Inkwell: Authors and Artists

    


Cincinnati 6/11

And here is another performing situation I'd like to avoid for the rest of my
life: a bar in which more than half of the people present did not come in to
hear the music, who were not required to pay the cover charge, and who talked
over the music as if it were of no consequence at all.

In the room before me were a dozen or so people who came for the music. A few
feet away and slightly to the right, a large column that blocked my view of
some of the noisy patrons; farther to the right, the bar and its loud, cigar-
smoking denizens; still farther to the right, near the front door, four or
five enthusiastic listeners, one of whom -- who later identified himself as
Bean -- kept a set list.

The first set was a struggle, to be heard and to control my anger. There was
one particular patron, a tiny blonde with a shrill voice who remained in loud
discourse with another woman and two men for the duration of my performance,
stopping only to come over and demand that I play "Shakedown Street." When I
failed to launch into the song immediately, she said irritably, "You can play
it later" and resumed her contribution to the din. For a brief moment I
thought I might give it a try -- I have been thinking of adapting "Shakedown
Street" for solo performance with a fingerpicked accompaniment, but I haven't
practiced it at all and it probably needs transposing.  And anyway, FUCK that
noisy bitch.

The sound felt shrill to me, and eventually I turned down the monitors
because I could hear pretty well what was coming out of the stage-left
speaker.  I wondered if the monitors were louder than the mains, too, but
when I could hear the mains it was clear that insufficient amplification was
not the problem.

There were twenty or so people on the premises who were there to hear my play
and sing, but I couldn't connect with them. It was just too noisy, and they
were too far away. I performed well -- I expect the tapes to report many
sharp, powerful rhythm tracks, strong vocals, and well-played guitar solos --
but this was what Hunter was talking about when he wrote "Walkin' in a storm
with my ear to the blast / thinkin' each moment could be my last" for me and
for himself.
Throughout the first set, nothing penetrated the roar.  This is a gig where I
was expected to play two full sets -- music as commodity, again. Last year
the booker was unhappy that I quit as early as I did -- one generous set
following an opening act. This time there was no opener -- partly at Pete's
suggestion, because so many of his adult friends had skipped the previous
show due to my late start time.  Before I started, the booker went over the
contract with me to be sure I knew I was expected to play two sets of at
least 75 minutes' duration. It is a rare (thank god) thing in my musical life
for me to be so conscious of the clock, to feel so little sense of pacing or
flow in a set, to be so desperate to fill the time.

The early numbers have long improvisations over basic loops. Coming out of
"Rocket Man," I didn't know where I was going but I hoped I could attract
some attention with a bit of layered guitar playing, but although I was happy
with what I was playing it felt ineffectual; still optimistic about
conquering the crowd at the bar, I rolled into the familiar and reliable
"Masterpiece." Got me nowhere. "Willin'" was a whim, a latter-day honky-tonk
number to play in a noisy smoky bar, but it too left me hanging so I aborted
it in favor of "Cassidy." I don't think I fared too well in the jam that
followed, but I did a fine job on "American Family."

By now I was clinging to the enthusiastic responses of the man who was almost
out of my peripheral vision on the right -- the guy who was keeping a list,
and who seemed to recognize my originals. He made a very happy leap in place
when I launched into "Loser," and he probably doesn't know that I fucked up
the recording of my rhythm part and totally botched the arrangement. "In
Another World" got some people dancing in their seats, but I was consumed
with rage over the yammering filly and the two cigar smokers with whom she
was engaged in top-of-the-lungs courtship. While pert of my mind contemplated
stopping the show to ascertain whether any of these people at the bar had
paid to get in (so I could offer them refunds to go smoke somewhere else), I
directed some of that energy into my guitar playing -- but I couldn't finish
that song, either. I did some chordal and melodic free-falling before landing
in A minor and easing into "I Bid You Good Night." It felt good to do that
sinister growling vocal.

I spoke between songs, addressing the inattentive ones with a nod and a wink
to the fan at the bar. "Let's bring the level down and see what that does,"
or words to that effect. "Falling Star" was forcefully peaceable, and I
played it well (though I missed some of the harmonics in the interlude) --
but the noise level persisted, and it was not yet time to clock out for my
break.

This "Seven Story Mountain" communicated none of its spiritual message, but
it was cathartic for me and it redeemed performances from a few days ago in
which I messed up my recording of the rhythm track not once but twice.

