Recording Studio Moved to Mount Vernon, WA

This last week I hauled the recording studio up to Mount Vernon, WA – More of just a personal post and not terribly exciting so just move along folks. For me it’s very exciting, it means I can open up the studio again if I want. I’ve done some soundtrack work this year, but not nearly as much as I’m accustomed to. It’s been a terrible disadvantage not having all my toys with me. So finally my toys and I are reunited. The former studio was called Road Records – visit the Road Records website. The studio had three different locations over 16 years and started with a keyboard and a little four track recorder. I produced thousands of tracks at Road Records and hundreds of band demos , solo artist albums and soundtracks.

The night before I left I had the honor of having dinner with three of my good friends from the California High Desert – Karen Etheridge, Fred Dearborn and Carlotta Diggs. I’ve worked for years with both Karen and Carlotta doing gigs and recording projects. Was really great to see them and get caught up on what’s happening down in the High Desert. Thanks for being true friends!
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Night before I left, California High Desert.

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Joshua Tree, Victorville, CA.

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A mean looking Uhaul, don’t mess with me.

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I had the coolest Uhaul – technocolor rocks. Sure was glad I didn’t get the one with the big spider, that freaks me out.

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Went up the Interstate 5 and first major landmark passing by is Six Flags Magic Mountain.

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O’Brien was my favorite rest stop. The I-5 drive is SO boring, that you really look forward to a nice rest stop.

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I was behind this ZapWorld dot com trailer for hours in a traffic jam. Cars look really cute.

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I got out to take a picture of this bus and a lady came running out with a basket that said “Picture Donations”. I told her I’d just stop taking pictures. What a scam.

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In Oregon they have to pump the gas for you. I keep forgetting that.

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Ever notice that old broken down barns always look cool? Why is that?

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Ok, I’ve bonded with nature now. Let’s move on…
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I’m starting to be in a better mood now that I’m seeing some green. When you drive up the I-5 from Palmdale / Lancaster it’s HOURS upon hours of dirt….so green is nice.

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Proof that sometimes a traffic jam is actually caused by a real working construction worker.

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Ahhhh……Green….. getting close to home. What a beautiful site.

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SAVE THE HISTORIC LINCOLN THEATRE BUILDING: PUBLIC MEETING ANNOUNCEMENT

On Aug 18, 2006, at 5:02 PM, Harold A. Page wrote:


SAVE THE HISTORIC LINCOLN THEATRE BUILDING:
PUBLIC MEETING ANNOUNCEMENT
You are invited to attend a public meeting regarding the City of Mount Vernon’s intention to surplus all or part the historic Lincoln Theatre Building.
The meeting will be attended by invited City Council members and it is intended to be an informational, fact filled presentation on the issue of the City’s ownership of our only city Mount Vernon landmark listed on the Washington State Historic Registry.
Whether you agree, disagree or just want to be more informed about the issue, we welcome you to spend the evening of Tuesday  the 22nd of August, 2006 at the Mount Vernon Presbyterian Church, 1511 E. Broadway starting at 7:00 pm
Who is presenting this discussion ?:
Citizens to Save the Historic Lincoln Theatre Building is a non-partisan, grass-roots coalition of concerned citizens , Mount Vernon business people and Lincoln Theatre users who value the Lincoln for it’s historical value, and architectural uniqueness and importance to the vitality of downtown business activity. It is an irreplaceable asset to our community and we want to protect it.
Please join us!
Tuesday, August 22nd
7:00 pm
Mount Vernon Presbyterian Church
1511 E. Broadway
Mount Vernon, WA

Please attend. It is important for our city’s administration to know that the citizens value this irreplaceable asset.

Open Call for Pit Musicians – Seussical, McIntyre Hall 11/06

August 10th, 2006

Open call for pit musicians for Seussical the Musical to be performed at McIntyre Hall, Mount Vernon Washington in November 2006. Positions will close fairly quickly so please contact me ASAP if interested.

