News Briefs

January 3-9, 2007

Whole lotta pot

Marijuana has smoked past corn and wheat combined to become the United State’s premier cash crop, according to a report by a nonprofit organization advocating for regulating pot in a manner similar to alcohol. Per analysis in a recent study released by the Marijuana Policy Project, the 2006 U.S. pot crop was worth $35.8 billion, compared to $23.3 billion for corn and $7.45 billion for wheat. In California alone, the value of the estimated marijuana grown was $14 billion, nearly twice the combined worth of the national production of wheat and cotton. “After decades of so-called eradication, marijuana is far and away California’s No. 1 cash crop,” says Marijuana Policy Project spokesman Bruce Mirken. “Our current laws take our biggest agricultural product and hand a monopoly to unregulated criminals and gangs.” Of course, there’s a certain built-in difficulty in trying to assess the state-by-state quantity produced and price paid for an illegal substance; there are no USDA crop reports on marijuana. The study by researcher John B. Gettman is based in part on a U.S. government estimate that domestic marijuana production has increased from 2.2 million pounds in 1981 to 22 million pounds in 2006. In his report, Gettman notes that “regardless of the size and intensity of state-level eradication programs, the seizure of outdoor cultivated marijuana plants represents only 8 percent of all outdoor cultivated plants and that seizures of indoor marijuana plants represent only 2 percent of all indoor plants.” According to Gettman, police reports usually peg the street worth of seized marijuana between $2,000 and $4,000 a pound, and figure that one plant produces up to a pound of usable material. In his study, Gettman estimates that the 2006 “farm” price for marijuana was $1,606 a pound, and that the average plant yields 100 grams, or about 3.5 ounces. This makes marijuana the top cash crop in 12 states and one of the top five cash crops in 39 states. According to this study, five states had a 2006 pot crop worth more than $1 billion: California, Tennessee, Kentucky, Hawaii and Washington. California has the largest estimated harvest, with 21.6 million plants producing 8.6 million pounds worth $12.3 million; Wyoming ranks 50th with 5,722 plants (almost all grown indoors) yielding 1,299 pounds for $2,087. The report concludes: “The tenfold growth of production over the last 25 years and the proliferation to every part of the country demonstrate that marijuana has become a pervasive and ineradicable part of the national economy.”


Ask Sydney

January 3-9, 2007

Dear Sydney, how can I be myself without offending people? It seems like time and again I upset people or cross some sort of line, without meaning to. This happens with people I have just met, friends and even family. But this is never my intention. How can I be my exuberant self and get my needs met, without pushing people’s buttons? Every time someone reacts negatively to me, I feel so deflated and hurt, but I don’t want to stop being me either.–Loudmouth

Dear Loud: We all, every single one of us, offend people. The only way not to offend is to withdraw, to never speak out of turn. In fact, don’t speak at all, just keep your mouth shut, dress in plain, unremarkable clothing, drive a small, gas-efficient, anonymous car, make yourself invisible, avoid references to religious beliefs, personal tastes in food and cultural or ethnic biases.

I would rather engage in conversation with an offensive loudmouth than a placid drone who won’t speak an opinion for fear of offending. Please, do not become a boring person, I beg of you. Just be more sensitive to those around you–not by holding yourself back, but by making sure that you give them their own space to talk. There is a line between exuberance and being overbearing. Take time to observe it. Locate yourself. If you fall on the overbearing side, then be more aware of other people’s body language. Are they pulling away? Nervously twirling their hair and tapping their left foot? Or are they smiling, nodding, laughing?

Your job is to be yourself, but also to pay attention. What you say and how you behave impacts those around you. But this doesn’t mean that you must let go of who you are. My guess is, considering the fact that you still have friends and family to offend, your loud mouth isn’t as much of a problem as you think. Part of being an outspoken person means putting yourself on the line, and when you do this, you’re bound to get hurt. But then, life is so short, there doesn’t seem much point in keeping yourself safe at the expense of personal honesty.

Dear Sydney, when I was 17, I was working to help take care of my family in Italy. How do I teach this sort of ethic to my 17-year-old son, who, unlike me, has had everything handed to him? I feel like I’ve created too much affluence, and now I don’t know how to create the need for him to be a man. If I provide everything for him that I can, how will he feel the need to grow up? Sometimes I feel like I have to create an artificial crisis, because crisis is what worked for me. Maybe it doesn’t take a crisis, but if not, what does it take? I’m afraid he’ll be in his 20s and still be a boy.–Frustrated Father

Dear Dad: It isn’t your job to create crises for your son or to make him a man; that’s what life is for. Your job is to give him the psychological tools so that when a crisis does present itself, he is better able to deal with it. These days, adolescence can seem to have an extended shelf life, especially for those fortunate enough to be born into a middle- or upper-middle-class existence. Staying in an adolescent state well into one’s 20s can be normal, especially if dad is paying for the car, the college and the cell phone. But life deals some dirty cards, and not everyone can always count on a family or money or a college education. Sometimes it’s as simple as a broken heart, but at some point your son will feel the bite of failure, and then he will begin to understand what it means to be a man, with or without your assistance. To aid in his education, ask him if he would like to participate in an exchange program, perhaps to a place where people truly know what it means to be poor. Sometimes perspective can be a great teacher.

Ultimately, finding ways to raise a child with integrity when you have so much and your child is in need of nothing doesn’t rate very high on my list of life’s insurmountable obstacles. Be thankful that you are able to provide so well for your son and that you have made his life, thus far, a safe, well-fed, warm place where he can be a boy for longer then most. This is a great achievement. If only more were so fortunate.

Dear Sydney, My main objection to American society, which I do love in so many ways, is that the children here are not taught to think critically. If you don’t have a country of citizens who are critical of what is being said and spoken, then you have a society that is not honest. I have been a teacher in the public school system for the past five years, and I fail to see how having students pass some standardized test in any way shows that they can actually think. The education system in this country baffles and frightens me.–Born in Norway

Dear Nordic: The public school system is an institution of the United States government. This means that in many ways it is not to be trusted. It’s the job of parents to teach their children to think critically, especially about school, as this is where they will be spending the majority of their time. They should be taught to understand that ours is a school system with many fine points, but also one that can be so rife with inequalities and mindless pedagogies that it’s amazing so many of us are even capable of thought, period, much less critical or imaginative thought.

There’s something tempting about sending our children off to school everyday without really giving much consideration to what they are actually learning. But it’s important to strive against such an apathetic view toward our children’s education. Another duty that falls to parents is to pay attention and teach children how to assess what they are being taught in school, and not to accept it blindly. This way, if the child happens to land an exceptional teacher, one who teaches critical-thinking skills, they will be all the more prepared to excel.

No question too big, too small or too off-the-wall.


