Unfortunately, one of the biggest open mics and jam sessions in Paris has now ceased: Caveau des Oubliettes. How such and institution could disappear is beyond imagining. I have also updated information in Brislee’s open mic at the Café Oz at place Blanche, as the bar has changed its name to La Fabrique – and I’ve updated the times Brislee runs the evening, since I realized it was slightly out of date – and I have also now shifted over, yet again, the Tennessee Bar open mic from the Thursday back to the Tuesday – and apparently we can forget its traditional date of Monday! I have also updated the shifting scene at the Oasis 244 bar, with its three open musical nights per week. There are other open mics in Paris, of course, that I have not even put on the list, as I only put those I attend, and there are several new ones I have not attended….
PARIS – So already another week has passed and somehow I have put nothing on my blog since the Osmo camera post last week after visiting the Café Oz open mic in Pigalle. And here I am a week later with Chapter II: Visiting the Oz open mic again, again with my new Osmo camera. On the other hand, I am happy to report that not only did I get a tiny little bit better with handling the camera, but the open mic itself was miles more fun for me than last week, thanks to the presence of a few friends who suddenly all showed up for the visit of the amazing Aaron Bowen of San Diego, on one of his frequent visits to Europe….
So there I was again with the handheld Osmo steady cam, and this time figuring out how to use it a little better in terms of the image and camera movements, but unfortunately, it was only halfway through the evening that I learned how to improve the sound reception. Unfortunately, for Aaron Bowen’s set, the sound level was still a little low, and so the volume is not very high, and the sound not as crisp as it should be. Brislee Introduces Bowen and Saxo
I managed to correct that problem for the set of the amazing Ash Gray and his fabulous Lowden guitar and playing and singing. Is it possible to say that Aaron Bowen and Ash Gray are opposites in style? No, not really, there’s something that ties their music together, though I’m not sure what it is – maybe just the commitment. In any case, Aaron was in from San Diego, and this time with his electric guitar, and his ever melodious vocals. And this time, joined by Stephen Saxo, who plays…yes, you got it…. Bowen and Saxo first
Stephen, with whom I have played many times in the past, also played along with me last night, on my “Borderline,” and a song I rarely sing, but feel inspired to sing in the context of the Trump presidency, since the song is a kind of protest song against the establishment trying to take away our personal freedoms…. (It’s called “Sing It” and has a very 1960s feel and inspiration to it.) Ash Orphan first
Also present was Ventru, whom I have written about many times on this blog, including when I ran into him at an open mic in Montreal, although he is from France and was only in Canada on a holiday. At the time he played last night, I was no longer filming, though, so I’ll wait for a future occasion to Osmo him. Another Bowen and Saxo
In any case, as the experiences grow with the Osmo, I’m hoping it will all come together soon in the best sound AND images possible for this blog…. A second long Ash Orphan in 4K
PARIS – I started this blog in 2010 at the same time as I bought what felt to me like a revolutionary little video and music-filming device, my first Zoom recorder. It was the device that since that time – with upgrades – allowed me to make quick and easy videos with great sound of open mics and open jams all over the world. Now, finally, seven years later, I have found a new device that could entirely revolutionize again the way I make videos for this blog. Or maybe not. Last night was the first time I got to try my new DJI Osmo steady camera video recording device, and I did so at a pretty typical kind of open mic space. The experience was mixed – with some really great high points, and some lower ones….
I first learned about this fabulous camera called the Osmo, from a fellow journalist covering the Formula One series; and that he was using this camera for pit and paddock interviews for NBC, the major American network, made me perk up my eyes and ears. The Osmo looks like some kind of extraterrestrial, some kind of ET, mixed with your mobile phone. I am using a Samsung, but any phone can connect to it. The telephone is used as your eyes on what the camera is doing, and it also is the base for the program you download to run the camera. The connection is done over a wifi that the camera itself produces – i.e., the telephone connects to the camera via the camera’s wifi. Oz mic second
The beauty of this thing is that it is portable, it is not very expensive – I got it on sale for 499.99 euros at Fnac, since the newer model is out at about 700 euros, but also has a zoom – and that it films in 4K and, above all, is a steady cam. That means you can walk around with it in your hand and the image looks as if it is on rails. You move it with the movement of your arm, and with the joy stick that gives nearly 360 degree movement of the camera, as well as an up and down range. In short, for 500 euros you can produce perfectly still footage that looks like it came out of The Shining.
