This was originally a travel journal to share with family and friends but when home again it became a general blog about anything that came to mind – but now I'm travelling again, this time wandering the streets of Italy – do check in. Ciao baby!
As I prepare to leave Portland it’s time to keep or delete the images on my phone and I have chosen six that I like as a sort of summary. I mainly used public transport, which is very good in Portland, and with the iPhone maps and apps everything is so easy and I got a good feel for the city. The troubled and dispossessed are everywhere, there are groups sitting on street corners and encampments in underpasses. The streets in the area of the NorthEast where I stayed are leafy and tree-lined, the houses all big and comfortable. The shopping is great – there’s so much stuff to buy. Everyone I met was friendly and keen to engage. There is definitely an easy-going, counter-culture community spirit in Portland, and there’s a T-shirt slogan you often see – Keep Portland Weird, but it’s not that weird – it’s nice.
The guy behind the counter said, ‘You might like to try this’, went out to the back room and came back with a 1943 Gibson priced at US$11,000. I have never played an acoustic worth that much but today I played quite a few of expensive guitars, and yes, they all do sound different and they feel different too. My absolute favourite was a 1971 Gibson Dove with an ebony neck at US$2,700. It rang out beautifully, had plenty of bass depth and the neck felt so natural in my hand – it was perfect. Next he gave me a new Gibson L65, the neck was flatter, made for a smaller hand or a learner, but so easy to play and it sounded big and full, a real modern acoustic guitar, and only US$1,000. I visited Old Town Music on Burnside Rd where I tried a few Martins, Guilds and Taylors from $1,500 to $3,000 but none really impressed. They had a 1976 Gibson L200 (pictured), the famous acoustic Pete Townsend of The Who plays, a big jumbo body with a great thumping sound that’s ideal for stage playing when there’s a band – but at US$2,700 there was something wrong with the neck – it was a bit twisted so the action was too high at the 12th fret. One of the best guitars in the shop, to my taste, was a vintage Yamaha F30 for just US$750. I didn’t buy a guitar but I did buy a mic I’ve always needed, too pricey in New Zealand, a SM58 with a switch for US$100, and they gave me a free T’shirt.
Next it was Centaur Guitars on NE Sandy Rd and some of the finest acoustics I’ve seen and played. There is no hard-sell in these shops, they don’t hover around you, they just let you play and play – but, there is one rule, whatever you do, and there are signs up – DO NOT SING.
There must be a big problem with prejudice in America. Whether it’s race, gender or disability, people are making their position known. Everywhere there are notices in shop windows, on front lawns and on the doors of bars and restaurants with lists, all saying the same kind of things. The people in Oregon seem to be confronting prejudice head-on and are trying to build awareness at a community level. I suppose some of this comes as a reaction to the white supremacist killings recently in Portland on a commuter train that surprised many people because Portland sees itself as a ‘liberal’ State. I started to wonder how it would go down if people put up signs in shop windows in New Zealand talking about a rejection of any form of prejudice, what would the average Kiwi think? Some may say it’s unnecessary, others would say it’s ‘about time’.
But it indicates to me the problem is very real in the US possibly increasing as a result of the current political climate and recent election result, or perhaps it’s always been there – but this is definitely a backlash. People at a community and grassroots level are making their politics know – and it’s very encouraging.
Oregon followed Colorado and Washington State in making the recreational use of cannabis legal and since then the cultivation of it has become big business. The ranch where I was staying is currently experimenting with the propagation of the plant and I was shown around their set up. There are many varieties with the most popular being Sativa and Indica, and it is this one that commands a higher price and the one they are focusing on. In the town of Bend in central Oregon with a population of about 80,000 there is already 14 stores exclusively selling pot. The price for the premium organic product is high, especially outside the September and October glut period when the outdoor crops are harvested. Outdoor product is known as ‘dirt-weed’: the set-up I was shown is growing indoors, a premium organic Indica sensimilla under special LEDs. The farmer I spoke to doesn’t smoke pot himself because he’s not really interested and hasn’t the time while running a busy farm with 31 horses along with his core business combining various silica and calcium powder ingredients to make the compound used to make plaster casts used in medical and dental applications – but that’s another story.
I was interested in the medicinal use of cannabis oil but apparently the recreational product is currently much bigger business. The science of the horticulture and propagation of the plants has captured the scientific mind of my host, and of course, the realistic possibility of making around US$2,500 a pound is very motivating. Just a final note, a few have asked, no pot was offered to me or was it requested. The cultivation is in the early stages and the tour was centred around the horticultural and the commercial aspects.