MUSICIANS – CLICK HERE FOR SEUSSICAL SHOW DETAILS

We will have a full orchestra for this production. 🙂

PIT MUSICIAN SPOTS STILL OPEN AS OF 08/10/06

Guitar 1 Acoustic Guitar and Electric Guitar

Guitar 2 Acoutic Guitar, Banjo, Electric Guitar

Keyboard 1 Breathy-bell Synth, Pno+Perc.E.P., Cowbell + Calliope, Pno/Rhodes, Pop Piano, Piano, Elec. Pno, Calliope, Kazoo, Cheap-sounding Piano, metal Clav, MetalClav + Calliope, Poly Synth, Stackoid, Tack Piano, Glittery Synth, Buzzy Xylo, Mysterious E.P., Sweet E.P., XyloGlock, Voices, Theremin, Shimmery Stuff, Many Flutes, Rock Piano, Clarinet

Keyboard 2 Breathy Pad, Bell Synth, Harpsichord, B-3, Cricket Synth, Elephant, Orch Hit, “Doing�, Psycho Strings, Tinkly Voices, Door Slam, Kalimba, Mallet Synth, Bell/Harpsi Synth, Pedal, Log Synth, Percussive B-3, Rok B-3, Calliope, Reedy Synth, Hank-y Synth, Nose Flute, Kazoo, Birdie Whistle, Tiny Synth Voice, Horn, Pig Synth, Animal Brss, Many Tubas, Bird Honk, Bird Fart, Hard Bottle Blow, AirRaid Siren, Spooky E.P., Warm E.P., Warm Voices, Celesta, Ethereal Choir, Spooky Voices, Dark Choir, Glittery Bell Synth, D-50 Stack, 80s Pad, Breathy Bell, Toy Piano, Cathedral Organ, Squishy Bass, Small Pipe Organ, Marimba, D-50 Heaven, Mello Organ, Rock Synth, Metal Clav, Hooty Synth, Clock Sound, Icy-cold Synth, Accordian, Ravenborg, Roller Rink Organ, Kazoo Brass, Cimbalum, Funky Horn, Pizzicato Strings, Sitar, Many Trombones & Horns, Buzz Brass

Percussion Crotales, Congas, Djembe, Siren Whistle, Shaker, Vibraslap, Tambourine, Bell Tree, Triangle, Finger Cymbals, Piatti, Sleigh Bells, Vibraphone, Suspended Cymbal, Mark Tree, Cork Pop, Samba Whistle, Ratchet, Bongos, Cowbell, Scraper, Rainstick,

Reed 1 Soprano Saxophone, Alto Saxophone, Clarinet,

Reed 3 Baritone Saxophone, Bassoon, Clarinet, Flute

Reed 5 Flute, Piccolo

Trombone

Trumpet 1

Trumpet 2

Violin 1 (At least 3 players)

Violin 2 (At least 3 players)

Viola (At least 3 players)

Cello (At least 2 players)

Audition Tips for a Musical

Recently ran auditions for a musical and thought it might be useful to post some tips. I am a music director, and we were auditioning for a Broadway style musical – so what I look for may be different than what other people look for in other situations.

IF YOU WANT A SPECIFIC PART – DO YOUR HOMEWORK
You can tell who’s done their homework and who wants a specific part. DO NOT sing a song from the musical you are auditioning for. It comes across pushy – let the directors use their imagination, or THINK they are using their imagination. Gently lead them to the realization – “AHA, this person would be PERFECT for this part” – when that was your intention the whole time. Do this by auditioning with a song that’s similiar in style to the part you want in the current production. Example: If the part is for Mary Magdalene in Jesus Christ Superstar, then sing a ballad similiar to “I Don’t Know How To Love Him”. If you’re trying out for Judas, then do a rock power piece in a high register. This process takes a bit of work, but it’s what will give you the edge if you truly want a specific part. It will also show the directors that you are serious about learning a part and will be willing to put in the time. If you are auditioning for the part of Annie in the musical “Annie” – do not sing the song “Tomorrow”, but instead sing something that will let you project the same brassy tone as the song “Tomorrow”.

