Hal Ketchum is known for singing country hits like “Small Town Saturday Night,” “Past the Point of Rescue” and “Hearts Are Gonna Roll,” but writing is just as important to him.
Lucky for him, he has an easier time writing in unfamiliar surroundings than other musicians.
“I definitely can write on the road,” he said en route to his September 1 show at Anthology. “There’s plenty of time to work on stuff.”
Ketchum first hit it big in the early 1990s when his album, “Past The Point Of Rescue,” produced four hit singles including the title track and “Small Town Saturday Night.” Since then, he has earned a reputation for performing great country music while keeping touch with the outlaw edge.
“My brother and I started out playing bluegrass,” he said. “That’s the root of the source, but, to me, country music is a beautiful combination of things – just like early rock and roll.”
Ketchum grew up in upstate New York and while the stereotypical country fan lives in the southern or western part of the U.S., he says there’s quite a strong contingent in the northeast part of the country as well.
There really is a broad source of bluegrass in New England and New York,” Ketchum said. “I was exposed to it through my father.”
There have been other influences besides dear old Dad for Ketchum. When it comes to songwriting, he’s influenced by many of the greats like Hank Williams, but some less obvious influences as well.
“I think Bernie Taupin is an absolute genius and I love Hemingway,” Ketchum said. “A songwriting idea can come from all places. For me, I usually get a first line, a situation or an image in my mind.”
As far as songwriting goes, some writers feel that the best songs come the easiest, while others feel it’s no good unless they sweat blood. Ketchum falls in the first camp.
“To me, quick is good,” he said. “I do lean towards those strikes of lightning. I think the easiest song I’ve ever written was called ‘I Miss My Mary,’ about child visitation. I put the coffee on and it fell on the page.”
Ketchum is asked if he thinks the quicker a song is written, the less time the brain has to get in the way and try and clean up the raw emotion.
“Maybe, but this song gets a reaction because it has a strong storyline,” he said.
But to Ketchum, a good song is just a framework for live performance. That’s when he can stretch the songs out to fit the talents of the musicians.
“The key for [the Anthology show] will be Johnny Hiland,” he said. “He is a great guitar player and I’ll have a chance to stretch musically with new players who have a different take on this music.
“Being in the middle will be a great experience.”
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WHAT: Hal Ketchum
WHEN: Wednesday, September 1st, 2010, 7:30pm
TICKETS: $7 - $39 BUY TICKETS
MORE INFO: Artist Profile
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As a musical instrument, the trombone doesn’t get the credit it deserves.
As bass clef instruments go, it is easier to carry than a double bass or piano or tuba and its nature allows players to be melodic and rhythmic at the same time.
Big Sam of Big Sam’s Funky Nation agrees with this premise.
“Trombones not only can be melodic, but they got that ‘sli-i-i-de’ thing going on that other instruments just can’t duplicate,” Big Sam said recently.
But Big Sam wasn’t born playing the instrument. In fact, despite growing up in New Orleans, a place where the trombone was one of the building blocks of jazz, he had never heard of it before junior high.
“When I was in middle school, I was a big guy,” he said. “I was too big to play basketball, but they wouldn’t let me play with the older kids so I decided to join marching band.”
On his first day, the band director asked Big Sam if he wanted to play the ‘bone.
“I hadn’t heard of it, but I said, ‘Sure, whatever you need.’”
Although Big Sam was well aware of his home town’s musical heritage, he didn’t realize the trombone’s importance in it until he started playing it and discovered the “second line” tradition of jazz music.
In traditional brass band parades in N’Awlins, the “main line” is the main section of the parade, or the members of the actual club with the parading permit; those who follow the band just to enjoy the music are called the “second line.” Traditionally, the second line music is where the funky polyrhythms of Crescent City music originated.
Amazingly, one of the music’s pioneers, Buddy Bolden, is Big Sam’s great-grandfather, a fact that he didn’t realize until a few years ago.
“I was definitely into live music, but I didn’t even pick up jazz until I discovered the Dirty Dozen Brass Band,” he said. “I loved them.”
That love was reciprocated. Big Sam was a member of the respected jazz group for many years before striking out on his own with a more funkified combo that still pays respect to the Big Easy’s great music.
So does Big Sam.