What is signified by the ending of the set with a selection that is a a
balled and a cover tune? The utter absence of continuity, pacing and contact
with the audience, that's what. Even though my friends Pete and Melanie were
there at a table with their friends, listening and responding and
encouraging. They might as well have been across the Ohio River in Covington.

Between sets, I had some nice conversations with people who were enjoying the
show. I reviewed the set list with Bean, giving him correct titles and making
a copy for myself, and appreciating his enthusiasm for what I was doing. He
commiserated with me about the noise, and he offered his own independent
opinion of the tiny blonde with the big voice. I told him I had a song for
her, and later I saw that he wrote my second-set opener down as "Shut Up,
Blondie."

Some of the talker/smokers had gone home by the time I started the second
set, so I was a little more able to hear myself think. "Shut Up" was
cathartic, though it flew right through its targets' heads without causing
any damage. I honored a request for "Broken Arrow," and I had some fun in the
jam, but I didn't finish the song. Instead, I wandered into "You're Still On
My Mind." "Like a Dog" went into "Terrapin" for lack of a more inspired idea,
and I chose to segue into "Box of Rain" to nail what I had done imperfectly
on the spur of the moment a few days before.  I had heard what may be the
first-ever Grateful Dead performance of "El Paso" (7/14/70, introduced by
Garcia as follows: "And now, Weir gets his wish -- at the expense of
EVERYBODY ELSE!), so I sang that. By request, "Down to Eugene," and then of
its own volition, "Ship of Fools" followed by a spontaneous, inventive and
very intense "China Cat" jam that stands as the highlight of a dismal
evening. The place was less crowded, but the departing souls were came
equally from the listeners as from the ignorers, so although the ambient
noise level was down, my sense of connection to the room wasn't much
improved, But "Waltzing" was satisfactory, "Impressionist Two-Step" turned a
head or two, and "Looks Like Rain" recalled for me the sweetness of last
Thursday's duet with Lisa Mackey. I looked at my watch; it was time to wrap
it up and get the fuck out of Stanley's. "Normal" was fun; I haven't been
doing that one much lately, and it deserves to be in the rotation.



Rocket Man->
When I Paint My Masterpiece
Willin'->
Cassidy->
An American Family
Rubin and Cherise->
Me and Bobby McGee
Lazy River Road
Loser->
In Another World->
I Bid You Good Night->
Pancho and Lefty
Falling Star
Seven Story Mountain->
Trying
Sin City
~
Shut Up and Listen
Broken Arrow->
You're Still On My Mind
Like a Dog->
Terrapin->
Box of Rain
El Paso
Down to Eugene
Ship of Fools->
China Cat Jam
Blue Roses
Waltzing Across Texas
Impressionist Two-Step
Looks Like Rain
Normal
  

    

Monday, June 17, 9:00 pm:  19 Broadway, Fairfax CA.  NO COVER!

Friday and Saturday, July 12-13:  Legfest, with Jake's Leg et al.  DG plays a
set each day and emcees the event.  Bearcat Getaway/Black River Amphitheater,
Lesterville MO.  888-356-2844 (bearcatgetaway.com, www.jakesleg.com)

Wednesday, July 24, 7:30 pm:  Lion's Den, 214 Sullivan Street (Between
Bleecker & Third Streets), New York City.  $8.  212-477-2782
(www.cegmusic.com/lionsden.html)

Thursday, July 25, 9:00 pm: Stanhope House, 45 Main Street, Stanhope NJ. $8.
973-347-0458

Friday, July 26: Camp Creek, Indian Lookout Country Club, Mariaville NY.  DG
Opens the Friday show with a 60-minute set starting at 5:45 pm
(www.campcreek2002.com)

Thursday, August 1, 8:30 pm:  with Shady Grove at Moe's Alley, 1535
Commercial Way, Santa Cruz CA.  $10.  831-479-1854 (www.moesalley.com)
  

    

NEW YORK!  I'm playing the big apple!!!

Wednesday, July 24, 7:30 pm:  Lion's Den, 214 Sullivan Street (Between
Bleecker & Third Streets), New York City.  $8.  212-477-2782
(www.cegmusic.com/lionsden.html)
  

    
Wow!
  

    
Da Big Time at last!
  

    
All right!
  

    
kewl!
  

    
so did you give 'em heck?
??
  

    
Damn straight!
  

    
from the majick 8 ball of the lord buckley topic:

"signs say YES!"

at least according to your fellow deadscribe Oliver Traeger!
  

