With October being National Breast Cancer Awareness Month, local organizations like Albie Aware Breast Cancer Foundation are gearing up for important events like the sixth annual Blues for Life concert at Torch Club on Sunday, Oct. 7, 2012. This year’s show will feature a dozen top-notch performances from bands like Walking Spanish, Arden Park Roots, Mercy Me!, Keri Carr, KB & the Slingtones and many others. Cindy Love, executive director of Albie Aware, says this event is the organization’s biggest fundraiser of the year.

“We do about 17 events a year,” she said. “We’re very busy, but this one is one of the bigger ones. Events like this are our lifeblood, without donations, we can’t do the work we do.”

The foundation was created in memory of longtime Sacramento resident Albie Carson who succumbed to breast cancer in 2002. Her husband Doug Carson founded the organization to raise money to help others in the community who face their own battles with this disease.

“Albie didn’t get the proper follow up testing that she needed when she was done with her treatment and her cancer came back,” Love said. “Albie Aware is Doug’s passion to make sure that all women get tested properly. Our mission is to provide direct services to the community.”

So that means raising awareness, making screenings available, guiding through follow ups, providing free educational classes, etc. Albie Aware is very “hands on,” as Love puts it.

This year’s Blues for Life is $25 in advance (get tickets online at Eventbrite.com or at Torch Club) and $30 at the door. There will also be a raffle, silent auction and pasta cook off, all benefiting Albie Aware. There will be two stages, one outside the Torch Club on the corner of I and 15th streets, and one inside the club. The party goes from 1 to 9 p.m. and Love says they are hoping for a crowd of up to 1,500 people. Breast cancer is a serious issue, no doubt, but most of Albie Aware’s fundraising events aren’t too heavy, Love says. “It’s a festival vibe. We have a good reputation for having fun.” To learn more, visit http://albieaware.org/

Former Tower Records Exec Teams Up With Longtime Restauranteurs To Re-Open Historic West Sacramento Saloon

If there is one thing for sure about the building that sits at 18398 Old River Road in West Sacramento, it’s that it’s got a lot of history. Originally founded in 1878 (nope, that’s not a typo) by Frank Linggi as the Elkhorn Saloon, this building has seen many phases. “It’s been a ferry stop, a roadhouse, a speakeasy, a brothel, a post office, it’s been everything,” says Stan Goman, Elkhorn’s new co-owner and former Senior Vice President and Chief Operating Officer of Tower Records. In the late ‘50s the entire building was even moved to make room for the expansion of Old River Road. It then became the Elkhorn Station and for years was widely known for its “Friday Night Fish Fry.” If only these walls could talk!

“This place has been here so long that there is this core of customers that have been coming for generations. It’s amazing,” Goman said. The 37-year Tower employee acquired the saloon with partners Skip and Rose Kittle (past owners of Skittles Bar and Grill, Rosie’s Rock and Docks and The Westside Pub and Grill) earlier this year from former owner Jason Fernandez. After his Tower years Goman owned and operated University Copy and Print, but after selling that company in 2011, he quickly got bored and started thinking about his next move. “I was always fascinated by the restaurant business,” Goman said, “But everybody always says, ‘It’s a lot of work.’” He learned that firsthand real fast. They put a ton of work into the place: all new paint, floors, windows, stoves and fryers in the kitchen and fixed up the walk-in cooler. “We did a lot of it ourselves,” Goman said with a laugh, pointing out how much of a group effort it was to get the place open. “The customers wanted it open so bad they were painting too.”

Submerge has visited Elkhorn Saloon twice in recent weeks, once for its grand opening on July 7 with live music from the fantastic Keri Carr Band, and once on a blistering hot midweek afternoon. Upon both visits the food was on-point: the fries are legit and the pulled pork sandwich was delish. Loyal regulars raved to us about the prime rib and fish and chips, others raved about the bar.

“I love this type of place,” one customer told Submerge.

“It’s the type of place where if you pass out on the floor, they just sorta push you out of the way,” he joked, hinting at Elkhorn’s dive-bar-meets-country-roadhouse vibe.

“That guy over there,” Goman points to another regular bellied up to the bar, “Every single day he comes in here and gets a shot and four beers.”

Elkhorn has a steady crowd of regulars, that’s for sure, but Goman also pointed out that because they are the closest restaurant to the Sacramento International Airport, they do tend to get travelers visiting them as well. “If you’re flying out and your plane is delayed, just come out here and chill. It’s a lot cheaper to have a beer here,” Goman said.