Morsels

January 3-9, 2007

As zillions of backpack-slinging youngsters begin their second semesters abroad, five classes for the grownup set are set to begin at the Vintners Inn Event Center. Ushering foodies through a gamut of world culinary creations, renowned chef John Ash begins his series on Tuesday, Jan. 16, with a class focusing on one of his favorite subjects, wild game. Ash, whose first recipe book was American Game Cooking, gives the adventurous something to chew on with “Exploring Wild American Cuisine.” This seems best suited for Michael Pollan disciples, who have already considered the omnivore’s dilemma and now face the next dilemma: how to cook it once you’ve hunted it.

Here, learn how to prepare roasted venison with wild huckleberries, make a warm quail salad and do something magical with wild mushrooms. For romantics, the Valentine’s edition of the class smooches in on Monday, Feb. 12, and highlights foods that moonlight as aphrodisiacs. Expect to woo such brazen produce as apples, figs, bananas, cucumbers and eggplants.

On Tuesday, March 13, “A Menu from One-on-One” follows with globally inspired recipes from Ash’s recent James Beard Foundation award-winning book. Then, “Fish and Shellfish Dishes from Around the World and the Wines that Go with Them” treats Mexican-inspired grilled shrimp and tomatillo salsa, Japanese-inspired white-miso-marinated salmon and Thai-inspired spicy rice noodle and fish soup on Wednesday, April 18. Finally, on Monday, May 7, “A Hands-on Grilling Class” warms up BBQ-ers for their busy season and teaches them techniques like the hobo pack.

John Ash cooking classes take place at the Vintners Inn Event Center, 4350 Barnes Road, Santa Rosa. 6:30pm-9:30pm. $95 per person, includes wine pairings. 707.575.7350, ext. 176, or visit www.vintnersinn.com, on the left sidebar click on “Dining,” then click on “Cooking Classes with John Ash” on the bottom right.

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Liar’s Carnival

January 3-9, 2007

A quote for the year in movies: “Honesty is not synonymous with truth.” That’s Vera Farmiga’s Madolyn in that two hour-plus game of liar’s poker, . Like that Scorsese film, 2006’s cinema was a liar’s carnival. Who was the most popular film hero of the year? Probably , no fan of the truth himself. (“Hello? Pirate.”)

In the best 10 of the year, as well as in many other of the noteworthy films of ’06, we see a roster of pranksters, double agents, spinmeisters and illusionists.

Perhaps stories of liars are natural for cinema, which is itself a lie really, a blank screen eclipsed by a speedy procession of still images. But perhaps also this year’s special emphasis reflects a society where truth is so valuable that it’s rationed. Among filmmakers, we see a growing cynicism, reacting to lies in all their forms–lies of omission, lies of exaggeration and, of course, the bald-faced, breezy, smiling lie. If cinema celebrated liars, it never exalted them as much as public life did. “Hello? Politician,” as Capt. Jack might say if he were kicked upstairs.

The top 10 are in boldface and in no particular order and include a couple of films that haven’t yet opened in the area.

‘The Death of Mr. Lazarescu’ The con man of the year, , proved that subtitles don’t have to sink a film’s chances. And medical shows are as popular now as they’ve ever been. So even though this film had “death” in the title, and even though it was in Romanian, it was a gamble that local exhibitors should have taken. One finds a shock of recognition in the nightlong effort of a dying man to get to the hospital. Anyone who has burned with exasperation while trying to outwit his HMO might find some solace in the story of the martyrdom of St. Lazarescu.

Reengineering the film noir for the age of the pastel-hued, morose indie movie was Rian Johnson’s task. And he created a movie every bit as solid as its title. It beats out the fun but overstuffed Departed, Soderbergh’s well-cast but punchless Good German and DeNiro’s foggy , all similar cavalcades of deceivers built on the foundation of film noir. Rian Johnson’s revisit of Dashiell Hammett terrain was worth seeing several times, just to untangle the alibis and double-talk.

‘Notes on a Scandal’ And speaking of revisits to the classics, how about this needle-fine female variation of Strangers on a Train? As a study of dissembling, hypocrisy and scheming, it’s worthy of Richard III (and note the king’s portrait glimpsed onscreen on a school bulletin board).

O rare Nick Naylor! What a captivating artist of distortion. What a living cautionary tale to the credulous who have been taken in by Naylor’s colleagues in the art of bullshitting.

Very funny, with Helen Mirren as her majesty engaged in an effort to ignore the 20th century. And very instructive in how to triangulate a potential political calamity, in those moments where the public suddenly shows its rage at government mulishness.

This film shares a little bit with the above. The hero, Theo, is caught between lying terrorist revolutionaries and a scheming, lethal government. The story may have some resonance to those who want neither Osama nor Bush.

‘Pan’s Labyrinth’ This Goya-themed fantasy, set during the ascendancy of the fascists during the Spanish Civil War, is a story with a similar fork to the one describe above: a little girl, caught between the panicked world of Franco and the arbitrary laws of the underworld.

A pair of magicians engage in a war of violent deception. While this is an entertainment, never–not even in Orson Welles’ day–has there been such a disturbing story of the ruthlessness of magicians.

Chappelle has been known to tell a few lies onstage. More specifically, the scenes of rural Ohio combat the lie that the Red States are places of no culture and no tolerance.

The title says it all. It was a very inconvenient year for truth and truth-tellers.

Runners-up: , .

Finally, a note from the past on the future of movies: “And if you foresee how few years remain before the grandest prospect for a major popular art since Shakespeare’s time dissolves into the ghastly gelatinous nirvana of television, I think you will find the work of this last or any recent year, and the chance of any sufficiently radical improvement within the tragically short future, enough to shrivel the heart. If motion pictures are ever going to realize their potentialities, they are going to have to do it very soon indeed.”

The excerpt is from Phillip Lopate’s 2006 book American Movie Critics, and the passage is from critic James Agee’s film wrap-up for 1944. Replace the comment about television with “podcasts,” and it sums up the danger of cinema being reduced to “downloadable content” gazed over by a distracted watcher as he walks from his car to his classroom. Under such circumstances, only the most glib talking head or the most violent image can survive. Anything that’s really cinema–that’s subtle, that builds with anticipation or tells a story with understatement–is in danger of being literally lost in the shuffle.


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More Wine!

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Photograph by Melanie S. Wong
Más fun: Company rep Julian Slee wrangled the keg at a Cloverdale do last August.

For his 15th high school reunion, Andy Woehl brought a keg to the party. A keg is always welcome, he reasoned, and might even bring back memories of keggers long-gone. Andy’s keg, however, wasn’t filled with beer; it was filled with wine. What better test market for a newly launched product than your graduating class, he figured, and who doesn’t love free wine?

Fresh out of the barrel and into the keg this July, Woehl’s company, Más Vino, may revolutionize the way we look at wine. Woehl and his business partners took a simple premise–that bulk packaging is bad for the environment–and put it toward making a business around something they like to do: drink wine.

With a background that includes time spent working on Fat Tire Ale at the New Belgium Brewing Co. and as plant engineer for Clos du Bois, Woehl was a natural when it came to putting wine in kegs.

“At Fat Tire, it was a lot easier and more efficient, and we made a lot more money doing the keg product as opposed to bottles. Restaurants make more money on them. So why shouldn’t people want to do wine that way?” Woehl reasoned.

