But not today. So more non-existence. It's a skill that takes time to perfect.
This show was on the upright with a guitarist and singer. We played old blues, R&B, and pop songs from the 1930s up to about 1973, with a couple Patsy Cline songs thrown in just for good measure.
The venue is a place called Capitol Cider in Seattle's Capitol Hill neighborhood. Unlike Cliff's gigs, getting there wasn't an issue, but parking sure was. I got very lucky and found street parking that my van fit into right across the street from the venue. We hadn't played there before, so I got there a little early to find out where to go, where to load, and all that. The stage was downstairs. The bass is bulky but light, and all the rest of my gear is pretty lightweight. I took the Carvin combo and the extension cabinet, not the big ol' 360. It would have been a challenge to get the big one down the steps.
The minimal amount of setup we needed to do took about ten minutes, which left another 40 minutes or so before showtime. The sound guy turned up about 20 minutes before we were supposed to start, and had us dialed in almost immediately. He was amazing. I haven't ever been able to play the upright at that volume and seismic level without getting brutal feedback. The good thing is that it sounded fantastic. The bad thing is that every clam I hit all night was like a semi-truck driving through a bedroom. It's incentive to have good intonation.
I was surprised at the number of people who turned up. The place wasn't packed, but it was certainly full, and on a Wednesday night. It's a night club type setup, with a decent sized raised stage. The audience is at tables with chairs and some booths. Dancing isn't likely, but we had people participating by the end of the first set. Getting a place rocking with an upright bass and sparse, BB King inspired electric guitarist was a pretty big surprise to me, but it happened. Ooh Pah Pah Doo gets spelled differently, depending on whose version you look up. Spelling doesn't matter so long as the audience gets into it. But, no it didn't, since I don't have pictures.
After two sets that ran about an hour and ten minutes each, the evening was done and we packed up. I was even happier to have the little Carvin rig instead of the big folded horn when carrying everything back up the stairs. Parking across the street meant that it took hardly any time to load out. That left time to go back down for a post-playing beer.
But, I didn't have fun, since the gig didn't happen. No pictures means this post doesn't even exist. You are imagining reading it.
This show was on the upright with a guitarist and singer. We played old blues, R&B, and pop songs from the 1930s up to about 1973, with a couple Patsy Cline songs thrown in just for good measure.
The venue is a place called Capitol Cider in Seattle's Capitol Hill neighborhood. Unlike Cliff's gigs, getting there wasn't an issue, but parking sure was. I got very lucky and found street parking that my van fit into right across the street from the venue. We hadn't played there before, so I got there a little early to find out where to go, where to load, and all that. The stage was downstairs. The bass is bulky but light, and all the rest of my gear is pretty lightweight. I took the Carvin combo and the extension cabinet, not the big ol' 360. It would have been a challenge to get the big one down the steps.
The minimal amount of setup we needed to do took about ten minutes, which left another 40 minutes or so before showtime. The sound guy turned up about 20 minutes before we were supposed to start, and had us dialed in almost immediately. He was amazing. I haven't ever been able to play the upright at that volume and seismic level without getting brutal feedback. The good thing is that it sounded fantastic. The bad thing is that every clam I hit all night was like a semi-truck driving through a bedroom. It's incentive to have good intonation.
I was surprised at the number of people who turned up. The place wasn't packed, but it was certainly full, and on a Wednesday night. It's a night club type setup, with a decent sized raised stage. The audience is at tables with chairs and some booths. Dancing isn't likely, but we had people participating by the end of the first set. Getting a place rocking with an upright bass and sparse, BB King inspired electric guitarist was a pretty big surprise to me, but it happened. Ooh Pah Pah Doo gets spelled differently, depending on whose version you look up. Spelling doesn't matter so long as the audience gets into it. But, no it didn't, since I don't have pictures.
After two sets that ran about an hour and ten minutes each, the evening was done and we packed up. I was even happier to have the little Carvin rig instead of the big folded horn when carrying everything back up the stairs. Parking across the street meant that it took hardly any time to load out. That left time to go back down for a post-playing beer.
But, I didn't have fun, since the gig didn't happen. No pictures means this post doesn't even exist. You are imagining reading it.