Elkhorn’s new owners hope to attract more people from the grid to experience the saloon’s unique charm, and they kept this in mind when booking their Saturday night live music series, adding bands like Forever Goldrush (July 21), Walking Spanish (July 28), Island of Black and White (Aug. 11), Golden Cadillacs (Sept. 1), Dry County Drinkers (Sept. 15) and more.

“I want people to have some familiarity with the songs, but I didn’t want it to be just a jukebox,” Goman said. “Plus, I wanted most of the bands to be younger.”

Goman frequented places like the Torch Club and attended the recent Sacramento Music Festival in Old Sacramento to scout out bands to book at Elkhorn. “It was blowing me away how many really good young musicians there were,” he said of the local scene. Goman admitted it’s a gamble booking a lot of younger bands knowing most of his regulars are older, but with a lineup like they’ve got, Submerge doesn’t think there will be a problem. With the kicked-back vibe of their outdoor patio area, which is where the bands play under the stars in front of a giant corn field, Elkhorn will be sure to see many couples boogying on the dance floor this summer, both young and old. If you’ve never been, get off the grid and visit Elkhorn Saloon. Chances are you’ll fall in love with the place.

“I’ve got to just get them out here once,” Goman said, knowing that the place speaks for itself.

To view the entire lineup of bands, see their menu and learn more history, visit http://www.elkhornsaloon.com/

Quinn Hedges knows how to work hard

An infamous problem among artists–musicians specifically–is a lack of motivation. Sure, they love to play, but that’s the just tip of the iceberg when it comes to the workload of a musician, and not many are willing to put in the effort. There’s show-booking, recording, media management and of course, practicing. That’s what makes ambitious artists like Quinn Hedges so celebrated. Not only is Hedges a hard-worker, he’s well mannered. During Submerge’s interview with the singer/songwriter, he was attentive and focused, modest about his music and generous with his pleases and thank yous. He seems generally grounded about being a musician–another rarity. Maybe that’s because music was always something that’s been second nature for him.

“Ever since I’ve started gigging, I’ve wanted more. I’ve wanted to get better. I’ve wanted to be playing all the time,” Hedges said.

Hedges grew up in a musical environment and picked up the guitar by the time he was 15. After his father was relocated by Hewlett-Packard to the West Coast, Hedges left his home in Delaware and settled into Northern California. Shortly after, Hedges went to Sonoma State for a degree in Music. During his time in the Music Department he learned the basis for his work ethic. Hedges reflected on the head of the jazz department saying that if someone wants something bad enough, they’ll get it.

“To hear someone like that, so overly critical, say something like that, it kind of stuck in my brain,” Hedges said.

Clearly that advice was taken to heart, because Hedges has been persistently working on music since. After graduation, he began slowly working his way into the Sacramento music scene, starting with small acoustic shows at wineries throughout the area. Finding a steady community through these shows proved to be a bit of a challenge.

“It was a struggle trying to find a place that would regularly hire you,” Hedges said. “I’ve paid my dues in the last seven or eight years, and I’m seeing the pay-off now where places are booking me as a regular.”

While it’s been a bit difficult, Hedges’ hard work over the last several years has finally begun to show. He has worked his mailing list up to nearly 1,000 people and has started to be really embraced by his community of listeners. His consistent effort has also helped him to develop strong relationships with venues throughout the Sacramento area. He now regularly plays happy hours and night time residencies at well-known establishments such as The Torch Club, Pizza Rock, Hyatt Regency and Davis’ Bistro 33.

“It’s cool because if someone catches me playing at The Torch Club, they’ll come back to The Torch Club,” Hedges said. “I’m starting to see more familiar faces at those venues where they saw me first.”

From these types of interactions and regular performances, Hedges has started to build a solid fan base, which helps him to feel like his persistence has been worthwhile.

“Although it’s been a lot of hard work, it’s starting to pay off with the following,” Hedges said.

These shows are normally solo performances, but Hedges plays with a full band as well, consisting of bassist Jamison Aguirre and drummer John Yessen (also a former member of Hedges’ previous band, Fair Trade).

The group plays officially under the name The Quinn Hedges Band, and over the last three years the trio has taken Hedges’ sound and accessorized it, going from more acoustic skeletons to full-bodied bluesy rock songs. Bassist Aguirre provides a strong underbelly while drummer Yessen keeps a steady pulse that tends to brighten the mood of the songs. Playing solo can tend to be more limited in terms of sound experimentation, but having that group support has given Hedges a chance to try out new ideas and sometimes play a more aggressive style.

“Playing with a band allows me to let loose on the electric,” Hedges said.