Throughout Europe, wine is produced and sold in kegs. Más Vino’s keg supplier, the Schaefer Keg company, controls about 40 percent of the keg market in Italy, which is a half-million kegs annually, says Woehl. He and his business partners are bringing the idea to America.

“When people say, ‘Oh, I went to Italy, I had great table wine!’ that’s keg wine!” Woehl chuckles. “There’s nothing worse than getting an old, oxidized bottle of wine, and with a keg you’ll never have that problem.”

Packaging Más Vino in keg systems, or “mini tanks,” as Woehl calls them, eliminates any contact with oxygen that might prematurely age or damage the wine. Built just like a beer keg, the 20-liter dual-chamber mini tank presses nitrogen gas down on top of the wine, which is then drawn up through a tube from the bottom of the keg, through a pouring spout, and into your glass.

Más Vino guarantees that its wine will remain fresh in the keg for 60 days, but Woehl knows it will stay longer. “I know a girl in Australia who did a test of Sauvignon Blanc, and she was still pouring fresh glasses after 12 months! They just left the keg tapped and sitting on the counter,” he says.

In addition to keeping large amounts of wine fresh indefinitely (great for restaurants who serve wine by the glass, M·s Vino’s target market), putting wine in a keg system eliminates excess packaging.

Transporting all that packaging (cardboard, cork, bottle, trash) wastes both materials and gas, so in addition to saving money and energy, selling wine as a bulk product saves the wine itself. Speaking from his years of experience as the plant engineer at Clos du Bois, Woehl says, “On a given day on a bottling line, you’ll lose 1 percent of your packaging material, and between 1 and 3 percent of the wine that was in the tank. It just splashes everywhere!”

Including breakage on the line and other inherent packaging problems, bottling wine individually at Más Vino’s price point ($7 a bottle, wholesale) just seemed wasteful to Woehl and his business partners.

“For high-end wines that are aged, a bottle is still the ideal packaging,” he says. But for the vast majority of the 1 billion bottles that are produced annually in California–11 percent of which are consumed by the glass at restaurants, bars and hotels–wine from a keg just makes sense.

While keg wine may seem like a novel idea, it’s been tried several times before. Giorgio’s Italian Restaurant in Healdsburg still carries Inglenook wine in a keg after 20 years. In the 1980s, Anheuser-Busch launched a Carlo Rossi-style “red Burgundy” wine in a keg called the Master Vintner’s, which failed because “in the ’80s, people just weren’t drinking wine,” according to Woehl. “And the quality just wasn’t there.”

Already found in 25 restaurants in the North Bay, Más Vino appeals to restaurant owners “all over the board, because it’s a new idea,” Woehl says.

“It’s interesting to see who we appeal to and who will try something new, and who won’t,” he says. “I’ve been in high-end restaurants where the wine buyer is really excited about our wine and wants to buy it, but the owner won’t do it because he thinks the perception of wine in a keg won’t fly.”

Because some restaurant owners might think bulk-format wine will be perceived negatively by their customers, Woehl guarantees to buy back Más Vino if it doesn’t sell.

“Changing people’s minds about what’s on their wine list is like getting married or divorced!” Woehl laughs. So for now, Más Vino is keeping it simple. “We have one wine, one package. We don’t want to overwhelm people,” Woehl explains

Made of a blend of more than 120 wines, Más Vino is what’s known as a “virtual brand,” like Barefoot, Blackstone or Smoking Loon. Winemaker Tammy Collins (who spent eight years as the winemaker at Blackstone) “has a lot of experience buying and blending off the market,” says Woehl.

Before boutique wineries came into vogue, buying and blending was the norm. “Traders were the traditional winemakers in France,” Woehl explains. “In the old days, if you were a farmer and you grew grapes, you grew the grapes first and turned them into wine.”

After the finished wine was barreled, the negotiant (or trader) would select from the barrels, buying finished wines from several farmers and then blending and packaging them under one label. The most famous of these negotiants was Georges Duboeuf of Beaujolais fame (who later went on to make his own wine), and this is how the cognac Courvoisier is still made today.

While Woehl insists he’s not trying to “shatter or revolutionize the way people think about wine,” Más Vino, which is based out of Cloverdale, certainly seems like a breath of fresh air in the culture of pretension that can so often surround the wine business.

“People who want to spend a lot of time complaining about how this wine or that wine’s not that great aren’t really the most fun conversationalists,” Woehl smiles. “And after a few glasses of wine people lose their aficionado palates, anyway!”

Trying to “strip a lot of the worry about vintage and appellation” away from the enjoyment process is what Más Vino is all about. “We will tell you all of that information if you like,” Woehl says, “but ideally, we want something that people can just enjoy by the glass, by the carafe, or however it’s being served.”

With a touch of sweetness and a punch of dark fruit rounded out by smooth tannins, Más Vino is a dangerously easy-drinking wine. As a second, then a third glass pour out of the keg perched on one writer’s coffee table, giggling ensues. “There’s a lot more in the keg,” laughs Woehl. “It just keeps coming out!”

Vivacious and fun, Más Vino is like taking a winery tour and tasting from the tank–whether it be by the glass, by the carafe, or standing upside down over the keg at your high school reunion with a lampshade on your feet.



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Blown Away

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music & nightlife |

Tin sandwich: Mark Hummel’s all-stars come to town Jan. 13.

By Greg Cahill

Fifteen years ago, harmonica whiz Mark Hummel went from powerhouse blues blower to premier blues impresario. Today, his annual Blues Harmonica Blowout series plays to sell-out crowds while presenting a steady stream of deep blues. “It seems that people really want to see harmonica players in an environment that provides a buffet of blues harmonica, where you can see a lot of different players and compare styles,” says Hummel, 50, during a phone interview from his Berkeley home. “With so many great players in the lineup, you never get tired of anybody because they’re not onstage that long. And having players of this caliber together brings out the best in the other players. Everyone rises to the occasion. It’s a very exciting event in that sense.”

The current West Coast tour finds Hummel and company playing nine concerts in 10 days with a Jan. 13 stopover at the Last Day Saloon in Santa Rosa. The lineup includes blues-harp great Billy Boy Arnold, a Chicago native who got his first harmonica lesson from John Lee “Sonny Boy” Williamson just days before Sonny Boy’s 1948 murder; longtime Muddy Waters Band alum Paul Oscher on both harp and guitar; and the husband-and-wife harp-and-piano blues duo of Rod and Honey Piazza. The ace back-up band sports guest guitarist Rusty Zinn with the Blues Survivors (Bob Welsh, guitar and keyboards; Steve Wolf, bass; and Marty Dodson, drums).

Harmonica heavyweights Kim Wilson of the Fabulous T-Birds and Rick Estrin of Little Charlie and the Nightcats will be on hand for the first leg of the tour (including three nights at Yoshi’s), but will be sailing off on a blues cruise prior to the Last Day Saloon gig.