Even when we’re on tour, we try to get back home every 10 days to run errands,” he said. “But it’s important to go back to the roots”
New Orleans provides musical inspiration for Big Sam – who has a recurring role on the HBO series, “Treme” – but it’s not his only source.
“I listen to everything,” he said. “For instance, when we come to San Diego on August 27, we may listen to some of the Mexican stations on the way in. I also can get influenced by a painting, but even the architecture of a city can affect a song.”
Big Sam’s latest album is “King of the Party” and that’s what he promises in concert. But be careful where you stand in relation to him.
That’s because while the trombone can do musical things that other instruments can’t do, that’s not always an advantage.
“Sometimes when you’re trying to get a real deep note, your slide falls off into the crowd,” he admitted. “The crowd loves it, but I don’t. That’s happened about five times.
“One time about four years ago, a friend named Allison was dancing nearby. I was doing a solo with my eyes closed and the end of my slide hit her in the face. I’m lucky I knew her because the next day she had a black eye and posted the picture online.”
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WHAT: Big Sam’s Funky Nation
WHEN: Friday, August 27th, 2010, 9:30pm
TICKETS: $7 - $24 BUY TICKETS
MORE INFO: Artist Profile
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For many Latin Americans, tradition plays a huge role in the development of not just the culture but also the music that comes from that culture. This is clearly evident in the work of Cuban Son Band Septeto Nacional. Since 1927 the Cuban band has worked tirelessly to keep the traditional Cuban son alive and little has changed for the 4th generation of the band that currently tours today. San Diego will be able to experience true, authentic Cuban Son at their upcoming Anthology concert here in Little Italy on September 3rd. Recently I was lucky enough to talk with Francisco Oropesa from the group about the history and tradition of Septeto Nacional. I hope you enjoy the interview as much as I did.
Ritmo Bello: Francisco Oropesa, it’s great to finally sit down with you to talk about the legendary Septeto Nacional. Okay, let’s begin. Can you give my Ritmo Bello readers some background on the band’s origin and the original leader, Ignacio Pineiro?
Septeto Nacional: The Septeto Nacional was officially founded on December 13, 1927, by Don Ignacio Piñeiro at 56 Pocito Street in the neighborhood of Pueblo Nuevo, in Havana, Cuba. Additional founding members were Juan de La Cruz Iznaga, Francisco Solares, Jose Manuel Incharte, Alberto Villalón, Bienvenido León y Abelardo Barroso. Another early member was Lázaro Herrera. He became the first trumpeter to record Cuban son in the newer septet format. Prior to this, the group was a sextet, as were the vast majority of son groups in Cuba at the time. The addition of the trumpet was a major innovation in the development of Cuban son.
Ritmo Bello: What exactly does ‘septeto” refer to, the group members themselves or the instruments? What’s the history behind the name?
Septeto Nacional: Septeto (Septet) refers to the number of muscians in the group (seven musicians, each with an instrument). Ignacio Pineiro played a significant role in changing the number of musicians in the son format to seven from the original six.
Ritmo Bello: Most folks may not be familiar with the difference between modern salsa music and Cuban Son. How would you describe the differences and what do you see as the advantages of one music form over the other?
Septeto Nacional: First, the son is played with acoustic instruments. Some of the early instruments are no longer used as frequently, such as the Marímbula (used as a bass – constructed of several metal strips attached to a box) and the Botija (a jug – like those found in the Kentucky black jug bands).
The son played by Septeto Nacional is special. Ignacio Piñeiro’s unique arrangements and compositions are infused with many of the African derived music traditions found in Cuba, such as Rumba (the Rumba complex includes: Guanguancó, Yambú and Colombia) and Abakuá. He created and enriched his music with all these elements.
Ritmo Bello: Although Septeto Nacional is known for its rich musical history I’m sure you have an opportunity to make new music. How and where do you find inspiration for creating new music?
Septeto Nacional: The most important objective for our group is to keep the original repertoire and preserve the Rumba style Ignacio Piñeiro brought to the son.
When we make new music, we’re inspired by our excellent musicians and composers. However, we always make sure to conserve the traditional character and brand handed down by Ignacio Piñeiro.
Ritmo Bello: As a history buff I always like to see the greater picture and understand how music has evolved through certain events. How has the Cuban revolution in 1959 affected music coming from Cuba such as Cuban Son?
