Inkwell: Authors and Artists

    
I will get to cmf's questions about my friendship with CSN, etc. in a
while ...

First, in response to Mary's post ... CPR stands for Crosby Pevar and
Raymond. Pevar as in Jeff Pevar, a multi-talented guitarist (who also
plays bass and mandolin)and singer who has backed up the likes of
Rickie Lee Jones. Raymond as in James Raymond -- a fantastic
keyboardist, singer and songwriter. James was raised by his adoptive
parents and learned that his birth father was David Crosby in 1994. The
two met for the first time later that year, right before David's liver
transplant operation.

As fate and providence would have it, David and James not only
established a father-son relationship, but a musical one was well. With
Pevar joining the mix, CPR was born in 1996. The CPR sound is like
Crosby meets Steely Dan meets Monk meets something all together new.
CPR eventually grew from a trio into a band with bass (Andrew Ford) and
drums (Stevie Di).

CPR's albums include "Live at Cuesta College," "CPR," "Live at the
Wiltern" and "Just Like Gravity." Each of them is stunning in their own
way.

Live, CPR possess such a spirit of expression and a dynamic range that
is thrilling to experience. CPR's diverse originals are mixed with
great arrangements of such great Crosby songs as "Triad," "Long Time
Gone," Deja Vu" and "Almost Cut My Hair."

Back later ...
  

    

This is from Bill Evans:


That's why if CSN is ever going to make a new album it would have to be
planned out far in advance as it appears that Crosby's A material is going to
the CPR projects for input from James and Peev. JAnd what great material it
is. JWith the rumour of CPR going back into the studio later this year, I
would imagine that that is where Crosby's curent output is directed.
JCPR....what an awesome experience. JToo bad more people don't get it.

Bill Evans
  

    
Bill --

Not to get too far off subject, but I dont't think it's a matter of
more people *getting it*, I think it's a matter of more people getting
a CHANCE to get it.

Everybody I've ever played CPR for has loved it. And that's not an
exaggeration. I mean EVERYBODY. My kids, ages 3, 5 and 7, (who now
request "That Map Song" every time they get in my car) my wife, people
at my church, friends from work... I've never once played CPR for
somebody and received a luke warm or poor response.

When I saw CPR last summer in Interlochen Michigan (Traverse City) I
was floored, and very disappointed to find that there was virtually no
pre-press at all. Being a former news dog the first thing I did when I
got to town was check the papers. No advance stories, no preview
stories, no interviews, nothing. 

I memory serves, Mr. Silberman made several similar comments regarding
a lack of media attention in his CrosbyCPR.com review last year of the
San Francisco show. 

BTW -- If you're looking for info on CPR, www.crosbycpr.com, designed
and operated by the multi-talented Mr. Stephen Q. Barncard, is the
place to find it.

Mr. Zimmer, care to comment?
  

    
Dave,

My post about the "glossing over" wasn't meant as a criticism.  I just noted
in reading the book again that not much time is spent on it "as compared to
other books."

As said, I read your book when it first came out adn am now rereading it
again for this discussion.

The quote that really gets me is Stills' that says something like this
(regarding the cancellation of a CSNY tour):  We walked away from 11 million
dollars.  If we could have only been a little more mature.

And then later from Stills (again paraphrased as I don't have the book
here):  We could have been as big as the Beatles.  We could have ruled the
world.

I saw the CSNY tour twice.....Madison Square Garden and Anaheim Pond.  Loved
the Garden and a big "eh" at the pond.  Crosby said it was a great swhow
from his side of the stage....too bad Neil's sound man couldn't mix to sacve
his life.
  

    
Way back to response #9.....I don't think I am in geezer status.

I also think Stills is a much better guitar player when Neil is around to
kick him in the ass.
  

    
>BTW -- If you're looking for info on CPR, www.crosbycpr.com, 
designed and operated by the multi-talented Mr. Stephen Q. Barncard, is
the place to find it.

How right you are, my friend. SQB does an awesome job with that site.

As for comments from Bill Evans about people "not getting" CPR -- I'm
not sure I understand what you mean, Bill. Like cmf/tb, everyone I've
introduced CPR to has fallen in love the music instantly.
Unfortunately, not enough people (on a national/international scale)
have been introduced to this band.

Now for reaction to previous questions and comments from cmf/tb ...

>Did you ever feel like you naturally gravitated toward one band
member more than the others?