With that kind of power, it’s little wonder Hummel’s blowouts are catching on. “I’m doing more and more of these all over the country,” he says. “In September, I got off the road from a Midwest and East Coast tour with Magic Dick [of the J. Geils Band], Lee Oskar [of War] and Jerry Portnoy [another Muddy Waters alum]. And about three weeks ago we finished a Northwest tour with [California blues harpist] James Harman and Lee Oskar. In March, I’ll tour the East Coast with Kim Wilson and Charlie Musselwhite.”

How did Hummel go from red-hot harpist to cool blues promoter?

“Sort of not by choice,” he says. “I’ve always tried to come up with ideas to keep the band working as much as possible. But the blowout shows are a combination of hard work on my part and walking into a market that I never expected to be as successful as it’s been.”

The blues bug bit while Hummel was still a Southern California high school student. It was Musselwhite, a Memphis native and Sonoma County transplant, and James Cotton, who had replaced “Little Walter” Jacobs as Muddy Waters’ main harp man in the 1950s, who provided the epiphany. “They were the first two guys I saw play live blues harmonica, when I was like 14,” recalls Hummel. “That was at the Ash Grove nightclub in Los Angeles in 1971.”

Hummel later honed his chops listening to such blues-inflected ’60s and ’70s rock bands as the Jimi Hendrix Experience and Cream, but it was the Chicago-style blues harmonica of Cotton, Walter “Shakey” Horton, Little Walter and Sonny Boy Williamson that really caught his ear. After graduation, Hummel traveled around the country soaking up the regional sounds of New Orleans, Chicago and Memphis. In 1980, he formed the Blues Survivors, playing at the Chicago and San Francisco Blues Festivals. He has recorded a series of critically acclaimed albums, including a three-volume Blues Harp Meltdown series that spotlights many of the same greats with whom he has shared the stage.

Indeed, it is those superstar sessions that have fueled Hummel’s passion for the blues. “I remember doing a gig 20 years ago with [blues guitarist, singer and songwriter] Lowell Fulson,” he says. “The first three nights were duds because there was just no audience, but on the fourth night, people came out of the woodwork. It was like a Twilight Zone episode–everyone onstage dropped about 30 years in age and looked like they had all returned to their youth.

“It’s just really thrilling when these guys hit their stride, that’s all I can tell ya.”

Mark Hummel’s Blues Harmonica Blowout appears Saturday, Jan. 13, at the Last Day Saloon. 120 Fifth St., Santa Rosa. 8pm. $25. 707.545.2343.




FIND A MUSIC REVIEW

Out with the Old!

December 27, 2006-January 2, 2007

Sonoma County

Ace-in-the-Hole Pub New Year’s Eve buffet and Champagne with Free Peoples and Jug Dealers. Watch the ball drop on TV live from New York. The party begins at 5pm and ends by 10pm, making this a perfect start to the night. $20-$25. 3100 Gravenstein Hwy. N., Sebastopol. 707.829.1223.
Berlin to Broadway The Cinnabar Theater enjoys 20 years of Kurt Weill’s genius in a cabaret revue repertoire that includes selections from The Threepenny Opera and other riveting works. Champagne, desserts, noisemakers and party favors are part of the fun. From 9pm. 3333 Petaluma Blvd. N., Petaluma. $55-$60. 707.763.8920
Black & White Celebration Dance to Swing Street, dinner with wine and Champagne toast. Dress as a James Bond character and you might win some bubbly! Geyserville Oriental Hall, 1000 Hwy. 128, Geyserville. 9pm. $100. 707.857.3745.
Black Cat Bar & Cafe Big New Year’s Eve party with Spell Merchants, Cheap Date 13 and Smokehouse Gamblers starting. Food, party favors, bras hanging from the ceiling. $12. 10056 Main St., Penngrove. 707.793.9480.
Charlie Brown NYE The Charles M. Schulz Museum serves free root beer floats at noon on Dec. 31 and offers an afternoon of fox trot dancing, snow-globe making and toasts to the wonders that the New Year will bring to the young and old alike. 2301 Hardies Lane, Santa Rosa. Call for details, 707.579.4452.
Countdown Ball Antix Events, a company from San Diego, takes over the DoubleTree Hotel in Rohnert Park and turns the place into a sleek Vegas-style ultralounge with a strict dress code, go-go dancers and Southern California DJ Anthony Ross. Three rooms, four other DJS, VIP service, da works. 1 Double Tree Drive, Rohnert Park. 9pm. $30-$115. 619.961.5181.
Dgiin Celebrate the new with their French gypsy funk-punk thang. Blue Shift open. $10 cover, includes Champagne toast. Jasper O’Farrell’s , 6957 Sebastopol Ave., Sebastopol. 707.829.2062.
Les Claypool! Ring in 2007 with Les Claypool’s New Year’s Eve Hatter’s Ball. Many artists will perform including the Coup, DJ Malarkey, and funk legends from the Meters and Neville Brothers. Prepare to take part in the Most Original Hat contest. Sonoma County Fairgrounds, 1350 Bennett Valley Road, Santa Rosa. $50-$100; benefits Hurricane Katrina. www.harmonyfestival.com.
Flamingo Lounge A Champagne-popping New Year’s Eve party with late-night snacks, lots of balloons and party favors. Entertainment provided by R&B faves UB707. Fourth Street and Farmers Lane, Santa Rosa. $45. 707.545.8530.
Forestville Club The Poyntlyss Sistars do their inimitable R&B groove thing for a night of dancing. From 9pm. 6250 Front St., Forestville. Call for cover. 707.887.2594.
Kodiak Jack’s DJs Ryan and Patrick host an evening including the Mr. & Ms. Kodiak Jack contest. Feast on the midnight buffet before the toast. From 8pm. 256 Petaluma Blvd., Petaluma. Call for cover, 707.765.5722.
New Year’s with the Beasts Safari West hosts its usual take on the unusual with dinner, dancing and ferocious fun. Safari West, 3115 Porter Creek Road, Santa Rosa. 7:30pm. $80. 707.579.2551.
Main Street Station Toast in the New Year hourly (celebrating New Year’s from New York to Guerneville) with free Champagne all night. Partygoers will also hear the blues of Gwen “Sugar Mama” Avery. Show starts at 7pm. 6280 Main St., Guerneville. $15. 707.869.0501.
Murphy’s Irish Pub The Celtic fusion band Greenhouse begin playing at 3pm (at 4pm, it’s the New Year in Ireland). At 9pm, the evening heats up with the Carrtunes playing blues, swing, jazz and country. 464 First St., Sonoma. Free. 707.935.0660.
Pat Jordan Band DJ Matt McKillop helps tear the house down from 9:30pm. Treats include snacks, Champagne toast and party favors. Last Day Saloon, Fifth and Davis streets, Santa Rosa. $70. 707.545.2343.
Peace Party & Celebration Singing, dancing and celebrating all evening with various artists including Funky Soul Doctor Spencer Burrows, Buzzy Martin and Kim Atkinson. There will also be an outdoor labyrinth walk, a meditation room, an intention altar and a midnight sing-along to “Imagine.” Sebastopol Community Center, 390 Morris Street. 7pm-1am. $10-$20. 707.823.1511.
Pirate’s Ball Local faves 5AM take over the Russian River Brewing Co. replete with the Black Sheep Belly Dancers for a wild night of har-har-har. First 50 at the door get a pirate earring and eye patch. Prepare to be boarded! 725 Fourth St., Santa Rosa. 8pm. $20-$25. 707.545.BEER.
The Pulsators Healdsburg Bar & Grill offers food all night long, major dance vibes, a Champagne toast and all the goodies. $25. 245 Healdsburg Avenue, Healdsburg. 707.433.3333.
Sapphire Lounge It’s a queer New Year with an inclusive DJ dance party, dinner, balloon drop and midnight toast. $35 with dinner; $15, dance only. 521 Adams St., Santa Rosa. 707.542.2577.
Sons of Italy New Year’s Dinner Dance Annual party features dinner, dancing to accordion master Steve Balich, noisemakers and continental breakfast. Petaluma Veterans Center, 1094 Petaluma Blvd. S., Petaluma. From 6pm. $45; Reservations required. 707.762.6002.
Three Kings Day Gloria Ferrer celebrates the winery’s Spanish heritage with this annual community party. Traditional Spanish holiday treats and sparkling wine complete this family-friendly afternoon. From 4pm. Reservations required. 23555 Hwy. 121, Sonoma. $5. 707.996.7256
The Tommy Castro Band The Hacienda Brothers (we love you, Chris!) open with a bang and Tommy wails the blues till the balloons drop. Mystic Theatre, 23 Petaluma Blvd. N., Petaluma. 9pm. $50. 707.765.2121.
River Rock Casino Double the fun at two New Year’s Eve parties (as it happens again on Jan. 12) with the Second Wind Showstoppers Live Tribute to the Temptations, who appear at 8:30pm and 11:30pm. The Showstoppers promise to bring the Motown group to life with exact copies of their costumes and famed choreography. 3250 Hwy. 128, Geyserville. Free! (Like anything at a casino is free . . . ) 707.857.2777.
Seven Ultralounge The hors d’oeuvres begin at 8pm and the first 200 folks in the door get a complimentary Champagne glass. DJs include Emin, Rob Cervantes, Rolando and Insult. Balloon drop, bien sur. 528 Seventh St., Santa Rosa. $20-$25. 707.528.4700.
Spancky’s A New Year’s Eve party featuring Deja Voodoo, bubbly at the witching hour and prizes. Show starts at 9pm. 8201 Old Redwood Hwy., Cotati. $10; two people, $15. 707.664.0169.
Sweet Spot Pub & Lounge Instrumental music starts at 9pm and then Phatty takes over, moving the house on to major phunk. The food will flow; this is an all-ages gig. 619 Fourth St., Santa Rosa. $15. 707.528.7566.
Tradewinds NYE bash featuring the rockin’ funk blues of A Case of the Willys. Appetizers, Champagne, party favors–the whole spread. Music starts at 9:30pm. 8210 Old Redwood Hwy., Cotati. $25. 707.795.7878.
Trailer Park Rangers Fusion of everything cool helps to ring in the New Year. Sebastopol Brewing Co., 230 Petaluma Ave., Sebastopol. 9pm. Call for cover, 707.823.7837.

