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The Big Fish Jam with Kathryn Grimm
The Big Fish, located in Glendale, California,
seemed a likely venue for a blues jam.
Kathryn Grimm and her band host these jams. They are held on
the third Sunday of the month. Known collectively as the KGB,
the players are:
Frankie Salemmo--the house drummer.
Alexandria Seeley--vocals and backing vocals and keyboard
Leon "Randy" Randolph--bassist for Kathryn's gigging/touring
band, but filling in for house bassist Bill Orr, who was suffering
from food poisoning.
Kathryn Grimm--guitarist and lead vocalist and backing vocals
and director for the jam.
The Big Fish is the quintessential neighborhood corner bar,
where folks gather to watch a ball game on the set, shoot some
pool or throw a few darts. It's a place filled with a host of
ethnic and cultural diversity. This alone is a sure sign that
you have come to the right place.
Although the Big Fish is actually on the small side, it was
warm and cozy on this chilly night in Southern California. As
I saddled up to the bar, there was a friendly, albeit raucous
game of pool going on in the center of the room. Before I was
served my first drink, I found myself engaged with a friendly
couple who left Minneapolis three years ago to call Los Angeles
their home.
Allen Greenberg was having a marvelous time at the pool table,
making comical bets with his opponent and teasing the pretty
girl sitting alone at one of the small tables.
"Future nurse!" Allen addressed her, as she studied
intently. With her stack of books and papers, she looked conspicuously
incongruous to the cacophony that permeated the room. I wondered
why she would prefer to study in a noisy pub than a place more
appropriate for higher education. A library, perhaps, or possibly
a Starbucks?
The friendly atmosphere, the soft glow of the beer signs and
those little wooden bowls of pretzels had me feeling right at
home.
Once the musicians began to arrive, I excused myself from the
conversation and went searching for the perfect vantage point
to watch the show.
I carefully sidestepped the pool table and made my way up the
step that led to the stage area.
To my dismay, I encountered a large table, something you would
find in a conference room, placed directly in front of the stage.
There was a row of small tables pushed up against the counter
and very few chairs. “This should be a dance floor,”
I thought to myself.
I circled the room and found a table just behind the pool table.
It was tall enough to require barstools. I settled in and waited
for the jam to begin.
As I waited, I noticed a couple searching for a place to sit.
The room was filling rapidly and they were left with the small
table behind me. Since they were obviously there to enjoy the
music, I invited them to share my table.
It so happened that "Pete" has known Kathryn for years
and this would be the first time for Pete and "Betty"
to see Kathryn perform onstage.
The first tune of the evening, "Stand By Me," was
basically a sound check. Despite having to run about making
adjustments, checking microphones, etc., Kathryn still managed
to play some impressive guitar licks in the process. The jam
was officially underway!
Imagine my surprise when Kathryn called the "Future Nurse"
up to the stage to sing and play keyboards. It turns out that
our nurse in training is none other than Alexandria Seeley.
Alexandria appears on Kathryn's CD, "Grimm Again."
She has a beautiful voice that blended perfectly with Kathryn's
as they sang one of the tracks from the record, an acoustic
version of "Running All Over Town." Alexandria also
performed a solid version of Janis Joplin's "Turtle Blues."
From that point on, things became difficult for this reviewer
and my new friends. For the most part, the problem was the pool
table that was directly in front of us and the darts game that
was going on behind. At times it was difficult to hear the band
and completely impossible to hear the introductions of the artists
who performed. I was unable to match musicians with their solos
nor the singers with their songs.
It was tantamount to leaving the television blaring during Christmas
dinner. Pete and Betty will back me up on this: it was the first
time I've seen a show where the audience was louder than the
band. It was also apparent that the pool and darts game were
going to continue during the jam. What a shame.
That said, we were treated to some dang good music.
It isn't often that you'll hear a bass solo that isn't rife
with that funky slap that became so popular in the Seventies,
but there are as many ways to play a bass as there are to play
any instrument. Randy treated us to an inventive bass solo that
demonstrated just how diverse the bass guitar could be. Later
on, he entertained us by plunking his brand new, beautiful upright
bass.