Staying a few nights at place called Bend in the middle of Oregon about three hours south east of Portland. It’s flat wide-open country with endless pine trees and a vast horizon in every direction with a row of mountain peaks rising in the North.
The Bent Wire Ranch has 31 horses, 3 goats, 6 dogs including a Great Dane and some chickens. They are involved in ethology; the study of animal behaviour, specifically, horses and hold regular training sessions and clinics on the property. People bring their horses and they work with them – it’s holistic and it all centres around the animal. Zeno, a trainer from France went into great detail of their methods. She says horses have riders forced on them when the horses are too young and not ready, like 3 years old and their backs can be damaged. She explained how the vertebrae in the back need to strengthen in muscle from 5 years and only ridden from the age of 7. She doesn’t accept the old myth of ‘breaking-in’ a horse saying its cruel and unproductive because the riding life of the horse is shortened. Instead, a horse needs to slowly build muscle between the vertebrae in the back. We walked around the ranch and she showed me some damaged horses. The Ranch is a rest home for a few older horses, the oldest is 27 years, while other horses have come because they have been too difficult for their owners. I learned more about horses from Zeno in half an hour than ever knew before – and no, I didn’t go for a ride.
I’ve been shown around the local town, Tumalo, where we ate at a food truck park and heard a local blues band play. And today into Bend to visit the massive Fred Meyer store that my niece, Hanna, assured me had ‘everything’, – it’s true, the quantity and selection is staggering.
I was looking for some tea and some snacks for my hike. My host has three drawers of teas in their kitchen in every combination of fruit flavours but no black Ceylon tea. With a quick mental conversion I figure the costs of everything in Fred Meyer is about a third less than NZ, but there’s nothing I really need apart from nuts, fruit and tea.
On my hike in Shelving Park reserve I followed a trail through the trees alongside a river. The air smells of pines and there’s a fine dust in the breeze, it’s spring and about 24° C but apparently it’s going to be 29° later in the week. They tell me summers are blazing hot and there’s huge dumps of snow in winter here – seems I’ve come at a good time.
Soon as I saw Townshend’s Tea Company I was in.
The owner seems to never tire of talking about tea. I settled on Darjeeling 2nd flush, (the second batch of leaves that has more depth of flavour than the first flush). He offered me two tins so I could compare, I sniffed each tin and nodded sagely – yes, definitely the 2nd flush, please. One of the assistants, a woman with purple hair, delivered my order and said, having overheard my conversation, I might also like Golden Needles: a black tea from China, grown and directly imported in small batches.
In the local Beaumont Store I met Stefan Hansen from Dunedin, he’d been here 14 years working in wine wholesaling and was loading the produce section. He was wearing a Music Month target t-shirt. He said Portland is just the right size: big enough to have a healthy arts culture and small enough to have a sense of community. We talked about how everything seems to be organic in the food stores and Stefan said it’s now going ‘beyond organic’ people are demanding food that is also local organic. He suggested the Portland Art Museum because there is a collection of works by Rothko, who originally came from Portland, and to check out the Alberta Street Arts District – just a half hour walk away.
Today I walked the length of Hawthorne Street where’s there’s coffee shops, vintage clothes shops, bookshops, coffee shops, restaurants in every flavour, a cluster of food trucks, coffee shops, meditation centres, bars and cafes, vinyl record stores, a music school, a hat shop,
guitar repairers, and did I mention coffee shops?
I came across Crossroads Music with an adaption of that picture of Robert Johnson. Inside I heard
about the songwriters night on later in the evening.
There’s something of an old-fashioned alternative culture in this part of Portland as if the 60’s
and 70’s are still very much alive. It’s a bit earthy and very organic, there are racks of rental bikes with tiny solar panels, Crosby, Stills and Nash was playing on one sound system and the cafes are full of people sitting on their MacBooks drinking Kombuca.
I slept for about 8 hours on an 11 hour flight and I’ll never fly without those Bose QC20 noise-cancelling headphones again. I realise now the constant drone in the cabin is the reason so many people are so exhausted after a long-haul flight – it’s so loud.
Amazing co-incidence to have Jo Baylis from Micheal Park School, her husband and their two youngest girls in the seat behind me. They were flying on to New York to pick up a 1987 Chevrolet Sedan they bought on eBay: driving it across the States to LA and shipping it home – cool.
I asked at San Francisco Airport Information if there was free wifi and realised, as I was saying it, that Silicon Valley is just down the road – well, of course there’s free wifi at the airport.