Marin County

Dance Palace West Marin hops at the B-Line when Van van der Maaten takes over the Dance Palace for an evening of fun to benefit the Coastal Health Alliance. Champagne, full bar, yummies and desserts. Fifth and B streets, Point Reyes Station. From 8:30pm. $40. 415.663.1075.
New Year’s Boogie-Woogie Mitch Woods and His Rocket 88’s do the jump-swing thing on the ivories and beyond, channeling the great party spirits of Louis Jordan, Cab Calloway, Louis Prima and others. 142 Throckmorton Theatre, 142 Throckmorton Ave., Mill Valley. 8pm. $50. 707.383.9600.
19 Broadway Niteclub The Monophonics and Crystal City start the party at 9:30pm. 19 Broadway, Fairfax. $20-$25. 415.459.1091.
The Pinks Gypsy folk-metal all-female sorta tribute to Black Sabbath, the Pinks take over the Olema Inn & Restaurant for a night of gaiety, silliness and even musicianship. From 6pm. Small-plate menu available; no prix fixe commitment required. 10000 Sir Francis Drake Blvd., Olema. 415.663.9559.
Rancho Nicasio Dance the “Big Easy” when Zydeco Flames play their jambalaya of Louisiana-style Cajun/zydeco. Show includes party favors and a Champagne toast. On the Town Square, Nicasio. 9pm. $35-$45; reservations required. 415.662.2219.
Waltz the Year Away Pianist Seth Montfort plays New Year’s waltzes and ballroom dances by Weber, Chopin, Tchaikovsky and others. J-B Pianos, 540 Irwin St., San Rafael. 2pm. $10-$15. 415.662.2223.
Saylor’s Landing Eugene Huggins and Chris Goddard swing the New Year in gently, beginning at 6:30pm. 305 Harbor Drive, Sausalito. 415.332.6161.
Station House Cafe Petaluma trio the Artifacts have the greater facts of swing jazz down pat. Enjoy a dinner and music out in our premier beauty spot. Dinner-as-usual last seating at 6pm; New Year’s special begins with 8:30pm seating. $20 cover; open menu. 11180 State Route 1, Point Reyes Station. 415.663.1515.
Sweetwater Funk faves Vinyl will be playing at 9:30pm and finishing up 2006 with free Champagne and party favors and many, many sweaty bodies. 153 Throckmorton Ave., Mill Valley. $50. 415.388.2820.

Napa County

Chaplaincy Fundraiser Safest party of the year is the one hosted by members of the Napa Police Department to benefit the Law Enforcement and Fire Chaplaincy program of Napa County. The Silverado Resort supplies the glamorous digs for an evening of no-host cocktails, dinner, a raffle, snacks, wine and dancing to the Souza Sounds band. From 6:30pm. $75. Silverado Resort, 1600 Atlas Peak Road, Napa. 707.257.0200.
Disco Fever This groovy night at Clos Pegase starts at 8pm with a hip reception in the Cask Room, followed by a gourmet dinner paired with their estate wines and served in the dramatic (or disco-matic) caves. After dinner, travel back in time to boogie the night away. Break out your ’70s attire ! Event limited to 150 people. 1060 Dunaweal Lane, Calistoga. $200. 800.366.8583
Downtown Joe’s Four-course prix fixe dinner with fresh crab and steak, party favors, two drink tickets, balloon drop for prizes and then dancing to the rock of the Point Blank band. Dinner seating from 5pm; reservations required. $75. If the venue doesn’t sell out for dinner, music-only tickets will be available at the door for about $25 each. Band starts at 10pm. 902 Main St., Napa, 707.258.2337.
Hydro Grill Classic rock with Brickhouse from 9pm. Swing dixieland on Sundays. 1403 Lincoln Ave., Calistoga. 707.942.9777.
Meritage Resort Proceeds of this black-tie pop, rock and blues dance party benefit local charities. This party includes a cocktail reception, auctions, sensational entertainment, great food and Champagne at midnight. 875 Bordeaux Way, Napa. $100. 707.226.7455.
Silverado Brewing Co. The open mic starts at 8pm, but everyone will be waiting for the after-midnight breakfast buffet. Don’t worry about cab fare–Silverado supplies a shuttle service between St. Helena and Calistoga. 3020 N. St. Helena Hwy., St. Helena. 707.967.9876.
Vintage 1870 Yountville Chamber of Commerce sponsors hot-hot-hot salsa dance party with live music provided by Candela. 9pm. $75, includes two drink tickets. Reservations required. 6525 Washington St., Yountville. 707.944.8008.