Septeto Nacional: In our case, the group has not been affected. We have always received our country’s full support. We tour and perform a great deal and through this, we receive much admiration and respect in Cuba and throughout the world. We are proud to be the ambassadors of Cuban Folklore, a title we’ve held since 1929, and represent our traditional music at the highest levels.
Ritmo Bello: Can you tell me a little about the albums that Septeto Nacional has released to date?
Septeto Nacional: A vast number of recordings have been made since 1927. Between 1959 and 2010, more than 20 albums have been released. Some of the latest and most significant recordings are: Poetas del Son (Chant du Monde label – Grammy nominated, 2002), El Sabor de la Tradición (Ferment 2005), Noche de Conga (Egrem 2007), Desafiando al Destino (Bis Music 2009).
Ritmo Bello: Are there current plans for new CD releases coming up soon?
Septeto Nacional: Our latest album is titled Sin Rumba, No Hay Son from Harmonia Mundi/World Village Records. We’re launching it on this U.S. tour. The official release date is September 14th. The CD has 14 great tracks. We hope our fans enjoy it and that it’s a success on the global market
Ritmo Bello: What song from your group best epitomizes true Cuban Son in your opinion?
Septeto Nacional: Indisputably, there are many songs from Piñeiro that exemplify the Septeto Nacional. However, in my opinion, the most universal is Échale salsita (throw a little salsa on it!). The term “salsa”, the blanket word we use today to describe tropical/Latin music, can be traced to this son composition.
Ritmo Bello: What type of awards has the group received over the years on account of Cuban Son music? Which ones are you most proud of receiving?
Septeto Nacional: I think the most significant awards the Septeto Nacional has received are the gold medals from the Seville World’s Fair in 1929 and the Chicago World’s Fair in 1933. Equally as important, the group is also a recipient of the Cuban Cultural Heritage Award of Distinction. We’re proud and honored to be so recognized.
Ritmo Bello: What are you future plans concerning your music?
Septeto Nacional: To continue the worldwide promotion of Ignacio Piñeiro’s music, identified globally as Cuban Folklore.
Ritmo Bello: As a salsa dancer I have to ask, what do you think about the growth and popularity of dancing to salsa, Cuban Son or other types of Latin music?
Septeto Nacional: In many countries we see salsa dancers dancing on rhythmic elements of the Cuban Son. We also see many people come to Cuba to learn popular dance, some of them have dance academies that exist in different countries. I think it’s great to see so many young people eager to learn how to dance to this music we all love. Cubans breathe their music and dance (both in popular and folkloric forms). It’s a constant presence in our lives, from morning to night. Cubans live it every minute of the day – in their homes, on the streets, festivals, clubs – music, dance and art are a constant presence in Cuba. It’s a part of our lives from the time we’re born. We know and understand all Latin rhythms and trends from all parts of Latin America.
Septeto Nacional: The audience can expect to listen and dance to the best Cuban traditional music, the most authentic and best preserved Cuban son in the style of Ignacio Piñeiro.
Ritmo Bello: Is there anything else you’d like to share with the San Diego salsa and Latin dance community that we haven’t covered yet?
Septeto Nacional: We hope the San Diego public enjoys our music and our interpretive quality. We’re the 4th generation of Septeto Nacional and have played over 500 concerts in over 36 countries over the past 10 years.
Ritmo Bello: Do you have contact information in case anyone from the Ritmo Bello audience wants to contact you?
Septeto Nacional: They can contact us by email at echalesalsita@cubarte.cult.cu or by phone in Cuba 535-2829003 or 537-8635736. Ask for Frank or Ricardo.
Ritmo Bello: Francisco, on behalf of the San Diego salsa dance community and Ritmo Bello thank you for your time! It has been an honor to talk to you today.
Septeto Nacional: Many thanks to you and the Ritmo Bello audience. We hope to see all of you at the Anthology Jazz Club shows.
Sometimes your life can change in one moment – but you don’t recognize it’s happening until years later.
That’s how it worked for flutist Tim Weisberg, who has been recording albums since 1971.
He’s played classical, jazz, rock and R&B and worked with artists like Dan Fogelberg and David Benoit, but all this only happened because his name comes at the end of the alphabet.
