Oscar Peterson RIP

Jazz pianist Oscar Peterson died on Christmas Eve. His album Night Train was the first jazz album I was ever able to play along to, due in large part to the amazing lines and tone of his long-time bassist Ray Brown, but also the relative simplicity of the underlying harmony. The magic though was in what they were doing over the top… It’s a principle I’ve held onto with most of my jazz playing ever since – keep the changes simple and give the players room to stretch. And from Ray’s playing on that record, I got a sense of how a line can be supportive, swinging and clear in its statement of the harmony.

It was one of the first jazz albums I understood at all – I liked a lot of jazz that I’d heard before it, but didn’t really know what was going on. It got me on a more emotional, visceral level. With Night Train, I could follow the changes through the solos and pick out a lot of what Oscar was doing in relation to the chords in his solos. It was beautiful stuff, and to this day it’s the album I go to first when recommending a first jazz album to get to my students.

So in memory of Oscar, here he is with not one by TWO world class legendary bassists – Ray Brown and NHOP –

And here’s the obit. from the Guardian.

busy busy busy

It’s all go here!

We’ll start with last weekend – two gigs, Saturday/Sunday.

Saturday’s was a gig with Lobelia in Brighton at the Sanctuary Cafe, opening for MAP – that’s and Peter Harris – both incredible acoustic guitarists, writers of sublime melodies and fantastic performers. Also on the bill before us was a marvellous singer/songwriter, Conrad Vingoe – as well as having one of the most rock ‘n’ roll names ever (not much chance of that domain name being taken), he writes great songs and has a gorgeous voice. All good. ‘Twas a small crowd, but the venue was intimate and sounded good, the people lovely and a fine time was had by all… I’ll put photos from it up on Flickr soon.

Sunday’s gig was back at Smollensky’s with Luca Sirianni, this time with Sophie Alloway on drums. The gig with Luca is becoming a fairly regular thing, and a whole lot of fun – the chance to play a lot of pop/latin/jazz tunes, do some interesting arrangements, get funky and get paid (a bit). Luca’s a fine guitarist, who does enough ‘dinner jazz’ gigs to know just the right kind of things to play, but also likes to stretch out, improvise and have some fun. It was the first time I’d played with Sophie, and she was a treat to play with – not having come the usual ‘3 years at music school’ route, she plays with the maturity of a player who’s been gigging twice as long as she has, because she learnt on gigs. One of my main gripes with so many drummers is the don’t listen well – they establish a beat and stick with it, instead of letting the grooves grow and expand. Sophie listened really well, and also – crucially – understood the space a drummer has to occupy in a trio. As usual, I hit my stride about half way through the second set, but that’s the price I pay for not playing with drummers often enough…

…Though that’s not the case right now – I’m in the middle of a really fun recording session with Patrick Wood and Roy Dodds – if you saw the last Recycle gig, you’ll know this is a pretty special trio… We spent most of yesterday setting up, but got about 20 minutes of amazing music recorded last night, and will spend much of today on it as well… except the time that I’m teaching – thanks to my going away for Christmas and January to the US, I’m having to fit in as much teaching as possible before I go, partly because lots of students want lessons before I go and partly because I need to earn as much as I can in order to be able to pay my rent, and renew my car tax in january…

in between all that, I’m booking things to do in the US (masterclasses and gigs in California), sorting out my tax return (spending a lot of time buried under piles of receipts) and somewhere this week, I need to fit in a few hours to record some tracks for an italian electronica project that I’ve been meaning to record some stuff for for over a year, and HAVE to have done before Christmas…

Add to that regular trips to the post office to send off CD orders for the new EP and people ordering other stuff as christmas presents, and you’ve got yourself one seriously overworked Stevie.

Roll on Ohio…

London Jazz Festival fun

Yesterday’s gig at the Barbican with Corey Mwamba was all kinds of fun. As I’ve mentioned before, this was definitely the most difficult music I’ve ever had to play, and I was still a little under-prepared given that we’d had only two rehearsals as a band – there were a couple of the lines that I could play fine on my own, without the distractions of other musicians, but in the context of the gorgeous improv soup going on around me, I got a little lost. However, one of the very useful skills I’ve picked up from all the improvised music settings that I’ve played in is how to get lost in interesting ways. Learning what to do in a situation like that is your most important tool when it comes to winging it. If you’re underprepared, you’re very likely to screw up, and no amount of bravado or talking yourself up is going to make your playing any better. So instead, you try and give yourself markers through the tune to find your way again when you’ve lost it, and in between playing things that sound GOOD even if they aren’t RIGHT – after all, the audience don’t know the music. There were VERY few of the mistakes I made in the gig that anyone who was intimately acquainted with the music would have been able to spot at all…