    





HOMETOWN DATES:

Thursday, August 1, 8:30 pm:  DG opens for Shady Groove at Moe's Alley
(www.moesalley.com), 1535 Commercial Way, Santa Cruz CA.   831-479-1854

Friday, August 2, 9pm:  INTERVENTION* (DG and members of Buffalo Roam,
electric!) at the Oakland Metro, 201 Broadway, Oakland CA.  DG opens the show
with a solo set; Vince Charming plays in the middle; Intervention closes.


Thursday, August 8, 8pm:  DG opens for Box Set at Henfling's Firehouse Tavern
(www.henflings.com), 9450 Hwy 9, Ben Lomond CA.  831-336-8811

Friday, August 9:  The Nameless (www.namelesscafe.org), 3906 Martin Luther
King Jr Way (just around the corner from MacArthur BART), Oakland CA.
510-595-8778


The schedule is always up to date at www.dgans.com/gigs.html
Press contact:  Randex Communciations - www.randexpr.com/contact.htm




* INTERVENTION is a new electric band, with five members of Buffalo Roam --
Rich Brodsky (gtr), Chuck Rosene (bass), Doug Budzak (keys), Steve Ellis
(drums), and Paul Scannell (drums) -- and me.  We've play a couple of gigs
together at the Oakland Metro -- an excellent new venue near Jack London
Square in Oakland -- and we're working up more original material every time
we get together.  I hope you'll check out this band and this new club -- both
are deserving of your support!

THE NAMELESS is a new performance venue near the MacArthur BART station.  I
am excited about the opportunity to play there!

- DG
  

    

So, back on June 2, I posted this about David's gig at the Oakland Metro:

>  All I can say is that David just keeps getting better and better, at 
>  singing, and songwriting, and guitar playing.  He has a sense of fun, a 
>  smooth charm, a sly, quick sense of humor that he displays in banter 
>  with his audience, and his audience loves him!
>  

Now, I have to say, just a scant two months later, that David has soared
beyond what I heard in June.  Last night, his voice sounded so good, in a
completely new way - it just sort of flowed smoothly, soft as velvet, and
intimate somehow, with this little growl just underneath (and that was
before his Leonard Cohen take on Mexicali Blues!)

This man's talent is growing as I listen, folks, and you can listen, too.

And, about that guitar playing:  David warmed up before his set even 
started with this incredibly detailed and complex guitar solo that he cut 
off just before it soared because, of course, he was just noodling around.  
But I want a name on that and I want to hear it again.

Also on June 2, I mentioned Vince Charming.  He was back again last night
as bass player for a band called Amory Blue (I think that's right?) and
they were terrific, although they did short cuts as opposed to lengthy
jams.

Anyway, once again, don't miss David when he comes to your town!
  

    
i second that, now would you just send him back to my town, please??
meanwhile everyone plan to come down south for magfest featuring several
gans oppertunities as usual we hope.

http://www.magmusic.com/lineupmagnoliafest.htm

for the rest of the great lineup.

best southeast wellperns gathering spot.
  

    

> David warmed up before his set even
 started with this incredibly detailed and complex guitar solo that he cut
 off just before it soared because, of course, he was just noodling around.
 But I want a name on that and I want to hear it again.

The chord changes were Jackson Browne's "Our Lady of the Well," one of a
handful of songs that I often warm up with.  And it was your kind and
encouraging response to that soundcheck that caused me to open the show with
that song, Linda.

Whatever it was that I improvised over those cchords was just a spontaneous
creation, vanished now into the ether.

Thank you for being there, and thank you for your kind words!

And WHAT ALAN SAID about MagnoliaFest!  It's such a great scene, and I am so
glad to be part of it.
  

    


From the GD Hour list...


To: GDH@gdhour.com
From: "P. G. Torrez" <phillip.torrez@ucop.edu>
Subject: [GDH] Intervention
Date: Mon, 05 Aug 2002 13:58:58 -0700

folks:

caught the new band Intervention Friday night @ Oakland Metro and all I
have to say is:   wow!

This is the aggregation of David Gans and Buffalo Roam -- I think these
folks might be on to something.    I heard that this was only the third
time they had played so I gotta think that Intervention has a bright
future.

I've seen David play a few times over the past few years, but never in
a full-on rock band like Intervention.    His guitar solos were
dead-on, and he was hittin' the note throughout the show.     Buffalo
Roam's Rich Brodsky also offered up some great guitar work.

