in a neat and friendly pub. It turns out that whomsoever decided not to run the thing in the Bookbinders must have regretted it, and now there is another open mic at the Bookbinders – although I think the pub has different name now – and so there are two open mics in the same neighbourhood on Sunday night – plus at least one more at the Half Moon -, which for a city the size of Oxford is amazing. Until you realize that this IS a student town….
There were some nice acts, including a group that calls itself the Oxford Beatles, and covers Beatles songs…but the musicians also do solo stuff and all sorts of different styles…. I played two songs, and my only complaint about this open mic – and it is the same for just about all open mics in Oxford – is that the damn things end by 11 PM or earlier! Please!!!! But how can you change the English mentality? At least pubs themselves no longer necessarily close at 11 PM as they did traditionally!!
Having mentioned the Half Moon pub, I forgot to mention in my post about Catweazle the other day that after the Catweazle open mic, and as my hotel was around the corner from it, I decided to drop in to the open mic at the Half Moon pub. I came in to find the organizer jamming lead guitar with a participant jamming rhythm guitar. It was pretty hodgepodge, and it went on for at least 20 minutes before I realized there was a list of names to participate in the open mic. So I got up from my table where I was sitting with my guitar right beside the jammers, and I asked the organizer if I could play, saying I just noticed the list. He said the open mic was now over, so I couldn’t, and he continued to jam with the guy for another 10 minutes.
So once it was finished, and having met someone else who wanted to play, I whipped out my guitar and played a couple of songs at the table, and so did the other guy who had arrived, also using my guitar. The MC of the open mic just nodded and left.
So that takes us to last night in Paris, as I did not play anywhere on Monday after my long travel. Last night I just dropped in to the Café Oz open mic at the Blanche metro and with no intention of playing, having also arrived quite late after a meal. But before I knew it, Brislee Adams, the MC, had my name on the list already, and I would play after maybe three other people. So I happily accepted.
There had been quite a raucous crowd, by the way, and so I decided to try using Brislee’s electric guitar – a Strat – and I did “I won’t back down,” “Mad World,” and my song, “Except Her Heart.” It was pure delight using the electric, and it’s getting me thinking about doing that more often!
In any case, I suppose I have had plenty of warm up time now for my gig at the Baroc, which takes place tomorrow night, in Paris, near the Colonel Fabien metro, or the Belleville Metro. Come along and give it a listen: I’ll be playing in a trio, with me on guitar and vocals, and Joe Cady on fiddle and lead guitar, and David Hummell on cajon and snare….
PARIS – Sheridan Morley, the theatre critic and playwright, once summed up the life and nature of Noël Coward in the title of his biography of the same Englishman stage performer and playwright: “A Talent to Amuse.” I would choose that same phrase to describe the music, lyrics and stage presence of the singer pianist, Marielle Tognazzoni, whose show at the intimate “La Barricade” venue I attended on Friday evening.
I have put up some videos on this blog in the past of Marielle jamming away at the piano at the open mic of the Baroc on Tuesday nights, and it is clear there that she has a fabulous ability to play entertaining piano. She also sings occasionally at the Baroc, and when not there just to accompany other musicians, she even sings some of her own songs. But at the Barricade on Friday, she strung together a whole set and a half of her own compositions, a rollicking, rolling, fun collection of tales and statements that can so aptly be said to constitute a talent to amuse.
Marielle is a consummate show woman, sensing when there may be a lull in the audience enthusiasm, and filling it with just the right hook to drag us back into her music and lyrics. And her ability to draw the spectators into audience participation is done with a light, sure touch that truly invites rather than cajoles.
Introducing La Barricade (to readers of this blog)
I was also really pleased to have attended her show to discover for the first time this incredibly cozy little venue, La Barricade bar and restaurant on a side road in Belleville with a small ground floor set of tables, and two little rooms with vaulted ceilings in the basement. The theater is in one of these rooms, and can seat only around 25 to 30 people maximum. It has good acoustics, and nice theater backdrop, and a piano and amazingly good – if ridiculously simple – sound system.
Spectators may sit on either the cinema seats along the left wall, or the benches lined up in the middle of the room, that feel like church pews. But the vibe in the basement of the Barricade was anything but church-like on Friday. Definitely worth another visit during the other regular musical evenings, this is clearly a venue where the owners love music and spectacle.
PARIS – Maybe I should call this a gibberish post. The fact is, since returning from my last two-week trip to China and Bahrain I have been spending my vacation in Paris doing catch-up work to do with the office, family life and other things uninteresting to this blog. Still, I did managed to find an island of peace at John Redford and Stephen Saxo’s musical night at the Oasis 244, which is their weekly, Friday night gig where they kind of open the stage to musician friends and others who happen to drop by, if they feel like it.
The Oasis was its usual oasis of peace in not exactly one of the best neighborhoods of Paris, near the Stalingrad and Jaures metro stations. A truly laid-back evening, and unfortunately with all I have been doing, I didn’t have the time to charge my Zoom Q3 recording device’s batteries. So I got only limited video footage of a fun night.
And then a nice laid-back concert at the Connetable
From there, I got another nice interlude from the work at a show put on by a couple of friends, Nick Buxton and his wife Stephanie LB, both of whom have their own soft-touch acoustic-vocal thing going at the Connetable, a neat venue in the Marais with a bar and restaurant on the ground and first floors, and a cave music room underground, in a classic vaulted ceiling room of Paris.
I’m writing this thing so quickly that my syntax is taking a walk. But I desperately wanted to get a few words and videos in here before it got too late to do so. Nick Buxton, by the way, is the owner of the famous Basement studios in Paris, and when he and Stephanie are not playing the kind of touching and sensitive acoustic music they did at the Connetable, they are rocking hard and strong in their various rock combos.
Anyway, that’s about all I can get in here before I’m off to my next bit of work for the office, family and whatever! Back soon, hoping to do a ton of open mics in the coming week….
I arrived very late last night, so did not get to hear that much of the music, not get to see that much of the vibe. But from all I could see and hear, it seemed like it was as great as usual. And I got to play twice – once solo and with cajon, and another time with an electric guitar accompaniment – even at that relatively late arrival hour. So the brief visit was all I could hope for at the Oasis 244. Only one short video to show for it, though: