AcoustiHoo

 

The polar vortex lifted on Thursday and by Friday the night air was positively balmy. A whole raft of cabin-fevered sub-zero refugees eschewed the snow and hit From TheVine to see AcoustiHoo. We were amply rewarded.

AcoustiHoo is a 4-piece ensemble and I've written about each of its members at least once. And I will probably write about each of its members again. And again. And again. Full self disclosure: I've got a huge bias toward this band. I'm a fan. I also have a social relationship with some of the band-members. In my defense, the relationships developed because of their music, not vice versa. I don't know if this lends credibility to the blog, but I doubt anyone who hit From The Vine for AcoustiHoo would disagree with my assessment of the band.

The band members include Sue Orfield on tenor sax, Randy Sinz on upright bass, Olaf Lind on violin, and Lucas Fischer on guitar. Superlatives will be added later.

They shook off the residual vortex-chill with “Sweet Georgia Brown,” a lively country-Hee-Haw-like jig that set Olaf's violin-strings a-smokin'. They followed up with “2:15,” a Sue Orfield original which started out with a lovely violin solo. The intertwining of the sax and violin caused my chest to swell with inchoate nostalgia—a longing to return to a place I'd never been. The next song was “Kansas City” featuring Luke, who kicked the number off with a down-low-and-dirty blues intro. You haven't really heard this classic song until you've experienced Luke's version. Olaf's violin enhances it with a Kentucky-Mountain-Justified feel. Next up was “Az Du Furst Avek,” a traditional Klezmer tune in which Luke's solo evoked the feel of old-world gypsy music.

Are you getting it? Klezmer. Classic blues. 1920-era pop-songs. Originals. And that was just the first four songs. Next Sue called for “My Heart Belongs To Daddy.” They have a set list, but Sue once confided that she's not very good at sticking to it. Consequently there was a tiny pause, during which she said, “You'll pick it up.” And they did. She blew Cole Porter's song like the May West-sultry, old-time jazzy tune it was meant to be. If her soul had a mirror, it would be the music coming out of her saxophone. Luke cooled us down with one of his originals, “Close,” a slow, sweet love-ballad and Olaf and Sue harmonized on “Ashoken Farewell” a Jay Ungar tune that left me remembering a childhood I'd never had.

Randy, all dapper behind his bass in a black beret, called the next song: “Fever.” I love, love, love the way Randy sings this song. It's new to their repertoire and there's no question that it's a love song between him and Sue. In the song he sings, “My heart burns for Sue,” and Sue's saxophone lets us know her heart burns for Randy.

Looking around From The Vine over the break I saw that it was standing room only. The establishment is owned and operated by Kathy Nuenke and has been open about 2 and a half years. It's long and open, and the lighting is perfect—low, without being dim. There's a bar running down one side and two- and four- top tables. The musicians are set up the middle of the place, in a living-room-style set- up with couches and deep, comfortable chairs. Behind the musicians is a half-wall and there's a darker, more secluded area in the back. It's a great place for music: avid fans can sit comfortably in a front row seat, music fans who prefer to socialize can sit at the tables in the bar area and lovers can cuddle in a dark corner. The service is fabulous; attentive without being overly friendly. They know you're here to see music or appreciate their wine or catch up with your friends, not to make new best friends with the staff. As soon as you come in you get a glass of water and it's easy to find a waitress when needed. They stock over 80 different wines and Kathy is always changing her stock. She offers wines by flight (I didn't know what this was and had to google it: tastings of multiple wines, which allow tasters to get a feel for breadth or depth of the selection), monthly wine tastings and wine and painting classes. I don't drink so I try to support local music venues by ordering food. I thought this would be a challenge in a wine room and was tickled to see From The Vine offers Legacy Chocolate truffles. They've also added snack mixes and a cheese-and-crackers plate. I spoke to Kathy, briefly, and while I can count the number of times I've been there on both hands, she remembered me. This wine room is a solid music venue and offers great service with great music.

