Burnt Cat Blues *

Sunday afternoon was perfect for playing at the Bentonsport Scenic Drive Festival (and Fine Arts Festival).   Sunny on the north bank of the Des Moines River, shady under grand old trees, breezy on the gazebo, we traded places in a game of musical chairs ~ a series of musicians joining and leaving the "jam session" organized by Mark Soth.

at the Bentonsport gazebo just before our set,
a few members of Blue Cat Alley (named from right to left):
Steve Jeffries at far right on congas, Mark Soth right of center behind corn stalks,
Beth Payne center, Astred Griffin left of center, and David Bordow seated far left
photo by Heather Miller-Rodriguez

Soth's band Blue Cat Alley supplied several players for the jam, including guitarist Kevin Wells and percussionist Steve Jeffries, who played with Russ and I for our four-song set.   Mike was busy taking photos of Chicago's marathon that day.

I chose cover songs because we had time for exactly one rehearsal before the gig, so everybody had to know their parts before the rehearsal.   Russ and I met with Kevin on Wednesday to work out chords and endings, and we were ready to go.   Steve Jeffries joined us on stage after I'd introduced our first song, and I was ready to gun the engine on that Cadillac.

Our 4-song set:

Bring My Cadillac Back
Wind Cries Mary
Little Wing
Wayfaring Stranger 

After our set, Mark asked Russ to stay for the next set to accompany Eric Schaffer, along with Kevin Wells, Steve Jeffries, Mark Soth, and David Bordow.   I decided to stay, too, and picked up a tambourine to jingle along in an impromptu blues jam with Eric's strong lead singing.   After his set, Eric told me that he specializes in simple songs that are easy to jam with no rehearsal.

*  With Kevin and Steve from Blue Cat Alley, and Russ and I from Burnt Sugar Blues, Will Gunn suggested the moniker Burnt Cat Blues.

Christy's first jam on congas

My first jam on congas went much better than I anticipated.   Really fun, actually.

Mark Soth gathered a group of us at his place last night to jam a bit in prep for a gig in mid-October ~~ Mark plus Mike Scanlon, Danielle Nance, and David Bordow.   Others will probably join later ~~ players will come and go from practice to practice, and from song to song during the gig.   Mark is calling the project Out of Context, which has layers of meaning . . . and a specially personal meaning for me: doing percussion in a band sure is a new context for me!

This is not just a whim, though, this is a strategy.

We, Burnt Sugar Blues, have been without a percussionist for three months and I figured to jump into the breach as a supplemental percussionist to fill in a little during parts of songs when I'm not singing.   Never having mastered snapping my fingers in steady rhythm while singing with focus, I set my goal for alternating between singing and percussion without awkward fumbling of percussion pieces and microphones.   Nominal grace would be a significant accomplishment for me.

When my children started lessons in West African drumming from Fonziba Koster, I started right along with them to give them a little boost of confidence in the new endeavor.   Even before that, I'd been joining in at drum circles, but I did not have much confidence for keeping a rhythm for a band during a whole song, plus pounding it out loud enough to make a difference instead of just scooting around on the edges.    So confidence was the next goal after nominal grace.

After confidence I wanted creativity ~~ to be able to tune into the needs of the song and add a rhythm to support it.   I figured I'd be asking for a lot of advice from other band members.

Well.   Maybe it was beginner's luck.  

Mark Soth heard I wanted to learn this new skill, so he invited me to the jam and set up a nice pair of congas plus a microphone on a stand, which was weird for me because I like to hold the mic in my right hand.   So I ignored the mic and started with r-e-a-l-l-y simple rhythms, just to keep the 1 and 3 going, sometimes all 1, 2, 3, and 4.   It was fun, though, having two drums in front of me, so I played around a little, and a little more.

By about the middle of the jam, we played "Can't Find My Way Home," for which I happen to know most of the words without a lyric sheet in front of me, although I wondered if I'd freeze up and forget them all.   What a shocker to find myself playing all the way through while singing at the same time!

Maybe I'll be able to work with a mic stand.   Maybe I'll be able to juggle multiple pieces and parts without dropping them.   Seems I can maintain some kind of beat while singing, although I don't have the perspective to know how steady it is.   It was a heckuva a lot more fun than I thought it would be to play one single rhythm all the way through a song without changing it up.   I always wondered how drummers could do that without going crazy.   Well, gosh, it felt cool, not crazy.

To add to my astonishment, I found enough creative juice to use a different rhythm pattern for nearly every song we played that evening.   I thought it would take several jams to learn some grace, confidence, and style with percussion, so I'm really pleased to get this far the first time.