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.

Mojo Lemon

--> Monday was Mojo Night. The ChippewaValley Blues Society met at Pizza Plus Monday night for a quarterly meeting and hired one of the Chippewa Valley's most accomplished blues bands to play after the meeting: a Christmas gift from CVBS to the public.

I first caught Mojo Lemon in 2008 at The Snout Saloon in Chippewa Falls. I was still testing the live- music-waters. For many going out to see live music is a social event, a reason to gather with friends, catch up, firm up new social connections and nurse old ones. And I get that.  But it's not why I go to live music events. I go for the music. Period. And because of this I typically go alone.

I don't want to try and hold a conversation—the music's too loud. I don't want to do the whole collectivist, “Are you having a good time? Do you want to leave?” thing. Don't expect me to get into a conversation about work, or kids, or politics, or Neil Degrasse Tyson, or relationships. We can do that while eating, taking a walk, grabbing a cup of coffee or just hanging out. But not during live music.

I don't mind going to live music with like-minded people. We might occasionally look at each other and say, “That was a rocking drum solo!” or “Oh no! He broke a string.” or “Gwad, that brought tears to my eyes!” Or perhaps we can dance. Dancing is good.

So in 2008 I was at The Snout because I'd heard this was a good band.  I was still self-conscious about being a single, sober woman, going out to the bars alone. Have you been to The Snout? It's one of Chippewa Falls' best dive bars. It's got that edge. That vague promise of out-of-control-ness. That interesting mix of citizens and street denizens. My kind of bar. To my knowledge The Snout is perfectly safe, but still. 

So I'm alone, a bit self conscious and then there's Mojo. Some might find it unremarkable to walk into a dive bar and discover superior music, but it was a shock to me. Mojo Lemon consists of three core musicians:

Josh Entzminger plays guitar and sings

Will Chopper works the keys and sings,

Terry Demars jams on bass and vocals

That night at The Snout Big Jay Introwitz was on drums. Jason (Jay) is fun to watch. He floats behind the drumset—all Zen-like—and appears to channel his muse from the collective aether. And he's got a great voice. On Monday night Dave Schrader held the drumsticks. Dave is totally present. He plays in various other local bands including Rada Dada, Dixie And The Dreamers, and The Sue Orfield Band.

My first impression of Mojo Lemon in 2008 was that they were too good. I kid you not. It was obvious that they were superb musicians and it felt like each member was in his own music-bubble. I've written that I believe each band is like a living organism with the individuals interacting to create a bigger whole. And, for me, part of that whole—that synergy—involves offering a glimpse into each member's personality. Way back in 2008 Will Chopper bobbed behind the keyboard, Jason Introwitz floated behind the drums, Terry Demars jammed behind his bass and Josh Entzminger let loose behind his guitar. All skillful, all talented and, except for some playful back-and-forth between Josh and Will, there was little interaction with each other or with the audience. The coolest thing about following bands is watching them grow.

On Monday night at Pizza Plus,  Mojo Lemon owned the stage and the audience. Pizza Plus mounted a backdrop of red covering the windows and added a sparkly-white Christmas tree. Josh's guitar was red. They played a two hour gig and were polished, accomplished, tight, fun and interactive. They rocked—or is it bluzed?

I was having a great time dancing and can't offer a complete set list, but here are some highlights:

They kicked off the night with Luther Allison's “It's A Blues Thing.” The perfect song to get the house warmed up and bouncing in their seats. The second number was a jump blues number, first recorded in 1945 titled “Caldonia” featuring Josh on guitar. They played Muddy Waters and Freddy King's “Woman Across the Water” which features cool, complex tempo-and-beat change-ups. Josh sang a very convincing Elmore James song, “The Sky Is Crying” and Dave started the next song with a rolling drum solo. I'm not sure what that song was (I was dancing) but it morphed into a verse of “Big Boss Man” and out again. Josh sang BB King's “You Upset Me,” Terry sang what I think was Blind Lemon's “See That My Grave Is Kept Clean” and “Seventh Son.” Will's keyboards offered a perfect bridge between R&B and the blues and he sang one of my favorites, Barbara George's “I Know You Don't Love Me No More.” The final song was an amazing rendition of Jimi Hendrix's “Voodoo Child.” The music was really, really loud (I bring earplugs—a live-music necessity), but the sound was sharp and clear.

In 2008 I couldn't imagine Mojo Lemon getting better, but they have.

Terry Demars' voice is bluesy-rough with a touch of street that gives his songs of loss and masculine sorrow an authentic edge. Today it's stronger and true and has grown into an instrument all of its own. And his stance behind the microphone is bigger. He owns his lyrics. The only way I really know music—good or bad—is intuitively, but it feels like Terry's bass playing is surer, more confident, and Monday night I saw him kicking back and really enjoying his band-mates' performances. Terry now looks and feels like a quintessential blues-man.

Dave Schrader didn't miss a beat and there's no question why he's in demand. I think drummers are the unsung heros of the music-world. They are essential—the musical foundation—and their job is paradoxical: when they play well they fade into the background, allowing the other musicians to shine in the spotlight. When they don't do well, the whole thing is screwed. Dave was excellent.

Will Chopper is a consummate performer. His enjoyment is obvious as his notes intertwine with the other instruments, giving this band a unique sound. He be-bops and grins as he plays and sometimes I think that if he could take his keyboards out into the audience and dance he would. Some of the most fun moments in their show is when he and Josh trade riffs—a lively and boisterous musical conversation.