MONOLOGUE
I am a music director – so when listening to the artist’s monologue I’m just looking primarily for projection and enunciation first, then for three dimensional acting. I want to hear a nice full voice and be able to understand every single word. Also looking for acting that is not flat or one dimensional. I’m usually writing notes during the monologue and just listening to the consonants and vowels, and will peek up every now and then just to see what the acting looks like. From my viewpoint – the directors will work on the acting, but I need a certain starting point to bring the vocals and music full circle. I have absolutely no interest in the content, but I did notice that people that did Shakespeare caught my ear – I think it’s because they could fully enunciate with a full voice, and that’s what I’m looking for.

ON THE SPOT INSTRUCTIONS
If one of the directors ask you to do something in auditions – like a certain dance movement, sing part of a song, etc. – make sure you ask anything you need to know to do it – and then jump right on it. When I ask for a certain song I may be looking for a variety of things: Pitch, feel for a certain music style, on the spot interpretation or just how well someone can follow quick instructions. This is NOT the time to be shy. If you’re asked to do something additional in an audition – it means the director is looking at you for a specific part, or checking as a possible cut. Well, that’s what I’m doing – so that little bit could be what gets you a callback or not. NOTE: If you are asked to do something specific, that short 15 seconds or so is probably the most important part of the audition – you are being considered for something. This would be a very bad time to roll your eyes like “OMG why would they ask me to do that, it’s so stupid”.

DANCE LESSONS
Anyone serious about theatre could use a little bit of dance lessons. Recently we had someone we were considering for a lead, but they had no movement skills. With one run of ballet lessons I would guess they could improve their movement and get lead roles. People that have had no dance instruction at all can really stick out at an audition, give yourself the edge and take a class if you haven’t already.

FOLLOW INSTRUCTIONS
Listen very carefully during auditions – directors do not want leads that do not quickly absorb instructions. Even if it seems silly, just do it.

DAVE SAYS
My friend Dave says DO NOT SING THE STAR SPANGLED BANNER IN AUDITIONS! Barely anybody sings it well, the range is hideous and all you do is make people cringe for the last note……which you probably won’t get to anyway during auditions.

That’s all I have to add right now and I hope that helps people preparing for auditions.

Mount Vernon Presbyterian Church Choir

DSC00904.jpgThe Mount Vernon Presbyterian Choir says a big “how do”! Usually the choir breaks for summer, but we’ve been having so much fun that we’ve continued through the summer. Our choir is smaller in the summer, but not a bit less fun. On this Sunday we sang “God So Loved the World” by John Stainer. This was a new piece to my ears, but one the choir was very familiar with.

I received an email later after the service saying how “clean and crisp” the choir sounded. I couldn’t agree more. The choir always sounds excellent, but on some occasions they really outdo themselves, and the John Stainer piece was one of those times. For choir directors that haven’t heard the piece, I highly recommend checking out his arrangement. It has beautiful layers, lets all SATB parts shine and the words are a perfect fit to the music. The words are from John 3:16

We have two choirs at Mount Vernon Presbyterian Church. The “Chancel Choir” is the one pictured here; they cover all the classical repertoire and songs with four part harmonies. They also learn the parts for the hymns to enhance the congregational singing. A capella singing is also one of their strong points.

Our other choir is called “Glorify”, which does primarily contemporary praise music. Glorify music is usually unison to accompany the congregation in worship music, with some harmonies.

Or another way I like to think of the two groups is this: The Chancel Choir sings music the congregation listens to, and Glorify sings music along with the congregation.

A picture from summer worship at MV Pres.

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Kirkland Performance Center – Orchestra Pit and Theatre Info

DSC00888.jpgLast weekend was my first time conducting at the Kirkland Performance Center in Kirkland, Wa. I led a 14 piece orchestra for Lyric Light Opera of the Northwest production of Annie Get Your Gun. The show had previously run for three weeks at McIntyre Hall in Mount Vernon, WA – so the whole set was moved over to the Kirkland PAC. Visit the Kirkland Performance Center website for more info and technical specs.
Kirkland Performance Center has a very intimate feel. It seats 402 in 13 rows with a house rake of 3 feet horizontal to 1 foot vertical. Distance from back row to front of house is 40 feet.