Well, Stephen Stills was the portal through which I passed on my way
to getting to know CSN. Stephen was also the first person I
interviewed. I saw quite a bit of him in the early '80s. But I would
never say we became "close friends." *The interview* was always the
basis for our meetings, but our conversations often sequed off into
different areas -- current events, politics, family etc. That said, if
I ran into Stills backstage or at an industry event, he often walked
right by me like he'd never seen me before in his life (I learned to
not take this personally, as my friend Henry Diltz assured me "that's
just Stephen sometimes.")

And while I feel I became faiely close to Nash and even had the
wonderful opportunity to visit him at his home in Hawaii when he was
reading the final manuscript of the CSN book, I probably gravitated
most toward Croz. (It helped that I lived in the Bay Area when I first
got to know him and it was a quick drive across the Golden Gate Bridge
to Mill Valley.) As stated earlier ... he was always welcoming, even in
the depths of his personal troubles, and never once did he say, "I
don't have time to talk with you." He MADE the time. Croz even let me
play his acoustic guitars -- what a treat that was! 

Now, with regard to how I handled CSN and CSNY's "inner turmoil" in my
book, I just tried, if possible, to present all sides. One example:
when writing about how Nash and Stills' relationships with Rita
Coolidge led to some major friction between the two men, I got comments
from Nash ("It was just a matter of two guys falling in love with the
same girl ...") and Crosby ("She took Rita away from Stephen so fast it
was absurd ..."). But Stephen didn't want to talk about it ... until
he read the close to final draft of the manuscript. At the point, he
chose to respond, with a lot of emotion, about this very situation. He
talked to me about it, and he also typed out, on Stephen Arthur Stills
stationery, an outpouring of feelings that were startlingly personal.
(e.g. "Nowhere in my experience ... had I ever seen anyone go about
snaking a buddy's girl with so little indescretion.") See page 137 of
my CSN book for the proper context of these comments. The reader is
given the opportunity to judge where the real story lies.

 
  

    
> if
 I ran into Stills backstage or at an industry event, he often walked
 right by me like he'd never seen me before in his life

My experience as well.  I've met him a bunch of times, always with David 
and Graham, and always have to be re-introduced.  But I know how that is!
One time Stephen even gave me heavy vibes for talking to a very pretty 
blond woman who seemed to be his date.  He probably didn't realize how 
little he had to worry in that regard.  :-)

If you're reading this topic, and you don't know who CPR is, do yourself a 
favor and just go BUY their latest album, "Just Like Gravity," or their 
first album.  I mean, do it right now!  It's incredibly energetic, 
uplifting, insightful, subtle, communicative music.

CPR
http://www.amazon.com/exec/obidos/ASIN/B000007OT7/qid=1024428383/

Just Like Gravity
http://www.amazon.com/exec/obidos/ASIN/B00005KJR4/qid=1024428383/
  

    
i've met graham a couple of times at after shows and found him to be very
gracious.

i have yet to meet the croz man but i've only seen cpr once and had to leave
to drive back all night for my job.

i just want to reinforce my opinion that your book is a very good read.
  

    
Thanks for all of your kind and candid comments, Dan. Greatly
appreciate them.  Must run to the train! More later ...
  

    
I met Nash once at the Fillmore and he got all cranky at me because I asked
him if he was ever gonna do that Paul. Simon "America" song again.
  

    
thank you for the chance to participate.......as you say in the book, those
of us who love csn(y) have made them part of our live's story, of which csn,
csny,c,s,n,y have been.

on an aside, i have been on a record buying spree lately and have picked up
great vinyl copies of stills' and crosby's first albums!

i love vinyl.
  

    


Bill Evans writes:




When I said "too bad more people don't get it" (regarding CPR) I guess I was
expressing my disappointment that more people aren't buying into what it
takes to keep a band like this going. JI'm concerned that we may lose CPR due
to lack of financial success....certainly not due to lack of talent or world
class music. JAnd that would be a great disappointment and a great loss for
music in general. JWith so much lack of depth in the music industry today,
CPR is really a bright shinning star that runs the risk of imploding. JI
think cmf correctly restated what I should have said...that it's too bad that
people don't have the chance to get it.......because that is the real issue
today........those in charge of what gets played and what gets promoted don't
have a clue as to what great music is all about......it's all about getting
as much money as fast as possible. J

Sorry if I got off the subject but thought I would clarify.