At one point in the title track of the set – Argentum – the twinned power of Robert Mitchell on piano and Shaney Forbes on drums just blew over me like an unexpected storm. It was amazing, and beautiful, and a little scary, and I just tried to hang on to my bassline, listening for some clues in Shaney’s drumming for where the hell I was meant to be, but really just enjoying the ride. It’s a healthy feeling to be out of one’s depth with musicians who do their thing with a lot more confidence than you do their thing… I was off of home territory, but as a result was able to take something different to the gig… I don’t carry any of the machismo so often attached to anything possibly describable as ‘fusion’, and I think Corey was drawn to that – both in terms of my ‘sound’ and my approach to improvised stuff… I don’t/cant’ do twiddly clever solos over complex changes, so when I get in that situation, I tend to play atmospherically, shaping a sparse melody through the harmony, looking at it as a composition exercise – much the way I approach the Recycle Collective, just with a little more pre-ordained structure. And to my ears, it worked beautifully…

…there was a lovely moment at the end of the second last tune, where it had slimmed down to a drum solo, and we were all creeping back in to an improv section – I was using the ‘woodblock’ sound that I get by fretting the strings with my nails up near the bridge, and you could see the audience craning their necks to see where the additional percussion was coming from…. I like moments like that. :o)

It was a privilege to play with musicians that good – Corey, Robert, Shaney and Deborah are all incredible players, and delightful people, and I hope I get to play with all of them again v. soon!

Steve Rodby interview from Bassist Mag, Aug 1999

Steve Rodby was, without a doubt, one of the nicest people I got to meet when writing for Bassist mag. Along with Michael Manring, Lee Sklar, Jimmy Haslip and a handful of others, he was one of the interviewees that inspired me as much by his personality, grace and enthusiasm as by his wise words and exceptional playing. His thoughts on soloing in this interview were particularly enlightening…

He’s also, bizarrely, one of the most underrated bassists on the planet. I’ve had the ‘who could replace Steve Rodby?’ conversations with loads of great bassists the world over, and no-one has yet suggested another player that does everything that Steve does as well as Steve does it in the Pat Metheny Group. His jazz upright playing is exemplary, his bowing beautiful, his rock and pop electric playing makes him sound like he’s spent the last 40 years studying nothing but great rock/pop bass playing. He’s a proper low-frequency master of all trades. So here’s the interview – again, frustratingly, it’s an edit of a very long and involved conversation that I wish I had transcribed… maybe I’ll have to start an ‘in conversation’ podcast – could be a fun project for NAMM… Anyway, have a read of this, then go and listen to any of the PMG albums that Steve plays on, and be amazed at what a great player he is. One thing to keep in mind is that when Richard Bona joined the PMG, he joined as a singer. That’s how good Steve is :o)

For 20 Years now The Pat Metheny Group has been one of the biggest selling acts on the contemporary jazz scene. It has consistently filled concert halls and arenas the world over, and produced a series of critically acclaimed albums that have touched on almost every imaginable area of contemporary music, from Latin to industrial, drum ‘n’ bass to avante garde and freeform improv.

Since 1982 Steve Rodby’s upright and electric bass grooves have driven the band’s sound, helping to define the style that is now instantly recognisable as the PMG.

Bassist collared Steve for the low down on all things Metheny-esque while they were in London earlier this year for three nights at the Shepherds Bush Empire.

SL – You started out as a Classical bassist, but made the switch to Jazz fairly early on. How did that come about?

‘I always thought I’d be a classical bassist. My father is a classical musician, so that seemed the obvious direction. I went to college to study, but I don’t think I was ever quite at the level where I would have landed a really good orchestral post.

‘Very early on I started playing pop. When I was in college I got a couple of calls for studio work and I took to those sessions extremely well. Because orchestra playing was kinda boring, I played this game with my self when I was a kid where I would imagine that there was a mic in front of my bass recording every note that I played and that someone was going to say “Rodby, come in here!” and then play the tape back and say “What were you doing there”'”

‘So when I finally got in the studio, it was a fairly stress free process as I’d been playing for imaginary tape recorders for years!!

‘I also started to play electric bass, and made the switch to playing pop easily as that’s the music I was listening to all the time.

‘I finished college got my degree in classical bass, but by half way through college I was playing fairly regularly on the Chicago jazz scene.