The orchestra pit is mainly situated underneath the front of the stage. We had the lid down on the sides of the pit and I would conduct from a roughly 6×6 hole at the front of the stage. Took a little bit to get used to. I am six feet tall and my eyes just about matched the bottom of the stage – so watching the pit below and keeping track of stage action was quite a lot like wearing bi-focal glasses.

The downside with the limited room was that I didn’t get a panorama view of the orchestra and stage, so aesthetically was lacking a bit. But for functionality it worked fine. A couple spots I had to lean to one side to conduct certain groups like a couple male choruses that needed clear visual direction. And was a little awkward when actors were at the very front of the stage, because I was looking at their toes. My cues had to be very high, don’t know if it was distracting for the audience or not.

For any downside caused by the limited square footage, it was made up for by the control of the audio and the intimacy of the room. Because the orchestra was completely covered like in a sound booth, the audio engineer was able to have greater control over the final mix. It was also a lot of fun to be so close to the audience – I think myself and the cast really connected with the audience interaction,

Backstage was well equipped with four dressing rooms, ample rest rooms, a main “green room” and laundry facility. The sound system at Kirkland PAC was very good. Overall I enjoyed our run in Kirkland very much. A very nice concert hall that this Eastside community should be proud of.

The staff at the Kirkland Performance Center is very professional and friendly, well stocked refreshments available before show and at intermission, and the lobby is very classy and clean. Seats are comfortable. Only side aisles for seating, no center aisle.

I just read a blog posting by the Cowboy Junkies who said they loved their double header shows at the Kirkland Performance Center – it is well suited for both stage shows and band performances.

Our full orchestra at McIntyre Hall was 18 pieces, we downsized to 12 for the Kirkland run. I would roughly estimate the maximum number of players for this orchestra pit to be about 15 people, maybe a couple more if they don’t take up too much space, like clarinets or flute.
Outside front view of Kirkland PAC

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Outside Ticke Booth

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Outside billboard at Kirkland PAC

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Three visitors peering into the pit conductor’s podium

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View during show looking up from conductor’s podium

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Inside front doors of theatre lobby
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Looking down at stage at top entrance of theatre

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Front of audience, standing peering into orchestra pit, sides closed
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Bottom corner of theatre looking across theatre seating, seats 402

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Curtains from conductor’s podium
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Down in the orchestra pit

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Part of the Annie Get Your Gun orchestra between shows at
TGIFriday’s, a couple blocks from theatre.
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Orchestra pit dimensions: Width: 40
Depth: 15
Height: 9

Freddy Fender has incurable cancer

Freddy Fender has “incurable” cancer.
This is pretty shocking. I learned about this news, ironically, at my guitar forum Fender-Talk.com . We used to joke sometimes that the forum wasn’t really about Fender guitars, but a Freddy Fender fan club forum. Some of the members there have even gone to Freddy Fender shows with me as we travelled across the US. I toured with Freddy from 1996 to March of 2005 – 9 years.

I noticed in the article that Vangie (his wife) did not ask doctors how long Freddy has to live. I thought that was very classy, and typical of Vangie – who is the ultimate in class. When I stopped playing with Freddy I figured someday I would see some news on CNN that things had ended, just didn’t know it would be this soon.

The #1 question I get from people about Freddy is “what’s he REALLY like?” – And with that question starts the magic of Freddy Fender. I got to see Freddy for nine years backstage, at each town’s fanciest restaurant, in little dive greasy spoons as we made our way from gig to gig on an endless search for the world’s best Menudo. The answer to the question is: Freddy was really like how people see him onstage. That’s what makes him a star. He is honest and open.

Many of the musicians in his group far surpassed his music knowledge 100x over. But he was the star. He knows how to relate to an audience and how to create the magic in a song. That was the biggest lesson I learned from Freddy, it’s not what you know – it’s what you do with it. And with every song he gave it all he had – every time.

One day we were having lunch just the two of us, don’t remember where it was – but I remember he was eating Menudo (which is always a safe bet with Freddy!). I asked him about his battle with alcohol, about becoming sober and clean through AA – and what he had learned. He quickly got VERY serious – leaned in intently and said “I learned two things. I learned there IS a God, and I ain’t him.” Then he started laughing uncontrollable in his chortle giggle, another Freddy trademark.