What do you think the future and solution is Dave Z? JHave you had any
conversations with CSN regarding their thoughts on this issue? JIt's really
the same issue as the acoustic record all of us want CSN to make. JHow does
such a product happen in today's music environment? JI don't have an answer
to that.

Bill Evans
  

    
Nash has never been anything but the most perfect gentleman to me, on 
every occasion.  Sincere, charming, honest, sharp, funny, awake.
  

    
Thanks for the plug for the CDs diga, but we'd like it even better if
folks bought the CDs right from our site rather than Amazon!

http://www.crosbycpr.com/store

the band makes a few more pennies and Amazon doesn't need the
money....

sqb
  

    
A few more pennies!  Amazon.com takes 55% of the list price.
  

    
Eeek, sorry!

But this...

> Amazon doesn't need the
 money....

... is not true <smile>.
  

    

From Ernie Osborne:


Dave Z. writes...

>As for comments from Bill Evans about people "not getting" CPR -- I'm
>not sure I understand what you mean, Bill.

I don't understand it, either, though I remember it as the standard,
regurgitated response to anyone who doesn't think they like CPR.

The one time I've been free to see this band, I relished the experience,
remembered in a brief photo essay found here...
<http://home.attbi.com/~acclaim/CPR.html>http://home.attbi.com/~acclaim/CPR.html

I was initially enthralled with how in synch these fellas played and the
players musical virtuosity--like jazz musicians playing rock 'n roll; what
sold me was their encore version of "Eight Miles High"--pure delight.

I've occasionally felt a bit bummed it does appear Croz lately saves his best
stuff for CPR, but I guess one goes where the muse directs--don't matter, as
long as that muse still calls, I know.

Ernie
  

    
> Croz lately saves his best
 stuff for CPR


Only <croz> could really comment on this, but I have the feeling he
"saves" some of his best stuff for CPR because James Raymond is *writing*
it with him.  "Dream for Him" found its way into both the CPR and CSNY
songbooks, and *both* bands played it great, though in very different ways
(for me, it was pretty much the highlight of a CSNY show I saw last year.)
"Climber" is certainly a "best" level tune, and he wrote it himself, but
many of the other best Croz tunes lately -- like "Map," "Morrison," "At 
the Edge," and so forth -- were collaborations with CPR members.
  

    
Just to be clear, <croz> wrote "A Dream for Him" himself.

Some of the most exciting stuff <croz> does with CPR are old tunes 
rearranged by CPR, like that mindblowing "Homeward Through the Haze" on 
the Live at the Wiltern record.  Sure, I know it sounds like Steely Dan at 
times, but that's a bad thing?  :-)
  

    
Hi folks ... it took me forever to get online tonight ... my computer
was sparking earlier ... 

To Dan Marsh ... I love/prefer vinyl records to CDs as well. In
addition to the added sonic warmth, I love the 12 x 12 album cover
format. Opening the first Crosby, Stills & Nash album and looking at
the Diltz photo of the guys at Big Bear, their heads gilded by the sun
-- it still gives me chills sometimes. Another thing, I must confess,
since I've begun wearing reading glasses, I still can only read half of
the credits on most CDs. Consequently, I have a magnifying glass near
by entertainment set-up!

Regarding Bill Evans' comments ...  about how CPR and, for that
matter, CSN, can continue to make records (and have them sell and get
played) in this current music environment.  I wish I had an answer, but
I don't. Unfortunately, it eventually all comes down to dollars and
cents ... I wish it was "sense."

In the meantime ... I think the CSNY tours have helped keep CPR alive.
 But how long can Croz afford to finance the enterprise? It's criminal
that more radio and music magazines haven't gotten behind this band
... as Bill, Ernie, diga, cmf/tb, trufun, sqb and others have said, 
the songs and live shows are there. They just need to reach a bigger
audience.


Lastly, regarding Ernie's comment ... I'm not so sure Croz has been
saving his best stuff for CPR ... the reality is, some of the songs are
more geared toward the CPR style with Peev and Raymond. Moreover, by
the time Looking Forward got underway, CPR had already recorded and
released a whole batch of great Croz songs. And I agree with diga/SS
that many CPR songs are collaborations with Peev and Raymond. 

A related thought ... if Stills had sat on his best songs and waited
for CSNY to record another album in the '70s ... we probably would
never have had Manassas. 
  