AcoustiHoo's second set offered a couple of pleasant surprises. After Luke's cover of Tom Waits' “Make It Rain,” Sue called Gregg Wheeler with his harmonica to the stage to accompany the band on one of Randy's originals, “Desert Blue.” Randy's voice-as-instrument is wonderful and Gregg's harmonica was about as smooth as it gets. Gregg stayed on stage for another of Sue's originals and there was some fun call-and-response between his harp and Sue's sax. Olaf put down his violin in favor of the mandolin. After Gregg sat down the band launched into another Sue Orfield original, “Can't Shake The Sadness,” all forlorn and noble, with a classic violin-solo and delicate harmonic interplay between Luke and Olaf. Sue stood back, listening, an appreciative smile on her face. Olaf then performed his original “Caravans,” a lively tune with an old-world feel. I understand they're working on a music video for this song. Luke performed another original, “5 AM Blues,” all smooth, romantic and slow rhythm & blues-y.

Then Catya, my very best friend in the whole world, was asked onto the stage where she performed one of her originals, “I Like It.” Though it was unrehearsed, there was an ease and enjoyment on that is only seen when really good musicians play together.

The next number was “Bouf Chonsko” a Macedonian folk song. I spelled it phonetically and know it's wrong. I call it “The Clapping Song.” It starts up slow and every time around they speed it up just a little bit until they're playing faster then we can clap. So fun. Another Sue original, “Cut From Terry's Cloth” was next. The final number was Luke's amazing version of Donovan's “Season Of The Witch.” Luke played his guitar like a mandolin, Olaf played his mandolin like a guitar and Randy tried to play his upright like a violin and did a great job of playing it like a guitar. Sue's saxophone tied the whole song together and as the last note died away the audience leapt up in a spontaneous standing ovation. It was a magical night that left us all wanting more. 

If you're reading this blog you must be a music fan. Believe me when I tell you that if you haven't seen AcoustiHoo you're missing out. Big time. Check them out—you can find their self-titled CD on their website,  look them up on Facebook or catch them live.  You won't be disappointed. Promise.

You can read more about Sue and Randy as Two Rivers here.

You can read more about Sue, Randy and Catya in Catya's Trio here.

You can read more about Gregg Wheeler in Stage Fright and Randy, John and Gregg here and here.

You can read more about Olaf and Luke in Eggplant Heroes here.

You can read more about Luke as a solo act here.

Chippewa Valley Jazz Orchestra's Swinging Into The Holidays

--> On Friday morning I got a Facebook email from a friend: “CV Jazz Orchestra show tonight at the State. 7:30. Good bunch, tons of talent, enjoyable show. You might get a kick out of it and find an article.” My plans for the evening were still up in the air. Billy Krause was at the Local Store, G-String Theory with Noel Hanson was at the House of Rock, and Two Frets Up were playing in Mondovi. CVJO's gig was on my radar—a dim, vague blip—but I tend toward the more informal venues (that's a highfaluting of saying I like bars) and don't really consider myself a Jazz Girl. But I also like mixing it up. And the realization that I wouldn't typically go to the event if I didn't have this blog propelled me out to The State Theater to see “The Chippewa Valley Jazz Orchestra Presents Swinging Into The Holidays.” I'm so glad I did.

CVJO was conceived in 2009 when a bunch of musicians were hanging out at the Joynt, talking. Geoff Peterson (drums) told me, “We wanted to play the music we love in a venue where people wanted to hear us.” He added that the core group consist of Josh Gallagher (piano), Jeff Reitz (alto sax, clarinet, bass sax and flute), Jayson Collins (alto sax), Sue Orfield (tenor sax), and Jeff Walk (trumpet). Today CVJO is eighteen musicians strong. Its members' ages range from age 18 to 60+. Some are college students, others are teachers and business-owners and they all love their music.

This is their second Christmas season at The State Theater and this year they changed things up and added AdrianKlenz as their Master Of Ceremonies. Barry Hitt (who, by the way, is so goofy he's hip) agreed that they needed a front man so he could concentrate on just being the musical director. I don't know how the show felt without an official Master Of Ceremonies, but having Adrian up there gave Swinging Into The Holidays a variety show-feel. Sort of like the holiday TV specials I used to watch as a child.

There were 13 musicians on stage. Front and center-right was a three-tiered horn section. On the top, back row were 5 trumpets: Jeff Walk; Sean Hanson; Kris Bergh; and Rich Morgan of Morgan Music. 5 trombones graced the middle tier: Tom Carlson; Doug Shoemaker; Bill Halgren; and Eric Olson. The saxophones were on the ground floor: Max Palzewicz; Sue Orfield; Theresa Soules; Jay Collins; and Jeff Reitz, "instrument guy" at Schmitt Music. Back and to the right of the horns was Geoff Peterson on drums and slightly in front of the drums, next to the horns was Emily Watkins on guitar. On the other side of the drum kit was Eric Thompson with his upright bass and bookending the ensemble was Josh Gallagher on the grand piano.