Throughout the night, Kathryn Grimm displayed her multitude
of talent and skills. As a blues guitarist, she can hold her
own with the very best in the business. As a vocalist, she not
only supplied backing vocals with perfect pitch, her own cover
of "Blue Bayou" was simply gorgeous.
Blues jams can be a dicey undertaking. To have so much talent
waiting for their chance in the spotlight, egos can bruise,
tempers flare and feelings can be hurt.
I applaud Kathryn as a director for keeping this jam enjoyable
for everyone, fully utilizing the talented artists, both professional
and amateur. Never before have I watched the artists at a blues
jam treat their peers with as much courtesy, respect and consideration
to which they are all entitled.
 Although
the stage was graced with so many fantastic guitarists, not
a single solo was stepped on; their generosity toward each other
was a tribute to their professionalism and to Kathryn's ability
to bring out the very best in an artist. As I've said so many
times: The nicest people have the Blues!
I wish I were able to give every artist that appeared on stage
their props, but that is impossible because of the aforementioned
noise of the crowd. Those that I'm able to mention are as follows:
Alexandria Seeley--an accomplished singer
and musician who displayed her talents with confidence and authority.
Tony Shibumi--showed us why he is the drummer for Kathryn original
KGB band. He is articulate and generous on the skins.
Christine Fotheringham--a student of Kathryn's, for her delightful
version of "Love is a Rose."
Julie Mintz--another student of Kathryn's, for her covers of
"The Joker" and "Mama Don't Let Your Babies Grow
Up to be Cowboys."
Aaron Black--for reminding us that "I Will Survive"
applies to us guys, as well.
Pete Matsuka--a superb guitarist who played most of the night.
He displayed the courtesy and generosity that I've described.
Pete, I wish I could have talked with you longer, but it was
too freakin' cold outside!
Joel Mench--the only blues harp player of the evening. It took
Joel a while to find his groove (I suspect he was having trouble
hearing himself) but once he did, he was great. Any harp player
that can solo in A minor has my respect.
Mark Frere--a longtime friend of Kathryn's. Mark is an accomplished
songwriter who played with Kathryn and the late Jeff Buckley.
I was told that Mark was a major influence on Jeff as a songwriter.
I was also informed that Mark is still recovering from cancer
treatment. Mark was painfully thin, but played his bass and
sang with authority on "Suzy Q" and "Roadhouse
Blues."
By the time Mark took the stage, the pool players had simmered
down. Perhaps the stakes had been raised, but we were finally
able to appreciate the jam properly.
I'd noticed a young lady who just couldn't sit still. She was
up and down, pacing the room and watching the stage. I'd assumed
that her boyfriend or a family member was onstage until I recognized
that look; the look that said, "Put me in, coach!"
She had the look of a young colt that's anxious to run.
Audrey Eisele's voice may not have the range of Kathryn's, nor
the strength of Alexandria Seeley, but her rendition of Rod
Stewart's "The First Cut is the Deepest" was so heartfelt,
so utterly charming, it was one of the highlights of the evening.
I rushed to her table to ask her name and was met with a smile
so radiant, so ecstatic, that I was astounded. Her triumphant
smile reminded me once again of the magic of live music.
Meanwhile, Tony Limjoco was putting an exclamation point to
his guitar solo on Audrey's song. When I closed my eyes, I could
swear that was Carlos Santana, ripping on "You Got To Change
Your Evil Ways."
Betty had confessed to me earlier that she hadn't watched a
band perform in over twenty years. During Limjoco's solo, she
turned to me and said, "He plays like the guitar is a part
of him." I told Betty that she'd just paid Tony the highest
compliment one can give a guitarist.
In spite of the noisy pool players, this was a wonderful jam,
rife with superb professional and outstanding amateurs. I have
only known Kathryn Grimm for a very short time, but it seems
there is no limit to her talent and capabilities.
I had a wonderful time and I've marked every third Sunday on
my calendar.
Who knows? Maybe next time, I'll bring my harp.
Kathryn's website is: http:/www.kathryngrimm.com
Also read Pat's CD
Review and Interview
with with Kathryn in this issue only!
--Pat Benny
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