    
Before heading off to dreamland ... got an early wake-up call tomorrow
... I just wanted to thank everyone for contributing to this topic and
making me feel so welcome here ... bon soir et a bientot
  

    
I just read the Manassas chapter last night and I agree.

back to cpr.....Pevar is one of the most underrated guitarists around.....he
blew me away at the CPR Coach House show last year.
  

    
Yes, Peev deserves much more recognition. Hopefully he'll get it
someday ... and hopefully with CPR.
  

    
Bill Haines eloquently stated:
>With so much lack of depth in the music industry today,
>CPR is really a bright shinning star that runs the risk of
>imploding. I think cmf correctly restated what I should have
>said...that it's too bad that people don't have the chance to get
>it.......because that is the real issue today........those in >charge
of what gets played and what gets promoted don't have a clue >as to
what great music is all about

I don't dispute what you say here Bill. Only I'm not pointing the
finger at just "the industry." I think it's WAY to easy to just say,
"Well, the radio stations won't play our stuff because of big
business..."

If all up and comers said this there'd never be any new music, now
would there?

I may be a touch naivete, as I think has already been suggested in
this topic, but I think it goes deeper than that.

When I go to see CPR in Traverse City Michigan and Diga goes to see
them in San Francisco, and neither of us finds any inkling of advanced
press or media promotion, what exactly does that mean?

Does it suggest the band is just being snubbed by the media because
the record numbers aren't there?

I can't speak for San Francisco,  but there's NO WAY that's what
happened in TC. The place is just too freaking small and David and CPR
are just way too big an event.

I spent enough time writing band previews and reviews to know that if
there was no ink prior to the TC gig it was because... A) there was no
advance media promotions on behalf of the band, B) whoever was charged
with advanced promotions didn't deem TC big enough for the effort, or
C) it was just a piss poor effort.

And sure, maybe Traverse City Michigan isn't going to put CPR on the
map, but what if that situation is just a microcosm of the big picture.
What IF the story was the same in San Francisco? What if it's like
that in other cities?

Then how the heck will people "ever" get the chance to experience this
band?

I mean, if the radio stations won't play you, MAKE them play you. Make
yourself so big on a grass roots level that they can't ignore you. 

I know. Naivete. Right? 

But is it really?

As a result of power of the Internet I probably know 20 people
nationwide and worldwide right this minute -- talented well spoken
professionals, not autograph hounds, who love CPR's music so much,
they'd be willing to hand deliver CDs to their local entertainment
writers and set up shop in their offices until they'd listened to every
song AND written a review. And not because they're looking for
anything or because they want Mssr. Crosby to make money.

Because they believe in the band. Because they believe in the music.

Has anybody harnessed this resource?

I'm not old enough to know, but isn't this the way it used to done?
Didn't you used to cut a record and then just do everything you could
to get people to listen to it?

Please, somebody tell me it can still be done and I'm not just living
in my own little delusion. On second thought, if I am, don't tell me. I
think the delusion is better than the alternative.

The reality is that while "David Crosby" is a huge name, CPR is still
a small band. And it's seemed to me all along that CPR has been trying
to use the old traditional methods reserved for "big bands" of getting
noticed.

I was fortunate (quite blessed actually) at a time to spend about four
years working with and around small bands that would do anything,
absolutely anything, to make it. I watched them work the media from
town to town. The newspapers, the radio stations large and small.
Colleges. Some of them found success, more of them didn't. But I've
never felt that sense of desire or urgency when it comes to CPR. Maybe
just a poor perception on my part.

It's all quite selfish really. The thought of not having new CPR
because "the radio stations didn't play it," (although that may be the
reality) just rips through me. And my prayers are that if there is and
end to this band, it goes down in one hellaciously bloody fight for
survival. 

My apologies to Mr. Zimmer for slushing on his topic. I guess I'm a
little overly passionate when it comes to people "getting" CPR.

I'll put my pom-poms down and go stick my head back in the sand now --
where fortunately enough Just Like Gravity is playing.
  

    
E-mail from Bill Evans:

Dan Marsh says.."
      Pevar is one of the most underrated guitarists
      around.....heblew me away at the CPR Coach House show last
      year."



Resisting the urge to write a short story,  Jeff Pevar is my favorite
guitar player, period.  It's impossible to say that anyone is "the best"
because that's objective and I'm not the Grand Inquisitor.  However, it's
no problem for me to say he's my favorite because that is purely
subjective. He's developed a true signature style and plays the most
tasteful leads around.  Like Stills, you can tell it's the Peev playing
from the very first notes.  What a talent.

Bill Evans