Hot Toddy

0

Firewater: Cold-weather cocktails warm and enliven. In fact, they’re darn near medicinal.

The appeal of cocktails is inextricably linked with ice: ice shaken and strained out of the drink; ice blended into the drink; ice cubes clinking in the shapely clear glass. What could be cooler than a swanky drink sipped under stylishly low lighting?

But when ice comes in the form of frost on the windshield, the tropical minty breeze of a mojito is less inviting. Gurgling warm-weather cocktails in the dead of winter makes about as much sense as eating a corn and tomato salad composed of December produce. In other words, it’s unfashionable and unseasonable. Take a break from fighting ice with ice, and come in from the cold to warm cocktails.

Sure, a glass of red wine or a creamy pint of stout can nurture a bar-goer craving comfort, but warm cocktails, so cozy in nature, are best enjoyed at home. Almost always on the sweet side, they make fine nightcaps and are a delightful change of pace for casual entertaining.

Generally, warm cocktails can be divided into three categories: wine-based (mulled wine), dairy-based (Tom and Jerry) and tea- and coffee-based (hot toddy). One of the oldest and most popular warm cocktail is mulled wine, which possibly originated as a way to make spoiled wine drinkable by sweetening it and adding spices. Most any culture that drinks wine has a mulled version of it: French vin chaud, Italian vin brule, Germangluhwein, and Scandinavian glögg. Hearty glögg can be fortified with vodka or schnapps, as well as raisins and almonds. Gluhwein, often sold on the street at open-air Christmas markets, translates to “glow-wine”; after a few mugs of the stuff, you’ll be glowing yourself.

Mulled wine is great party fare, easy to make in bulk, and it requires minimal attention. Don’t put in too much sugar, or you’ll wind up with a big pot of purple glop that tastes like hot cough syrup. Instead, taste the wine as it mulls and add the sugar bit by bit. And while it’s important the wine you use be good enough to drink at room temperature without gagging, don’t go cracking open anything that costs more than $10. Two Buck Chuck is perfectly suited to the task. As an alcohol-free alternative, mulled juices (blackcurrant, grape, cranberry, apple or the seasonal pomegranate) do nicely.

The old-world charm of spicy wine concoctions notwithstanding, the Tom and Jerry–a concoction of stiffly beaten eggs, hot milk, rum, brandy and spices–was once the reigning king of warm cocktails. It was so ubiquitous in winter entertaining that bowls and mugs, often decorated with gold edging and emblazoned with the words “Tom and Jerry,” were made specifically for serving the drink. J.H. McKie, an L.A.-based company that manufactured coffee machines, even sold a Tom and Jerry urn so bartenders could serve many orders of the labor-intensive cocktail throughout the evening with relative ease. In his short story Dancing Dan’s Christmas, Damon Runyon wrote, “Many people think Christmas is invented only to furnish an excuse for hot Tom and Jerry, although of course this is by no means true.”

Eccentric bartender Jerry Thomas (author of the first known bartending guide) is often credited with creating the drink, though some cocktail historians dispute this fact, pointing out that Thomas would have been in his early teens in 1847, the year he claimed to have invented his namesake.

Whatever the case, the Tom and Jerry sadly does not appeal much to our modern tastes. I served the drink at a party last winter, and my guests were less than enamored; the drink bears quite a strong resemblance to hot, watery eggnog. However, the drink has quite a following among traditionalists in the more landlocked states of our great nation, where winter weather means business and ready-made Tom and Jerry batter can be found in grocery and liquor stores.

Tom and Jerrys are not particularly simple to whip up. One must first separately beat the egg whites and egg yolks, then fold them together with sugar and nutmeg to create the “batter.” A few tablespoons of batter are next placed in a warmed mug with liquor (rum and brandy, most often) and topped off with hot water or milk.

Besides the Tom and Jerry, rum plays a starring role in hot buttered rum, another drink for which a jarred mix is available. Once again, hot buttered rum falls into the love-it-or-hate-it category; some find a greasy film floating on top of their warm Bacardi just a bit too much to handle. Some modernized recipes for hot buttered rum batter call for the addition of ice cream, which perhaps deviates from the classic version but makes a sweeter, creamier drink with a wider appeal.

Tea- and coffee-based warm cocktails offer the added bonus of caffeine, so if your system can handle a battle of liquid-borne depressants and stimulants, Irish coffee may appeal to you. Jack Koeppler is credited with introducing the drink to America in 1952 at his San Francisco bar, the Buena Vista, which continues to be a destination for the concoction of black coffee, sugar and whiskey topped with softly whipped cream.

For something with less kick, add a little rum or whiskey to high-quality hot chocolate for a lower-fat, higher-flavor alternative to eggnog. This preparation would generically fall under the umbrella of a hot toddy–generically any warm mixed drink, usually made with whiskey, rum or brandy in hot tea, water or coffee. The classic hot toddy includes lemon and honey and is oftentimes not consumed for pleasure but as a home remedy for a cold or flu.

Speaking of sickness, in my experience, overindulgence in warm cocktails invariably leads to hangovers much more ferocious than those resulting from chilled drinks. Either drink moderately or be prepared to pay the painful price. Winter is a cruel season, and the fortitude gained by imbibing one warm cocktail should not be squandered by imbibing a fourth warm cocktail.

So sip merrily away, whether it’s at the bar or in front of the fireplace, and dream of the trendy cocktails to come once spring rolls around.

Easy to make in a large batch, mulled wine is perfect for stress-free entertaining (it cooks largely unattended). Make sure to mull for at least one hour, during which time the flavor goes from harsh to mellow.
1 750 ml. bottle fruity red wine
1 3-inch piece orange rind
juice of 1 orange, strained
4 whole cloves
2 3-inch cinnamon sticks
4 cardamom pods, split in half
at least 1/4 cup honey
at least 1/4 cup sugar
Combine all ingredients in a large, nonreactive saucepan (or better yet, a crock pot) and set over lowest heat, making sure wine does not boil. Mull for at least one hour to allow the flavors to fully meld. Taste prior to serving and adjust sweetness with more sugar or honey, if desired. If serving in glasses, place a spoon in the glass prior to adding hot liquid to prevent the glass from cracking. Serves 6.