The band kicked off things w/ Scarlet Begonias>Hey Bulldog (Lennon-
McCarthey)>Scarlet Begonias, which was very cool and had the audience
going.  They covered a couple more Dead tunes, including Bird Song and
Playin' in the Band (which featured a young lady on flute), and the
band also showcased a couple of David's tunes.

All in all, a couple of hours of great music.

You folks in the Bay Area should catch this band when you get the
chance...  this is good stuff.


peace,

++ PGTorrez
San Francisco Bay Area
  

    

Details on my solo show in Oakland this Friday:

Friday, August 9, 8:00 pm:  The Nameless, 3906 Martin Luther King Jr
Way (just around the corner from MacArthur BART), Oakland CA.
510-595-8778. Adult $7.50, Senior $6.50, Child $4.00, available at
Ticketweb

http://www.ticketweb.com/user/?region=sfbay&query=detail&event=370599

I have the whole evening to myself.
  

    


I just got a digital camera -- a bottom-of-the-line Sony -- and I'm having a
ball with it.

For ten years, '76-'86, I earned a good part of my freelance living by taking
pictures as well as writing magazine articles.  Two things drove me away from
photography: seeing the amazing quality of the prints Peter Simon made from
my negatives (when we collaborated on "Playing in the Band"), and getting
into radio as a full-time job.

Seeing how great my pictures looked when printed by a master made it clear
that I would never be as good as I wanted to be without putting in many more
hours in the darkroom -- hours I was spending on other creative pursuits like
playing and writing music and stalling at the typewriter.  And when I stopped
doing magazine pieces, I lost my market for photos.

We're on vacation on the north shore of Kauai - day  9 of 14 - and I have
been photographing EVERYTHING.  Rita observed that I have just immersed
myself in the process of learning how this camera works.  It's so wonderful
to be able to shoot literally hundreds of pictures, editing as I go, offload-
ing the good ones to the laptop and emptying the memory stick to make room
for more.

I have a whole set of "extreme close-up" shots - the farmer's markets we
visit several times a week are a wonderland of color and texture - and I have
lots of pictures of the three great dogs who adopt uswhen we visit  here.
Plus sunrises, sunsets, objects on the beach, tree trunks, rusty automobiles,
consumer products, numbers (on walls, on signs in the store, on license
plates), etc.

The camera has a setting that makes a small "e-mail" copy of the 800K pic-
ture, and those are what I am putting up on the page.  When I get home, to
the machine with Photoshop, I will put together some galleries with better-
quality images.

I hope you'll take a look at these pictures I'm posting -- new ones at least
once a day.  The serious art will show up later, but there's a lot of fun
here now.

http://www.well.com/user/tnf/hawaii
  

    
What a vacation youse are having!
  

    
egggggggcellent smithers

and is that a frog pizza on the front page?
  

    
Yes.  Killed by traffic, preserved tanned by the sun.
  

    


Lots more images up now.  They're starting to organize themselves in
interesting ways.  In addition to
http://www.well.com/user/tnf/hawaii/index.html
et seq., there are two special pages:

http://www.well.com/user/tnf/hawaii/shapes.html
http://www.well.com/user/tnf/hawaii/colors.html
  

    

DAVID GANS will perform at the HAMILTON HOMETOWN FESTIVAL on SUNDAY,
September 22, from 12:00 Noon to 1:20 p.m.

The multi-talented Gans is singer-songwriter, recording artist, author
producer, and host of the nationally syndicated "Grateful Dead Hour" radio
show. But performing music is his first love, playing finger-picking guitar
and performing his original folksongs as well as an eclectic mix of cover
tunes. The modern-day troubadour has released a CD, "Solo Acoustic," recorded
live on tour between 1999-2000.  After seeing him live earier this month,
author and music lover Steve Silberman characterized Gans as "the bastard
child of Hank Williams, Jackson Browne, and Robert Fripp!"
  

    
Nice blurb.  What or where is Hamilton?
  

    
Hamilton Field is in Novato, California.  IO should find the directions and
post 'em.
  

    

"I was impressed by the sound-worlds David created with loops and pedals.
He's not just a one-man band, he's the future of singer-songwriting. Many
sections of the show were some of the most exciting stuff emanating from one
guy with a guitar that I've ever seen -- David Gans is the bastard child of
Hank Williams, Jackson Browne, and Robert Fripp!"

-- Steve Silberman, coauthor of Skeleton Key: A Dictionary for Deadheads and
a contributing editor of Wired Magazine.