You also have a wide choice of resolution, including 1080p, which allows you to use a digital zoom, and right up to the latest 4K, as mentioned. I tried it in several different lighting environments, and it remains a natural image throughout. Oz mic third
So where’s the down side? Well, I’m not sure entirely, yet, after just one use in an open mic. On the other hand, I know what I loved about my Zoom devices in open mics: I could carry a Zoom camera in my pocket, drop it, send it sliding across the floor of any barroom, without damage, even dropped the Zoom in the toilet in Australia only to have it return to life a week or so later, never having lost any footage on the camera. The Osmos is more delicate, has to be treated with respect, and while it cannot be carried in the pocket, it can be carried in my guitar case with no problem.
But ultimately, part of the advantage of this beast might also be a problem: With its almost fish-eye like capture, I may be ending up with more image from an open mic room than I want. I mean, does the open mic crowd want to be part of the film or not? With the Zoom, I could film just the performer. I can do that with the Osmo, too, but this gadget looks so strange and bulky compared to the subtle Zoom or any handheld camera device or telephone, that I cannot go filming in an open mic without being noticed as a geek, and potential threat to the naturalness of the situation. It stands out, and I do not want to get too close to the performer and interrupt the attention of his or her performance by everyone staring at my weird gadget. Oz mic fourth
Next, there’s the sound. The Osmo has a built-in microphone that is absolute trash. Mine also came with a strange external mic you attach to it, but here, it is hell for music recordings as it picks up all of the sound of the camera and its motors as it turns about and swivels and stills the jagged movements of the handheld device. There is a setting where you can turn off the fan while filming, but the mic that hangs off the device still picks up all this mechanical movement sound.
Enter my hand held Sony mic that I bought more than a decade ago for my minidisc recorder. I plugged it into the Osmo and found a fabulously quiet way of recording. But while it was perfect for my voice talking, I feel that the sound quality difference to the Zoom is big for music, based on last night’s recordings at the Café Oz open mic. But I’m hoping this has to do with it being a vocal mic, and not a good mic for music – I’ll explore that. On the other hand, there is the “hands problem.” I mean, with a Zoom, you hold the device in one hand – with this Osmo, you are obliged to use both hands: One for the device, another for the mic. Oz mic sixth
What is undeniable, is that for 500 euros, this is an insanely fabulous video camera. DJI invented its cameras first for drones, and then it came up with the idea of doing these handheld steady cam devices. And it is a real fabulous winner for what it does, and for someone wanting to make videos – music videos, reportages, etc. – this is a winner. I’ll just have to see if it really is great for me and my open mic adventure. Oh yes, and it seems to eat up my phone battery, and the battery for the device goes pretty quickly too….
So I’m not yet decided as to how practical and great this will be as a replacement for the Zoom – but this remains an amazing, amazing discovery and I will find lots of ways to use it – especially for my next music videos….
Check out the videos I did last night at the Café Oz open mic in Paris….
PARIS – No sooner did I return from Oxford on Monday – Oxford, England, by the way – than I decided to attend very quickly the open mic on Tuesday night at the Feline bar, since I can never get to the Café Oz early enough for a good spot, so popular has that open mic become. So I went to the Feline, played my songs, and THEN wen to the Café Oz, because I knew there would be some friends performing from Texas….
And no sooner did I arrive at the Café Oz than I found the place bubbling with energy and activity, and guess what? It was precisely the moment that Christy Moore from Austin, Texas, and her friends began their invasion of the “stage” at the Café Oz. Christy and friends at Oz
So we spoke when we could, sat around and listened to the talent, and then called it a fairly early night. I was still recuperating from the Oxford trip, in any case, and preparing for the next…. But it was a great pleasure to see Christy Moore – who used to run an open mic in Austin called “Tom’s Tabooley,” and her friends, four women from Texas, lighting up the stage in Paris near the Moulin Rouge. I always feel sort of surreal when I see people from one country where I play, playing in another country – as I do myself all the time, but somehow don’t expect of others…. third at Feline
P.S., I hope I did not provide any confusion to anyone with my headline for this post, as in the past I wrote about a French friend who used to call himself “Texas in Paris,” and did some pretty crazy songs. He’s now Baptiste W. Hamon, and still does some crazy songs, although not quite as crazy, oh, and now in French!