Most of the musicians sported some kind of holiday attire. Some wore Santa hats and others wore “ugly sweaters,” bow ties and Christmas ties. Some of the horns had red or green muters, and one of the trombones (I think it was Doug Shoemaker's) was green and was decorated with a rim of tinsel. Adrian was front and to the left and he also sang, accompanied in some of the songs by Cathy Reitz.

Adrian was handsome in black suit coat and a red tie and he kicked off the show with “Sleigh Ride.” The next song was “Mr Grinch” and in the middle of the song Jeff Reitz put down his horn, grabbed his bag and left the stage, all Grinch-like. After the piano solo he reentered wearing a bright red hunting cap and blowing his bass sax. If you've never seen a bass sax believe me when I tell you that this is one big-ass horn. Jeff was very Grinchy and this song set a happy, playful mood that persisted through the show. And then there was Barry Hitt.

Barry was introduced after “Grinch” and he was filled with the Miles-Davis-Christmas Spirit. He entered in red pants, a Santa hat, a tinsel-boa necklace and a psychedelic green and red dashiki with a big snow-flake-like design on the back. As the director, he had his back to the audience for most of the performance—dashiki snow-flake prominently displayed—and he kept time with a cute little butt-swing. He was a total dork and totally cool.

The next song was “O Holy Night” and Jeff Walk wailed big-time on his trumpet. Adrian was joined on stage by Cathy Rietz (she's married to The Grinch) and they did a fun, hammy version of “Baby It's Cold Outside.” Cathy has a great voice and obviously loves singing. The trombones took the lead on “God Rest Ye Merry Trombones” and Adrian sang “The Christmas Song” followed by Andrew Neesley's version of “Winter Wonderland” which featured a solo by what looked to be the youngest member on trumpet. He nailed it. The first set ended with a lovely rendition of “Adeste Fidelis” and featured some rocking improv solos by Sue Orfield and Jeff Reitz on saxes and Josh Gallagher on piano. All the other musicians seemed to enjoy listening to the solos as much as the audience.

Cathy kicked off the second half of the show, singing a big-band-jazzy-style medley of “Here Comes Santa Claus” and “Santa Claus Is Coming To Town.” Her energy and joy revived us after the intermission. Tom Carlson brought his trombone front and center and led us through “Christmas Time Is Here.” This was followed by Auld Lang Syne, which started out traditionally then bumped up to a swinging song. Cathy returned to the stage and sang “I've Got My Love To Keep Me Warm” and Eric Olson's bass trombone blew us away with a fun, playful version of “Jingle Bells.” The show started its wind-down with Adrian singing a soulful version of “Have Yourself A Merry Little Christmas.”

The last song was an instrumental, “Yo! Tannenbaum,” (punctuation added by yours truly) which started slow, all wobbly horns, then snapped into a jazzy, raucous, fun finale. One of the things I liked about this show, these musicians, was the combination of professionalism and comfort. They were laid-back, relaxed, having fun doing the thing they like to do best. I'd never seen a jazz orchestra in action and last night blew up my preconceptions of a removed and stuffy event for cultural snobs. I'm sold.

The State Theater seats 1,098. 152 people showed up for this year's show, down from 160 last year—which is understandable considering the North Pole-like weather we're having. But here's the thing: This was a great show and it deserved a bigger audience. This brings me back to my oft-repeated plaint that we just don't get the hidden wealth of the Chippewa Valley. In an era of “fiscal responsibility” that chips away funding for the arts, we have passionate, talented musicians whose only desire is to be heard and appreciated. The Chippewa Valley Jazz Orchestra's next gig is February 15^th at The State Theater and it will feature Luis Bonilla, Charles Mingus' lead trombone player, along with a variety of high school students. How cool is that? If I had a honey, I'd demand he take me to this for Valentine's Day and I'll probably go anyway, honey or not. You should too. 

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Again,  Freaks and Geeks' burgeoning Music Wiki was helpful with this blog.