I think of that a lot. There IS a God, and I ain’t him. Simple words to live by. Freddy was very simple, in some ways almost naive like a child. I think that’s part of the reason so many millions of people love him.

I also remember doing a gig with Freddy in Northern Minnesota. We were chuckling because we knew there would be no one there. Who’s heard of Freddy in Northern Minnesota. To our surprise there was about 5,000 people – all standing outside in the cold for the concert. Another learning experience for us, and another lesson in learning why Freddy is truly the “King of Tex Mex”.

Freddy would call me “El Blanco” – I have very white skin. And it was always a little comical that I was playing with a Hispanic Grammy winner – because I’m about as white as they come: Full blooded Norwegian Lutheran from Seattle. He was usually fair with me, and the few times he wasn’t – I understand his point of view and would have done the same if I had been in his shoes. A band on the road becomes a family with seven wives, and there would be spats – but I know the entire band was proud in their heart’s that we were playing with the real deal, the original.

You can find all the bio info on Freddy through Google – how he started in 1959, was the first Hispanic crossover artist, first artist on Hispanic, Country and Pop charts at the same time. Also look up Baldemar Huerta, his real name. Story goes they were trying to think of a stage name for him – in typical simple Freddy fashion he just looked at his guitar neck and said “Fender” – then thought Freddy went well with that. Don’t know if the story’s really true like that – but I always liked the story so never asked. It’s a keeper.

Every once in a while at a Freddy gig someone would come up who thought it was Freddy who built the Fender guitar. (Wrong Fender – it was Leo Fender). One show in particular there was someone who had driven hundreds of miles and absolutely would not believe me that Freddy did not invent the Fender guitar. They walked away very sad when they realized the truth. So in the future I never corrected people when they said that – thought I’d let them keep that story – just like I want to keep the story around Freddy’s name.

People have an image of road musicians that’s not entirely accurate – so I’d like to set the record straight. Ok, we party a bit here and there – but usually we would finish a gig at 11:30pm – then be rushed to the hotel room – have to mellow out for some sleep so we could get up at 5am to catch the next flight. Truth is, most of the time we were just trying to catch up on sleep – or maybe that was just me. Amazingly, Freddy was ALWAYS up and alert – the rest of us would be snoozing and he would be talking away – didn’t matter if it was 4am. I was always a little bit jealous that he had partied so much in his life – but had so much stamina. He is truly a “road dog”.

I had always wanted to arrange a CD for him with a real orchestra. Take his classics and really do them classy. He did something like that with the CD he won a Grammy for in 2002 – all classic arrangements with hand percussion and nylon string guitars. So now that I’m conducting so many different orchestras, I’ll pretend from time to time that Freddy is onstage singing.

I remember the one time Freddy got very mad at me. We were playing in Stateline Nevada (Think it’s called Jean, NV now) and we were practicing with him the song Margaritaville. In the verses he would always drop a couple beats. So in all my musical wisdom I thought he would really appreciate me pointing this out to him, and I was so surprised no one in the band was saying anything. As I started to speak up I could see two band members behind Freddy giving me the “slit throat” signs to shut up. Then I found out why. Freddy went ballistic. He said “I’ve been doing music since 1959 and you’re going to tell me how to do it? I am Freddy Fender, the way I do it is the right way.” And he WAS right. Part of Freddy’s trademark sound is his quirky timing and phrasing. That was a big lesson for me too. There is no “right” music, there’s just music the way you want it to sound. Needless to say I never corrected him again.

I was always the youngest member in Freddy’s band. Started with him just after my 30th birthday, and I just turned 40 a couple months ago. It was a real trip to be welcomed into Hispanic circles when I played with him, was not something I was used to. Felt like a big family to me, something I’ve only known since then in church settings.

I’m sure each of the old Freddy Fender band members will be dealing with this in their own way. PT Houston, Vern Monnett, Rhys Clark, Augie Meyers, Chris Jurado and Charlie Rich Jr.

.
Thanks Freddy. I know there’s a God. And I know I ain’t him.

🙂

Conrad