PARIS – I cannot believe that it has already been a week since I last posted about my escapades in open mics and jam sessions in Paris, and that I’ve done another pretty full slate of open mics in Paris again since that post! That was not the way this blog has gone for the now six years of its existence. I’m usually very timely in my writings about the open mics – a day or two maximum afterwards. But like I mentioned recently, I’m really hard at work, and very excited (that’s corporate-speak, but true!) about the progress of my open mic documentary, which, like my CD that I just got finished and made, will also be called, “Out of a Jam.” But now, on to a few notes about the last week….
Monday, I decided to return to some old territory I had not been to for a very long time: The Tennessee Bar has started its Monday open mic again. This, remember, was one of the best in Paris when it was run for well over half a decade by James Iansiti. After some kind of difference of opinion between James and the bar owners – if I have my facts straight – James left the open mic. And so began what would be eventually a descent into the dark ages, and the open mic fell so low that it stopped. Now there is a new MC, and it is trying to build its way back into its once glory days. There is no reason that it should not succeed, if the environment of the fabulous cellar room were the only thing that counted. Let’s wait and see! (Oh, it also continues on Thursday nights, by the way.) First bit o jam at Paradis
I then headed over to the new open jam session on the Ile St. Louis, at the Chez Madame Louis bar. It turned out to be as lively and kicking hot as usual. I managed a couple of songs on stage with a bassist, drummer, lead player and me on my guitar. But what ended up being the highlight of the night for me was that on my way out of the joint, I found some people outside the front door to the bar, struck up conversations, and pretty soon one of the guys took out his guitar and started playing out there. In all, a couple of people ended up playing and singing. But in the end, the bar owner decided it was time to take pity on the neighbors, so the music had to stop. But it was a fun moment of the kind I love at open mics and jams – spontaneity. Second bit o jam at Paradis
On Tuesday, I finally decided to see if I could show up on time for sign-up at the Café Oz open mic near Place Blanche. I ended up maybe 12 to 14 or so on the list! But it was just two songs each. Still, I calculated that would give me at least two hours before I got up. I then thought of going to the many other open mics along the line 2 of the metro on Tuesday nights, but ultimately I calculated that, Hey, I bet I could take the metro all the way across Paris down to the Bastille, and then walk over the open jam session at the Nul Bar Ailleurs and take part in that, and then return to the Café Oz and do my bit there. Third at Zebre Rouge
I was actually really kind of proud of myself when it turned out that I COULD do that. In fact, I was quite simply happy as anything because I thoroughly enjoyed my moment at the mic in the Nul Bar Ailleurs jam. It’s called, “Jam around the table,” because it has that kind of feel to it, and there are tables around it…. But it is very intimate, and extremely well organized. My only criticism would be that in between the main bits where you get to the mic, the jamming of the rapping and reggae kind can go on a long, long time, as it did Tuesday – but that’s only a criticism because I was so excited to get behind the mic again myself! Second at Zebre Rouge
In the end, I figured I better get off to Oz again…. And I did, and I played, and I had time for a beer before, and after. So it was the perfect night! First at Zebre Rouge
Thursday, it was back to the Zebre Rouge open mic and another fabulous time in the cellar of this bar. In fact, I had to go and pick up my entirely re-fretted Seagull S6 in Pigalle before the Guitar Garage closed, so I was very early for the open mic. But I decided that I would try out the food at the Zebre Rouge, and man did I have a great African meal! And I managed to find a table in the back of the room very secluded, where there were about four or five places in the wall where I could charge my telephone and plug in my computer. So I spent an hour sitting there, drinking my dinner wine, eating, AND editing my documentary film. Can things get any better than this? Third at Nul bar ailleurs