“When I was in 7th grade, I joined the band hoping to play drums,” Weisberg said recently while discussing his August 21 gig at Anthology. “Instead of having students draw straws to see what instrument they wanted to play, he did it alphabetically. So Gary Abrams got to play what he wanted because his name was first.
“Since my last name is Weisberg, by the time they got to me, there were only two instruments left, the bassoon and the flute.”
Weisberg has joked in the past that he picked the flute because it was easier to carry than the bassoon and because all the other flute players were girls, but, the truth is, his music teacher twisted his arm.
“Luckily, I had a good flute teacher, somebody who was symphony quality,” Weisberg said. “Even when all the guys were laughing, he encouraged me. He said if I gave it a chance and didn’t like it, he’d figure out a way to get some percussion instruments.”
But Weisberg soon came to enjoy the flute. Not only is it easier to carry than the bassoon, but the sound mimics the human voice.
“I have a terrible singing voice, so this is the way I sing,” he laughed.
Weisberg has become a well-regarded improviser, but admits he discovered this ability later than other musicians.
“The realization that I could compose on the spot came later to me compared to my peers,” he said. “To improvise, you have to have command of the instrument first so I did classical music and I swam – which is great if you’re a flutist.”
Although Weisberg grew up in southern California, he admits that he was always more into soul and R&B than surf music and started sitting in with groups. I actually enjoyed it so much that I used to get withdrawal pains between gigs.”
The musical monkey on his back forced him to get his fix by trying to get his friends to book gigs at frat parties.
“Sadly, I had friends who liked getting paid for music,” he laughed. “But I remember one time I wanted to play so bad that I decided not to take money if I could get the band together.
“I organized a show and got them to show. After we set up, I waited around for an hour for the band to begin and finally asked them when we were going to begin. One of the guys said, ‘You tell me.’ I asked him why and he said, ‘You’re the boss.’”
After that, there was no turning back and Weisberg has had a 40 year career as a professional recording artist and smooth jazz pioneer.
He’s not one to look back. Most musicians aren’t, preferring to focus on the music they’re making now. Still, he admits that if he could speak to the younger version of himself, there are some things he would tell himself.
“I’d say, ‘Practice more, and be more selective about the music you play,’” he said.
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WHAT: Tim Weisberg
WHEN: Saturday, August 21st, 2010, 7:30pm
TICKETS: $11 - $32 BUY TICKETS
MORE INFO: Artist Profile
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SAN DIEGO — Members of the San Diego Symphony are suiting up for a “Luscious Noise” summer showcase at Anthology on Wednesday, Aug. 25.
Catch the wave of the future in live classical music and sip a mai tai or a kamikazi while experiencing a riptide of new flavors created by Anthology’s new executive chef Todd Allison.
Conductor/producer John Stubbs and symphony musicians hope to sweep the audience away with a new “Luscious Noise” summer medley and a multimedia display that will heat up the screen. Stubbs says he is trying to prove that classical music sounds just as good in a nightclub as a symphony hall.
Production highlights will include:
– Pianist Jessie Chang performing in Strauss’s “Violin Sonata”
– Harpist Julie Smith performing Marcel Tournier’s “Sonatine” from Opus 30
– Trombonist Kyle Ross Covington performing Leonard Bernstein’s “Elegy for Mippy II”
– Percussionist Jason Ginter performing “When Love Prevails” on marimba by David Burge; along with dancers Amanda Daly and Rebecca Correia who will perform a live modern dance piece
Other music selections will include:
– Vivaldi’s “Summer” from “The Four Seasons”
– Adagietto from Symphony 5 by Gustav Mahler
– First movement of “Sinfonie IX” by Mendelssohn
– A string sextet from Strauss’s “Capriccio” followed by a video excerpt from the opera
The multimedia portion of the show features:
– A video clip from Hiroshi Teshigahara’s “Woman in the Dunes” with music by Toru Takemitsu
– Natalie Dessay singing recitative (melodic speech in opera) from Strauss’s “Ariadne auf Naxos”
— An excerpt from the 1955 film “Picnic” with Kim Novak and William Holden
“Luscious Noise” will begin at 7:30 p.m. Wednesday, Aug. 25, at Anthology, 1337 India St., San Diego. Tickets are $10 to $20. Call (619) 595.0300 or visit www.AnthologySD.com
By David Moye
By David Moye