And there's Josh. His guitar playing is physical. It looks like he is literally pulling the music out with his feet—stealing from some elemental place at the earth's core—pushing it through his body and out through his fingers and into the guitar. He's an amazing talent. 

This band really showed off their skillful versatility in “Voodoo Child.” It was mostly instrumental and Will and Josh took us through a history of great rock and roll styles. Will's organ reminded us of Emerson Lake and Palmer, and the Josh went into a Clapton-like riff. And of course Josh's pristine and muscular guitar totally channeled Mr. Hendrix himself.

Mojo Lemon will be playing at The Snout this Saturday (12/21/13). If your a blues fan—or just enjoy good music—and you haven't caught them, you gotta go. If you have caught them I know you'll want to see them again. You can see their gig schedule here.

Open Mic At Sheri's Chippewa Club

The Music

On Sunday, January 11 my friend, Catya, and I headed to Sheri's Chippewa Club for their Blues Open Mic. Yeah, yeah, I know, three bands in one weekend is a bit excessive, as evidenced by my tardiness in blog posts; typical all-or-nothing addict behavior. Catya isn't a regular participant, but had heard that some of her friends from The Bear Creek Band and The Love Buzzards Blues Band would be playing and, having written some new material, she wanted to try it out live. I was pretty excited; I know Catya's work from Davy Jones and the Jones Tones, and always love it when she takes the lead with them, playing a couple of her original songs. She has a trio and plays with Sue Orfield, but I've yet to catch her in either of those bands. Sunday night I was finally going to get a bigger dose of her.

It took a while but finally she hit the stage, with Tim Caswell on lead guitar and keyboards, Rich Sickels on drums--both of The Love Buzzards Blues Band, Adam on harp, and a guy named Mark on bass. Catya brought her bass but said she always ended up playing it and this time wanted to play guitar; she was grateful for Mark's presence. What can I say? They rocked.

The first time up they did four of her songs: That's What You Do To Me; Just Can't Stop; How You Get To Me, and her most recent, Fickle Wind. These are professional musicians and their impromptu performance did not disappoint. As with Downers Grove, I understood that playing was the end to the means and the audience almost unnecessary; they played with controlled joy—simply for the pleasure of it all. Even the bass player—previously sitting in the corner of the stage—perked up, standing, becoming more engaged.

Tim stood, tall and straight, fingers dancing along the neck of his guitar, Rich—looking like a pirate with a temporary eye-patch and black curls falling over his forehead—made the drums in front of him appear small as he attacked them with enthusiastic vigor, and Adam blew harp like a demon. Catya's voice was true and strong and her songs amazing. I could write more—much more—about Catya, but my bias for my friend would be too obvious. Suffice it to say that even if she hadn't become my friend, I would still be in awe of her talent.

Catya sat through the next set, catching up on musical affairs with her friend Rich Sickel (at one point they asked me for a piece of paper so he could write down a newly-conceived lyric) as a different arrangement of musicians took the stage. Harmonica player, Adam, lead the group through songs like Tom Waits' “Temptation,” Old Crow Medicine Show's “Rock Me Mama” and Robert Johnson's classic, “Sweet Home Chicago.” Then Catya, Rich, and Tim took the stage again, accompanied by Dan Callan, head of the Bear Creek Band—who had been running the sound system—on electronic keyboard and the organ. Rick, on drums, led off with Junior Wells' “Messing With The Kid,” Tim followed, belting out Sonny Boy Williamson's “Good Morning Little Schoolgirl” striking familiar chords with me as I remembered deceased Grateful Dead drummer, Pigpen, and Catya ended the set with one of my favorites, her original song, “If We Never Kissed.”

My bedtime on work nights is usually about 9:30 and I didn't get home until 11:30. I was tired the next day, but have no regrets breaking my bedtime rule that Sunday. It was—most definitely—worth it.

The Venue

Sheri's Chippewa Club, in downtown Durand, is a great place for music. The space is loosely divided in half, with the bar and pool table on one side, and the stage area on the other. There are tables and comfortable couches for music aficionados and cameras aimed at the stage stream images live to televisions scattered throughout the bar. I just think this is sooo cool! They offer a blues open mic on second Sundays, a country open mic on third Sundays and they stream shows live over the internet (check out the bottom of this entry for the link). The stage is plenty big, equipped with an organ, and while I know nothing about this stuff, their sound-system looks pretty comprehensive. On top of all this, they serve fabulous burgers and when you go there, you've gotta try their “Chippewa Chips.” This bar is most definitely a labor of love, created by music lovers for music lovers.

Recovery Note

I would never have come here when I was doing dope: too much focus on music and not nearly enough on getting drunk or high. This was my first visit to Sheri's and don't know what it's like other nights, but it felt pretty darn solid and safe, challenging my recovery not one iota. That said, it is a bar.

Next up: Jeff White and The Electric Range

Links

Catya
www.myspace.com/catyasbands


The Bear Creek Band
www.myspace.com/tbcb2007

Bear Creek Dan
www.myspace.com/bearcreekband

The Love Buzzards Blues Band
www.myspace.com/lovebuzzardsbluesband

Sheri's Chippewa Club
www.myspace.com/sharischippewaclub

Sheris' Webstream Site:
www.sherischippewaclub.com

Davy Jones and the Jones Tones
www.myspace.com/bmajorproductions