Premade Tom and Jerry batter can be pretty scary stuff. However, three of the main ingredients of Tom and Jerry batter–eggs, sugar and dairy–are present in premium ice cream, which is much more versatile in the first place.
3 tbsp. premium vanilla ice cream (preferably French vanilla)
1 ounce rum
1 tbsp. brandy
about 6 ounces milk or water
freshly grated nutmeg for garnish
Fill a medium mug with water and microwave for 1 to 2 minutes. Empty the mug and place ice cream in the bottom. Microwave for 30 seconds to 1 minute, until ice cream is melted, warm and frothy. Fill the mug with water and/or milk, and microwave 1 more minute. Add rum and brandy and stir. Garnish with nutmeg and serve. Serves 1.



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Chewing the Fat

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music & nightlife |

Apres surf: Drinking beers after surfing, Mother Hips lead singer Tim Bluhm and singer-songwriter Jackie Greene get candid.

By David Sason

The Skinny Singers are skinny but they aren’t brothers. Yet the newly formed duo–Sacramento singing sensation Jackie Greene and Chico’s favorite veteran road warrior, Tim Bluhm of the Mother Hips–seem closer than most. Whether witnessing their playful joshing, comedic telepathy or Bluhm’s pseudo-paternal guidance, it’s hardly surprising that only a year’s acquaintance has spawned a fury of collaborative songwriting, countless future recordings and an inaugural tour. I caught up with the prolific pair via phone before they kicked off their spontaneous, 10-city West Coast jaunt in Santa Barbara. They appear Dec. 27 at the Sweetwater Saloon in Mill Valley.

The Bohemian: How did this tour come about?

Bluhm: Jackie and I met in New York City last year and started hanging out, playing some music. We actually live pretty close by and just wanted to start a new band.

Greene: We did a show up in Sacramento where we took Hips’ songs and Jackie Greene songs and twisted them around with some different flavors. To a certain extent, the Skinny Singers is a take-off of that, but we’re a little more coherent this time.

Bluhm: Hopefully we’ll still be coherent by showtime tonight. (laughs) We’ve written songs together and we’re also going to be playing some old favorites.

Were you surprised by the immediate chemistry?

Bluhm: Yeah, I was. Songwriting’s kind of a private thing, but Jackie and I hit it off really well. I think we have similar tastes and we admire each other’s songwriting a lot.

Jackie, did you grow up listening to the Hips?

Greene: I did. I always was and still am a big fan. It’s basically getting to do shows and be in a band with one of your favorite songwriters. It was weird when we first started hanging out, because I was actually a bit star-struck, which doesn’t happen to me very often.

Bluhm: Oh, come on . . . (laughing)

Greene: (laughing) But now I’m not. Now he’s just another dude.

Bluhm: Yeah, he quickly got over that.

Tim, it seems you and the Hips are relishing your independence the last few years.

Bluhm: About four years ago we took a hard look at what was happening in our careers and our lives. We just decided that not only did we need some time away, but when we got back together we should do so to have fun–only. Doing a cover album of [Neil Young’s] Everybody Knows This Is Nowhere is a perfect example. It was really fun to learn the songs and fake the album cover. I just laughed a lot. Those kinds of things are where it’s at for me, and that has a lot to do with what Jackie and I are doing.

After being abruptly dropped from American Recordings in ’97, would you ever consider a major label again?

Bluhm: Oh, yeah, we’d definitely consider it. Our experience wasn’t all that great, but we learned a lot. I have a much different perspective on how I operate my business and how I live my life. I’d consider it, but it wouldn’t be the answer to all my prayers.

Jackie, on your Verve Forecast debut American Myth, you’ve embraced a bigger-band sound.

Greene: The record before that was pretty much a solo record, but I like rock and roll, so I wrote songs that were sort of geared toward that. All you can really do is what moves you, whatever turns you on.

What’s your next album sounding like?

Greene: Lyrically, it’s a bit more, dare I say, socially conscious. I’m not really an overtly political kind of a person or writer, but there are some statements that might catch people’s attention. In terms of its sound, I haven’t really discovered that part of it yet. Tim came down to L.A. for some sessions. I want to get him to play guitar, sing, play a Game Boy. (laughs)

Bluhm: I don’t know how to do that. (laughs)

Tim’s website features photos of your home studio in Sacramento. Are you recording some of it there?

Greene: The label probably won’t let me get away with that. We’re both really into analogue tape machines and all these home-recording techniques. I mean I’d love to, but I probably wouldn’t be able to convince anybody in a suit in New York.

The Hips have really embraced the direct fan contact that downloading allows. What do you guys make of this whole industry shift?

Bluhm: Jackie and I are in pretty distinctly different situations; he’s on a major label and I’m not. It behooves the Hips to get our music out there, even if it doesn’t actually earn us money. We’ve always let people bootleg our shows anyway, so giving away music is nothing new to us. We make most of our money playing live shows. I wish we made more money selling records, but it’s just a small portion.

Greene: I’m exactly the same way, except I don’t make any money selling records. In fact, I owe way more money. We also allow people to record our shows, and it’s stupid not to embrace the digital downloading ideal. It’s obvious the customers have chosen how they want to receive their music, and if the majors were to embrace that fully, it would solve a lot of issues. I always encourage people to share, even burning songs on a CD for your friends. The bottom line is getting people to your shows. That’s where bands like the Hips and mine make our living. We’re not Madonna, we’re not U2, and we don’t sell millions of records. That’d be wonderful, but it’s not the reality.

Do you feel any added pressure with diminishing major-label fostering?

Greene: I don’t want to disappoint anybody, but ultimately I’m going to do what I want. If there is any pressure, I put it in the back of my mind. I can only write the songs I want to write, and I can only sing the songs I want to sing. If you don’t please anybody–oh, well.

Jackie Greene and Tim Bluhm play the Sweetwater as the Skinny Singers on Wednesday, Dec. 27. 153 Throckmorton Ave., Mill Valley. 9pm. $27. 415.388.2820.




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Home Bodies

0

music & nightlife |

Alive & Lickin’: Dan Hicks shares Cher’s distaste for the road.

By David Sason

No one would ever accuse Mick Overman of being lazy. For nearly 20 years, the Santa Cruz-based musician has built a strong reputation as an Iron Man of the road, playing as many as 379 shows a year. On top of that, he’s been a one-man promotion machine, driving the releases of all his albums, which showcase his self-described “bluesy folk and roll with jazz attitude.”

But despite his tireless work ethic, Overman’s always been a Bay Area sensation, playing regularly at Downtown Joe’s in Napa and the Tradewinds in Sonoma County, a place he calls his second home. Overman first played the North Bay a decade ago at the behest of friend and Cotati accordion guru Jim Boggio. The area reminded the SoCal transplant of why he’d originally moved to Santa Cruz back in the ’80s. “Six or eight years after moving to Santa Cruz, the music scene wasn’t as strong, but it seemed to be thriving in the North Bay,” Overman remembers. “There was more of an appreciation for live music, and for original music.”