Evidently, they can! For on Saturday night, I finally had the time and inclination to go and check out the jam at the bar called, Le Paradis, which is near the Barbès métro. I had seen this one for months, since there is little else on a Saturday night in Paris. And because it is usually run by the same guy who runs the Nul Bar Ailleurs jam. So I went to le Paradis, and found myself in Paradis! The bar is just the right size for a jam, i.e., small, with a back room where you can go to breathe, nevertheless. But best of all, the bar manager lets the music go on until nearly 2 AM or so, and it is loud, and it is drums, it is saxophones, it is guitars, basses and keyboards and vocals. Second at Nul Bar Ailleurs
But it IS a jam, and the audience is so big and crowded around the “stage” area that you are best off playing crowd pleasers of one kind or another and having the audience sing along. To my total surprise, I also met Stephen Saxo there, and so we managed to jam together. There is no doubt for me whatsoever that I will be returning to this fabulous jam, which I finally got to. In addition to everything else, I arrived and found the mic ready for me the instant I arrived, and in ripping off my coat, buying a beer and taking out my guitar in about one movement, I did not see it but I had dropped my expensive new cell phone on the floor by the bar. An hour later – after they had announced the discovery of the phone, and I had not heard them – they still had the phone behind the bar and when I was running around in a panic thinking I’d lost it, that it was stolen, there it was being kept in a safe place for me. First at Nul Bar Ailleurs
“We’re serious in this establishment,” the manager said. I agreed, and thanked him profusely. First at Café Oz
I will definitely be back to the Paradis – it’s a paradise (for jammers, anyway). More jam at Madame Louis
PARIS – Days are slipping by so fast as I move into overdrive on the editing of my open mic film. That has not prevented me from attending four open mics and one jam session this week over a three-day period. But it did prevent me from writing about it on the blog…. If excuses are allowed. But the open mics allowed for plenty of discoveries, and fun moments, and some videos to show that….
On Tuesday, it was the Féline open mic time again. I played a three-song set, and left in the middle of the open mic like an ungrateful guy who doesn’t like to listen to other musicians or socialize. But that was not the case: I had simply said that I would attend Rim Amine’s gig at the Petite Mercerie, about a seven minute walk away on Oberkampf. I did that partly – and mainly – to listen to Rim, who I had discovered the week before at the Zebre Rouge. But I also went for what had been announced as a jam session afterwards. A bit of Melodie’s own song
Since there was no jam – I think they started the gig late – I decided to head on and take my chances at the Café Oz, metro Blanche, thinking I’d be too late to get to play. But no, when I arrived, I found that most of the musicians and spectators who had been there earlier on had now left, and there was room for me to play – so I did. I actually enjoyed singing to the small remaining crowd, since it allowed me to do some quieter, less “crowd pleaser” stuff. (I finished with “You’re Gonna Make Me Lonesome When You Go.”) a final one at Murphy’s
Thursday I decided to go all the way out to St. Germain des Près and the O’Sullivan’s Pub where I wrote about the great open mic a couple of weeks ago. This time, it was not an open mic, but a gig – there is an open mic every second week, and a gig followed by a jam in the other week – but I went because I knew that it was guaranteed a fun night, and there would be the jam afterwards. And this time, there WAS the jam, and I played for maybe 30 minutes or more. Played with other musicians, too, and it was fabulous – thanks to the great organization of the pub and Stephen Saxo…. another at Murphy’s
From there, Friday, it was the monthly open mic at Murphy’s in Paris, behind the Opera. Again, I was so certain the atmosphere would be convivial and friendly and that there would be lots of interesting people, that I had no difficulty choosing this open mic over other possibilities. And I was not let down. Plus, I got to meet a new Canadian friend (visiting Paris) and her daughter, who played int the open mic. band at La Feline open mic
All in all, a worthwhile time at the open mics in Paris – although I’m not sure it makes for great reading…. So there’s always the videos to fall back on!
PARIS – Monday and Tuesday in Paris. Didn’t know if I would stay in or go out. Chose to go out each time, kind of late each time, too. Ended up going to the Bastille, playing at Some Girls open mic, walking past and poking my head in the window of Yellow Mad Monkey open mic (both of these are on the Rue de Lappe) and deciding I was too late to sign up at that monkey one, so went off to the Galway pub open mic, for the first time in months. It was the midway point, or not even, of some great nights at open mics in Paris.