The result is their upcoming release, Step Outside. While Hedges is still the solo songwriter, the album is a group effort and marks Hedges’ first full-band release. The individual tracks are versatile, going from more jam-based energetic numbers like “Crazy” to scaled-down, nearly ballad-esque tunes like the title track. The trio’s rootsy feel provides a solid base for Hedges breathy, easy listening vocals, similar in sound to other smooth vocalists like John Mayer. The band manages to mix a sensual intimate feel (thanks in large part to Hedges’ voice) while keeping things fun and lively with mid-song jam sessions. Those interludes also show that this is a tight-functioning band working as one unit, which Hedges hopes comes across to listeners.

“It’s been a long time coming for the band, it shows that these aren’t just a bunch of songs thrown together,” Hedges said. “It also shows a maturity in my songwriting from my previous album.”

Hedges has been releasing material since 2006. This newest album (his third release) gives fans a chance to see Hedges step away from his softer, solo-based style and play more rock-based crowd pleasers. Maybe even a little more cheery.

“My last album was solo acoustic. It was fairly dark, but this has some more upbeat stuff,” Hedges said.

Lyrically, the album follows suit with Hedges’ previous work and focuses on his own experiences, varying from individual relationships to larger universal curiosity.

“There are a couple songs just reflecting on life, there are definitely a bunch of songs about women,” Hedges said. “I kind of tend to write from a personal standpoint.”

His vulnerability is highlighted on songs like “Feel This Way,” which reflects Hedges’ personal questions, complemented by bluesy instrumentation with a strong interludes of electric licks and splashes of cymbals that help the song maintain an intimate feel.

The album is not only aided by the help of a band, but family as well. Hedges’ father, Bernie Hedges (who plays in Sacramento-based The Blues Hounds) plays pedal steel on the title track. Hedges’ sister Hilary Hedges (who plays in the cover band, The Hits) also added to the record, along with drummer Yessen’s father, John W. Yessen.

After the release party on Aug. 15, 2012 at Harlow’s, Hedges plans to continue playing consistently around Northern California, keeping up with his current residencies and focusing on getting the album to a wider audience. Hedges even has additional material that could lead to “possibly another album on the horizon,” Hedges said.

Bottom line is, Hedges will keep moving forward.

“Just pushing as hard as I can,” Hedges said.

Quinn Hedges is true to his word with shows lined up in various venues around the Sacramento area throughout August and beyond. His CD release show, however, should not be missed. You can catch Hedges and his band at Harlow’s on Aug. 15, 2012. Go to http://harlows.com/ for more info. Davis music lovers can also see him on Aug. 17, 2012 as part of his residency at Bistro 33. He’ll be back in Sacramento at Torch Club on Aug. 21, 2012.

Bluesman John Lee Hooker Jr. set to release new album

Taking up the family business may seem like the logical step for any child of a successful parent. However, there are some pitfalls of embarking upon this path. For example, is it even possible to forge your own identity, or are you doomed to be compared to who came before? It’s a challenge that John Lee Hooker Jr. has taken on headfirst throughout his career.

Son of the late, great Delta bluesman John Lee Hooker, the junior bluesman himself has had a long and storied journey through his career, though it hasn’t been the smoothest ride. He began performing music as a child, and by his teens, he was on the road touring and recording with his legendary father.

Drugs, alcohol, divorce and imprisonment derailed a promising career for a long time. But faith helped resurrect him, and in 2004, in his early 50s, he released his first album, Blues with a Vengeance, which was nominated for a Grammy. Three albums followed–studio releases Cold As Ice and another Grammy nominee All Odds Against Me and 2010’s Live in Istanbul, Turkey.

Speaking with Hooker Jr., it’s clear that even at age 60, he’s as exuberant as his music, old school blues infused with a modern R&B swagger. He attributes this to God, exercise and a healthy lifestyle (he even proudly boasts that he graced the cover of Healthy Living Magazine). Also, it’s the music that keeps him vibrant. Even after all this time as a performer, he says he still is able to experience new things.

“There’s always something that you haven’t experienced,” he says.

In February 2012, he and his band played the Mahindra Blues Festival in Mumbai, India. Visiting the country and performing there was a new experience.

“What an experience,” he recalls. “It was something that’s a lifetime experience. Something you’d normally see in documentaries or in the newspaper, and you fantasize or imagine about it, but we were actually there. The people were the kindest people I’ve ever met. The culture is so unique and hospitable. I can’t describe it but to say it was awesome. It was really awesome.”