At the turn of the millennium, Overman scaled back after 12 years of grueling, nonstop West Coast touring. “I wanted to focus more on just being a human being and an artist, rather than a money-earning machine,” he remembers. This turning point, ironically, was consistent with one of Overman’s many astute business theories. “You can oversaturate a market, and no matter how you evolve and improve as an artist, there’s a danger of people taking you for granted,” he says. “I only play my hometown three or four times a year.”

The fiercely independent songwriter shows more of a collaborative spirit on his new album, Good Thing Happen, to be nationally distributed by Burnside Distribution, which should gain Overman an audience faster than his years of touring have. But his idea of success transcends the bottom line. “I’m getting to live as an artist on my own terms, earning a living and getting by year after year, writing, performing and recording music that’s important to me,” he says. “If this is as good as it ever gets, I’m OK with that.”

Conversely, Bart Hopkin of Point Reyes Station has always been satisfied with his limited, regional renown. “I’m not very good about being ambitious about these things,” he admits with a laid-back laugh. “I came here because I liked being here, then I took whatever musical opportunities happened to come along.” Hopkin’s classical guitar solo show can be seen every Saturday at the Station House Cafe in Point Reyes Station, where he plays an eclectic repertoire of originals and standards. “I’ve been playing there for literally 20 years,” he says, “and I think we’re at the stage now where it would be too sad for them to ever fire me.”

Hopkin seems more driven by his day job as director of Experimental Musical Instruments, an organization devoted to unusual and invented instruments. His interest started, like many, at a very young age. “There are always kids beating pots and pans,” he says. “I was one of those, and I never really stopped beating on pots and pans.” His curiosity eventually led to an ethnomusicology degree from Harvard and years of studying traditional music in Jamaica. In 1996, he published the highly regarded book Gravikord, Whirlies & Pyrophones: Experimental Musical Instruments, replete with a CD offering readers a solid glimpse of what each instrument sounds like. Hopkin’s album After Seven Years navigates through originals and classics as varied as Bach, Woody Guthrie and the Motown classic “Money (That’s What I Want),” aided by an invention he simply calls “a funny-looking, 5/6-size electric guitar.”

“If you think of a good name,” he laughs, “you can tell me.”

With an expansive but scattered community, events for experimental instrument enthusiasts, like one in New Zealand that Hopkin will soon attend, are few and far between. “There’s certainly not an annual festival,” Hopkin says, “but in the Bay Area, the scene is pretty good.” Hopkin wants to organize more shows like one he arranged in 2004, but they’ve proven to be logistically difficult. “For me to do a good show, it really helps if I bring a ton of instruments,” he says. “It’s great fun, but it’s also a drag in a way. Compared to just doing music in a restaurant, it doesn’t make much money.” Hopkin looks forward to his next showcase, though, which is cryptically scheduled for whenever he “gets the itch.”

Similarly nonchalant about his career in general, Hopkin seems content and grounded. “I’m not like a lot of musicians who have stars in their eyes,” he says. “My dream is just to try to be a decent person in the end.” Though not as innovative as his experimental instrument work, Hopkin feels his more conventional Station House gigs–playing to weekenders and weary hikers–have other rewards. “I still enjoy the hell out of it,” he says. “The greatest thing is to play the song that was playing on the radio the first time that guy at that table over there kissed Susie.”

Certainly no stranger to the good ol’ days of rock is influential Mill Valley resident Dan Hicks, an innovator of the late-’60s Haight-Ashbury psychedelic scene with his band the Charlatans. Hicks gigs regularly at the Sweetwater, a venue that’s endured since he moved to the town in the early ’70s. In addition to his popular band the Hot Licks, he enjoys his other project, Bayside Jazz, where he brings his unique vocals to jazz standards to a standing monthly afternoon gig. “I kind of do a Mel Tormé thing; it’s a labor of love,” Hicks says with his Arkansas drawl. “I like it because I don’t play guitar. I can just stand there and see what I can do with my voice.”

This venture is not surprising for Hicks, whose last album, the countrified jazz and blues hybrid Selected Shorts, featured guests as diverse as Jimmy Buffet, Willie Nelson and the Butthole Surfers’ Gibby Haynes, whose own raspy vocal inflections mirror the host’s. In 2007, we can expect Hicks’ long-awaited Christmas album, a possible KRSH radio show and certainly more concerts, which he still enjoys the most.

“I somehow prefer playing live than being in the studio,” he says, relaxed as always. “It’s sometimes tedious and a necessary chore.” In order to avoid tour burn-out, he now limits his international show schedule. “I go out for maybe two weeks at the most,” he says. “It’s like Cher said, ‘I like everything but the traveling.'”

Although a local icon, Hicks enjoys a mid-level of success. “I would like to have more recognition,” he admits, although his views on the subject are as capricious as his musical styles. “But I would hate to get to the point where it did bother me,” he says. “Bob Weir goes to Whole Foods late at night so he doesn’t get hassled. I wouldn’t want to be in that place.” He chuckles: “Or maybe I would.”

Calistoga resident and jazz pianist Larry Vuckovich has dedicated his career to ensuring local artists get their due appreciation. He fled his native Montenegro, arriving in San Francisco during the jazz-rich 1950s. “The scene was unbelievable; you had bebop, big band, Dixieland, boogie-woogie piano players,” he remembers of the North Beach area. “Charlie Parker would jam there, guys from Duke’s big band would come, Ella would come.”

A widely respected artist in his own right, Vuckovich pioneered the use of Balkan musical elements in American jazz with songs like “Blue Bohemia Suite” from his film noir-inspired Street Scene album. “Coming from the Balkans and hearing the gypsy music, those guys don’t jive and bullshit,” he says. “The great jazz musicians all had that, but that’s diminishing.”

Vuckovich holds high esteem for lesser-known masters, like trumpeter Allen Smith, who’s recorded with Benny Goodman, Duke Ellington and Gerard Wilson. “When he plays the horn, he sings,” he says, vibrantly exhibiting his encyclopedic knowledge of the genre. “The great singers always admired the great horn players, because they would exchange ideas.”

As a Napa Valley Jazz Festival curator, Vuckovich spotlights many of his unsung heroes each December, but the opportunity was hard-won, having been turned down by more prominent festivals in San Francisco and Monterey. “They had these guys isolated one by one for years, but that’s not enough, man; you got to have 10, 15 guys,” he insists. “You put them all on one stage and show people the history of the city, plus you get to see how these older guys play with such great energy.” Vuckovich’s honoring of others has brought him more recognition for himself. San Francisco mayor Gavin Newsom recently proclaimed his 70th birthday, Dec. 8, Larry Vuckovich Day.

“Little by little, it’s happening,” Vuckovich says of the North Bay jazz scene, undoubtedly catalyzed by his regular gigs at COPIA, the Calistoga Jazz Festival and soon the Larkspur Cafe Theatre. And for a man who’s just entered his seventh decade, age seems nothing but a number. “As long as I feel good, I have no intention of slowing down,” Vuckovich says. “In some ways my energy is even better, because you learn to channel it, not to waste it.”




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music & nightlife | Alive & Lickin': Dan Hicks...
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