I’m was in SF airport for four hours waiting for my connecting flight to Portland because someone suggested I leave plenty of time for immigration and security, I even changed my ticket fearing 2 hours would not be enough, but it was unnecessary, I whisked through, got my passport stamped and picked up my bag in 20 minutes. I had enough time to take a ride on the free BART train around the airport, and was even thinking of going into city. You can see the BART trains on their raised monorail tracks slipping in and out of the terminal. It’s was a beautiful clear day with just a touch of chill in the air. Later I flew to old Stumptown – Portland, Oregon.
I have just released 3 new songs and a remix of a song from a previous album. Theo has created a Bandcamp site for me and loaded the recordings there. Centre Of The Groove, Hold Down Love and She Loves To Dance. All are acoustic guitar and voice recordings done in Studio Shed in one day. Joshua Lynn has thoroughly re-worked 1969 Is All You Need in his own studio. There are new vocals and it’s been slowed down from 169bpm to 126bpm while the pitch has remained the same. Clever man that Joshua Lynn who also added a kick drum which was never on the original and he’s done all sorts of other audio magic to it, so I’ve included it on this new release to make four songs. Thank you Will Saunders for the totally brilliant psychedelic album cover art.
The Kingslander is generally known as a sports bar and even though the management ‘tries music’ occasionally, priority will always be given to any significant sports event. But lately, they have taken a serious approach to the Thursday Open Mic night with the inclusion of a massive PA system, a row of monitors and a two-person team, one to co-ordinate performers and the other to tech the sound. They still keep all the screens around the room live with Sky Sport on various channels, on mute, so the patrons can keep an eye on the latest Thursday night sporting events which happened to be Woman’s Boxing, Motorsport and Australian League.
There’s a very nice full drum kit on stage but Al was told, when taking to the stage, not to play too loud, as a result he played too soft and I could barely hear him. I played two songs using the looper which I realise now is not a good match with a live drummer because loops never loop perfectly and the groove can get a bit jumbled – but we rocked on. After two songs, Ramp It Up and Glow, Lydia, the host, asked us to wrap it up. I said we’d only played two songs and the slot is for three, admittedly both extended versions, and I insisted on finishing with a slow one, Centre Of The Groove, which I shortened down to a two minutes. It felt good to end on a more harmonic note but I came off stage feeling a bit rattled. I think the tech had put a heavy compressor on my guitar because it ducked in and out of volume. Al said, ‘I wish the sound on stage was like the practise room’. It’s true, it always sounds weird on stage and over the years I have never got totally used to it – I just rock on.
Allan and I opened the evening at the Portland Public House last night and the place was humming.
I tried three different songs; a rocker called Ramp It Up . . ‘she looks so good playin’ guitarrr’, and then a funk groove, Glow . . ‘how da riddem makes u wana burn down slow’, and country style slow number, Waiting For The Stars To Align . . ‘no-one reads the manual, you figure it out yourself’. I looped a central section of each song and was glad Jono managed to get some bass out of the system working that sub at the Porty – oomph, oomph. It was so much better with Allan playing along on the bongos.
There are seven songs of mine that generally go well in just about any situation but the hardest part is choosing which one to start with. Do I open with something raw and rocking or something slow and expressive with jazz chords? I have a personal theory that an audience who has never seen or heard you before will decide within about 10 seconds if they like you. I spend a great deal of my practise time working on my openings. Choosing the right song is even more important. My friend Caitlin Smith says you should never second guess the audience’s taste – she says they just want ‘amazing’ – no pressure. I have a country pickin’ one, a funk groove, a light reggae, a slow blues-infused rocker, a bright swing number, a songbook style ballad and a rootsy boogie stomp. Seven hats. Currently, I’m opening with the blues-infused slow rocker called Hold Down Love with re-tuning of the b string down a tone to A.
Over the years I have learned to play many cover songs and standards, some more successfully than others and I am always amazed how some performers can remember hours of material – all those lyrics and chords! I find it easier to remember a few carefully chosen covers and just put my own spin on them. It takes a bit of work to turn a full band song into a solo number but if the melody itself is strong and well known it generally has a life of it’s own anyway. Sometimes I think playing covers is cheating a bit – it’s like standing on the shoulders of giants and getting a free ride. For this journey I wanted to concentrate on seven cover songs that would have wide appeal – songs I hoped people everywhere would know. Seven songs is about 30 minutes of performing time. It came down to selecting from some of my favourite artists: Jimi, Led Zep, Lennon/McCartney, Prince and of course, the one artist that seems to communicate more than all the others, Bob Marley. The title of this blog, Songs Of Freedom, comes from Redemption Songs ‘. . and all I ever had, were these songs of freedom, redemption songs.’ Bob recorded it as a solo acoustic number on the Uprising album – not quite reggae, more a folk song really, but that opening riff is so recognisable – it had to be in.
There’s more to come on the cover songs I chose.