It’s clear that Hooker Jr. is not done yet. In April, he plans to release his fourth studio album, which he said would be titled All Hooked Up. The album will feature Lucky Peterson, Joe Louis Walker and others.

“We’re just going to have a good time, because I’m all hooked up with my friends,” he says over the phone from Colorado.

In the following interview, the bluesman shines a little light on to his writing process and tells us why riding trains in Europe sparks his creativity.

I was listening to your most recent studio album All Odds Against Me today. I’d read on your website that this was the first time you recorded an album without covering one of your late father’s songs. Was that a difficult decision for you to make?
I mean, you know, it wasn’t a big effort to not do any of his music. I do what I feel, and if I feel that that’s what I want to do, then that’s what I want to do. On a couple CDs, that’s what I felt that I wanted to do–pay tribute to my dad. There are other ways that I pay tribute to him. Some would think that I wanted to stop the critics. “You’re always covering…” I didn’t want to stop the critics; that’s just the way I felt. The next album that will be released in April, that doesn’t have my dad in it either. It’s just how you feel.

I was listening to the first track, “Dear John.” I really love the lyrics to that track.
“Dear John.” Everyone loves to hear “Dear John.”

Is that a crowd favorite when you play it live?
Yeah, we’re playing that every show. People look at the back of those CDs, and they say, “Where’s that Dear John? Where’s that letter your wife wrote you?”

It seems so intensely personal. Is that a song that you really connect with when you’re performing it?
I connect with all my songs, but it’s a crowd attractor. People really listen to that letter, as soon as that band hits, breaks down and it says “Dear John,” people’s ears stretch out, because they really want to hear what she said while he was in jail. “Dear John.” If you don’t say anything else but “Dear John,” you have people being quiet.

Photo by Frank Vigil

You mentioned the album coming out in April. How is that coming along? Have you been working on it while you’re on the road?
It’s coming along well. I have my little tape recorder with me for my ideas, and my scrap paper in my back pocket. I’ve got my songs with me. It’s coming along well. I just brought up another thought for this next song that I’m writing. It’s called, “Leave Your Egos at the Door.” It goes, [singing] “If you want to be in my show, leave your egos at the door.” I’m laying down, so it might sound kind of funny, but that’s the thought I got and I taped it, and I said, here’s my idea. [Singing] “If you want to be in my show, leave your egos at the door.” It’s going to be nice. I’m going to open up this dialogue that you might not like–one that makes you always want to fuss and fight. I got my thoughts going, and that’s all I need to start a song. And that’s how I do it.

It sounds like you write a lot on the road. Is that where you get most of your ideas?
I wrote a Grammy-nominated CD in this city–right here in Lyons and Longmont. I’m about 15 minutes from Lyons, but this is where I wrote a Grammy-nominated CD…

I’m not trying to give the idea that when I’m in Colorado, I’m inspired to write. I’m inspired to write when I’m in Europe on the train. That’s when I’m really inspired–the train.

Can you put into words what inspires you to write when you’re in Europe on the train?
I’m in outer space, in my own outer space. There’s no one there but me. I don’t have any worries of family. I don’t have any worries or concerns of band members or friends, it’s just me and the music. The music is something that’s being translated from one entity into my consciousness, and I just go [laughs].

I’m in my own little space bubble. I really mean that. I’m in my own little space bubble, and everything is locked out. Europeans are very quiet, very quiet. I don’t have any noise. They don’t bother me, and I don’t bother them… I shouldn’t have said “bothered.” Everyone’s just quiet, and I’m just able to do my thing. If I was in America on the train, it would be, “Did you see that game last night? Oh, the Bulls are going to beat them. Oh, the San Francisco 49ers.” And babies crying, “Waaaah,” but not over there. Not over there. So that’s where I do my thing. I wrote another Grammy-nominated CD over in Europe, and that was All Odds Against Me.

John Lee Hooker Jr. will play the Torch Club, which he calls one of his favorite places to play, on March 10, 2012. Go to Torchclub.net for more details. If you’d like to keep abreast on the release of All Hooked Up, tune your browser ito Johnleehookerjr.com.