The Galway was as busy as ever, and it was great to hear the host again, All the Roads, after many months. I was actually very happy to go from the very crowded, but very noisy, Some Girls open mic to the Galway, where the good sized crowd was more attentive, and the sound system much better. I needed a bit of intimacy. Turned out a friend with whom I’d done a major pub crawl on Saturday passed by with another of the participants of the pub crawl, just as I was going “on stage.” All the Roads at the Galway
Tuesday night was another matter: Returned to the Café Oz open mic for the first time in a very long time (playing) as well, and found myself third on the list as I decided to eat dinner in first in the nearby raclette restaurant. But here again, like at the Some Girls, there was chatter that was louder than the sound system. So here again, I decided I needed more intimacy. Host at Some Girls
So after my set at the Café Oz I headed on over to the Pigalle Country Club where I met… the friend from the Saturday pub crawl and the Galway the night before…. He was with someone new this time, though! Well, it turned out the Burnin’ Jacks who usually host the open mic at the Pigalle Country Club were not yet – or just not at all – there, so I asked if I could take to the “stage.” It was agreed upon immediately, and I did about a half hour set. More talking, of course, much, much talking. But I really enjoyed playing for myself, and a few people spotted about here and there who listened. first at some girls
From there, it was off to the Féline… but by the time I arrived, the open mic had been so long since finished that the stage was entirely naked of any instruments. No problem. I decided to saunter over to the Zebre Rouge bar for the Tuesday night jam session. It was in full swing when I got there, and never ceased to be in full swing. I took out my guitar and played along, played some lead, but sitting at a table, having a beer, and not plugged in. final at galway
I then went into the back room, played some chords, and decided that the evening was far too reggae for me, and I headed back home. But with three open mics played at in one night, and two the night before, that was about all the fun I needed in Paris for the moment….
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 – If it were not for the fact that a few things dictate that I keep a record of my Sunday and Tuesday last week, I would let it slide. I was so busy in the intervening time with having received my CD, “Out of a Jam,” that I led the blog slide and did not write about those two nights. But both the fact of the CD, and the fact of taking part in one new open mic on the Tuesday, and then discovering that I had also taken part in the last open mic of one particular venue on the Sunday, mean I gotta write a little about it.
I have to just at least acknowledge those two nights, 8 bars, and the end of the O’Sullivan’s Rebel Bar on Sunday night last week. This was a fairly cool open mic run by Etienne Belin, the host of the absolutely phenomenally cool Coolin’ bar open mic that closed down a while back after the bar was bought up by a big conglomerate. The Rebel open mic was a great place to go on Sunday night’s in Paris, but unfortunately it did not consistently reach the highs of the Coolin, and Etienne has said he has many other projects he needs to focus on – like a CD – so that’s the end of that. Duet at the Green Linnet
It was fabulous night, that last one – which we did not know was the last – and followed on the 4-bar crawl I was doing: I started out at the lnce-monthly Green Linnet bar open mic right near the Coolin’, where it was calmer than the previous month, but still fun – with Stephen Saxo and Andy Bone’s warm MCing – and then I wandered off for a look at the Ondulatoire Mechanique’s big birthday party for a friend. That was also to feature a new band by some friends, but alas, I was too late for the show, and arrived just as they were packing up. Duet at the Galway
After the Rebel Bar, I then moved on with some friends to the Galway, where there was a duet playing most of the night. Some nice talk, a Kilkenny, and it was back to home for a day of recuperation. French trio at the Rebel Bar
The CD arrived on Tuesday, and I HAD to get out to the bars again and start handing out some copies. (More on this blog soon about the CD!!!) I started by checking out the Zebre Rouge open mic, which had turned into a real jam session, and because I needed to do several bars, I opted not to stay. I handed out a few CDs at the Zebre Rouge, then went over to finally try out the nearby Féline bar open mic, which has been running for two or three months now. Her hopes and expectations at the Green Linnet
This could be one of the best open mics in Paris if it gets the crowds it merits – although with so many other open mics on Tuesday nights in Paris, it is not sure that will happen. The stage is absolutely fabulous, and the management loves music. In fact, the management created this fabulous little stage – complete with a kind of proscenium arch style, spotlights and half decent sound system – because he wants more music, clearly. Jules at the Rebel Bar
I handed out some CDs there and played a long set of maybe five or six songs. Then I went on to the Pigalle Country Club bar’s open mic, not far from the place Pigalle (!!). That is the place where the photo that adorns the cover and back of my CD was taken. So I had to go there and leave a few copies. It was a very lively night, and I was offered the mic, but I wanted to get going to my final destination, the Café Oz bar open mic next to the place Blanche. Young one at the Green Linnet
I was too late to make the list, but the Oz was buzzing with musicians and music as usual. Some great acts, and a nice environment, and the usual great presentation of the evening by Brislee Adams…. In their heads at the Pigalle Country Club
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….