Longtime Sacramento music scene staple and passionate advocate for the arts Harley White Jr. is bringing his sixth White Noise Festival in 10 years to the Torch Club on Sunday, Sept. 11, which also happens to be his birthday. This year’s lineup features well over a dozen of the regions greatest artists including The Broun Fellinis, Elements Brass Band, DJ Larry Rodriquez, Aaron King, Jimmy Pailer, Electropoetic Coffee, Mike Farrell, The Addict Merchants, The Tender Cinders, The Dean-O-Holics, The Sizzling Sirens Burlesque Experience, Exquisite Corp, The Cuf, Prieta, Take 5, Kenny B., Sankofa, The Cave Women, The Yarddogs and, of course, The Harley White Jr. Orchestra. “The White Noise Festival offers me an opportunity to have some of my mentors, some of my students and some of my friends come out and support the Roberts Family Development Center where I teach percussion,” Harley recently told Submerge. “At RFDC we don’t really have a budget for instruments. We’ve been trying to get them some drums and stuff, so this year’s festival is a fundraiser to get money for the arts at RFDC, or at least bring awareness to them.”

Harley originally found the Roberts Family Development Center a decade ago after finding that the majority of students for his private music lessons were from affluent white families. There was nothing wrong with that, he noted, but he yearned for more diversity when it came to spreading the art of jazz. “After I got into [teaching private lessons] for a while I was like, ‘I’m not affecting any poor black kids,’ and that’s when Roberts Family Development came in. I was like, ‘I can’t be out here and teach jazz to just affluent white kids. If I’m going to do this, and I’m not hatin’, I’ve got to make some time to make sure some kids in the hood get some of this.’”

Ever since, he’s been “the music guy” at RFDC. His goal with this year’s White Noise Festival is to raise $5,000; with a lineup this impressive, we’re thinking that isn’t too far-fetched. He pointed out that one highlight of the day will be when his orchestra is performing with both the Sizzling Sirens Burlesque Experience and The Dean-O-Holics at the same time. “We’re going to do this mega burlesque-y, lounge-y, ‘50s Rat Pack set,” he said. To purchase tickets for just $10, head to Sacramento.ticketleap.com/whitenoise. To learn more about the Roberts Family Development Center, visit Robertsfdc.com.

The Nibblers
Friday, Aug. 13, 2010 – The Torch Club – Sacramento

“Thank you for showing up early. It’s going to be a long night, and we can’t think of anything better than spending it with you,” announced Hans Eberbach, The Nibblers’ frontman.

A good 75 people were in the house at The Torch Club to hear the funk and soul grooves of The Nibblers, and it was only 9 o’clock (good thing I was on time!).

Eberbach is supremely cut out for his job, with a charismatic personality that was trumped only by his outfit. Donning a huge metal belt buckle that matched his chains that hung over his black tank top and vest, he peered out from behind a pair of black sunglasses as he approached the microphone to exhale his lyrics. Behind him, an eight-piece band was bangin’, strummin’ and blowin’.

A good funk tune is something of an aphrodisiac for the older crowd, apparently, because there were some love makers on the dance floor. The 35-to-60 crowd was out in full effect, and unlike the wallflower crowds seen all-too-often at dance and indie clubs, mom and dad can cut a rug. Not to say that I’m surprised, it’s just that I’m used to seeing young whippersnappers having a hard time walking from too many shots of Jameson, not from a recent hip replacement.

But I digress. The Nibblers are a solid band with members that have musical credentials as long as my arm. Jon Wood (guitar), Mike Palmer (bass) and Reggie Marks are of Mumbo Gumbo fame, and the very talented Ryan Robertson was sitting in on trumpet. All the elements to crush a set were in place, and the boys ran through a mix of originals and covers that you could tell were picked out very carefully. Songs like “Who’s Making Love to Your Old Lady” by the late Johnnie Taylor absolutely killed. One of my favorite covers of the night was a song called “Snatching It Back” by Clarence Carter. Eberbach smoothly and soulfully sang, “How can I get your love, when you keep on snatchin’ it back?” Great question.

What really does it for me when I’m watching a funk/soul band like The Nibblers is the presence of the keys player. I don’t want to play favorites here, but damn, a solid keys player like Jeremy Spinger takes a good song, turns it upside down, shakes out all the contents of its pockets and leaves it red hot like an iron in the coals. I just want to shout like James Brown!

At the 11 o’clock hour it was standing room only with the head count up to a hefty 125. The boys took a well deserved break and then returned shortly after for a second set that they dared to have rival the first. James Brown covers set the tone and their list of originals was standout rather than filler. It’s clear these guys are real students of the genre and really take the time to weed through what seems like an endless pool of music that dominated the charts of the ‘60s and ‘70s. Their sets just feel good. It’s too much work at times to come to a show and have to be seriously concentrated on what’s going on. There’s a time and a place for that, but it feels nice to see a band like The Nibblers and the only thing to worry about is spilling your drink on the dance floor.