‘My big break came when the great bass player Rufus Reid, who played in the house band at the Jazz Showcase (prestigious Chicago jazz venue), moved to New York, so the gig was up for grabs. The owner of the club seemed to like the way I played, and I ended up playing five nights, three sets a night with all these amazing visiting musicians like Milt Jackson, Sonny Stitt and Joe Henderson. The drummer in the house band had played with Charlie Parker and the pianists were all 30 years older than me and knew so much about music. And here I was this nerdy college kid with a classical background and all I had going for me was my ear and a feel!’

How did you learn all the tunes?

‘When I first started playing bass, my dad bought would play guitar and we would play duets. To teach me a song, he would write the roots notes and bar lines down, with no information about what else to play, so I had to improvise from the very beginning.

‘On the gigs, I was doing the same thing – following roots and knowing instinctively what the rest of the notes were. The piano players would play the first few choruses very clearly until I had it. I learned on the bandstand rather than in the practice room or out of books. I never really studied as much as I wish that I had.’

How did you first hook up with Pat?

‘I’d met Pat at various jazz camps when we were younger, and had stayed in touch. He was looking to add acoustic bass to his band and was auditioning players. My name came up so he called me and I went to NY and auditioned. Shortly after that he offered me the job.

‘When I met Pat I was an unformed nobody from small town Illinois, who didn’t even know what chords were, and he was already the future of music – he was 18 and had it all figured out. He was so far ahead of the game it was unbelievable. But when we played there was something about the style of the music that I felt that I could understand that I couldn’t account for – It may have been similar backgrounds and a shared love of pop music, the Beatles. It just made sense. I used to listen to the first couple of PMG albums and say to myself – ‘that’s my music’. It really was my dream group.’

Was it intimidating to work with Pat after the succession of great bassists that he’d already worked with?

‘Mmm, not really. The only thing that could have freaked me was Pat’s relationship with Jaco. Not only because he played with Jaco, but he REALLY played with Jaco. Bright Sized Life was one of the best records ever made. The next time I saw Pat after he met Jaco he said, “Oh man, I just heard a bass player that is going to change music. He sounds like John McLaughlin and John Coltrane only better – and on bass!!” – Pat doesn’t say stuff like that lightly!

‘Once I heard Jaco I just said “forget it, I’m not even going to try!” I was one of the few bassists on the planet who loved Pat and Weather Report but didn’t get a fretless and transcribe Jaco’s licks. I’ve never transcribed a bass solo in my life! Hearing Jaco also kept me away from playing fretless. So I thought if I’m going to do anything, I’ll play acoustic bass and I’ll play fretted pop style bass. Playing acoustic bass with Pat gave me a lot of freedom because what I was doing was different to what Mark Egan, Jaco or Charlie Haden had done. That’s my way of being able to sleep at night, otherwise I would have shot myself a long time ago!!’

How did the group develop such a distinctive sound?

‘In the early days of the band, I think we had a feeling that we had to do something different from other bands, so we had a load of do’s and don’ts – don’t do fusion, don’t have a back beat. And then we spent a lot of time avoiding music that may have sounded borrowed. But now we’ve finally got to the place were we can play Happy Birthday and it’ll sound like us. So we can now do a tune like the opening track on Imaginary Day that sounds sorta Chinese, maybe a bit like Gamalan Indonesian music, but it still sounds like us.’

Live, on the standard, ‘How Insensitive’, you take the first solo that I’ve heard you play. Is this a new area for you?

‘For years I took some really bad solos, and then we started doing this tune and I began applying myself to soloing again. That’s the next thing to think about. Not just soloing, but maybe making a solo record. I’ve spent so many years not paying any attention to it, but now that I’ve finally started to do my homework, I’ve found a real satisfaction. I’ve managed to get beyond the plateau that I was on. I’m moving forward as a soloist, so maybe now’s the time to do my own record.’

What have you been studying?

‘Well, I’ve finally begun to realise that at the technical level – playing melodies and chord scales, playing faster, higher – that you need to be able to do it 20 times faster than you’ll ever need to in a song! My problem was that the fastest the highest the hardest that I ever played was in this little solo during the gig. I was always trying to reach so far over my head and it didn’t really work.

‘So I realised that I had to put in the time, getting my technique up to speed. Same with the chord scales – there is a set of musical materials that you need to know – with this chord, this set of notes are your primary musical material – you can do other things, but you need that reference point.

‘These are the things that beginning sax or piano players learn very easily, but bass players don’t seem to take to so well. Fancy bass soloists tend to learn a bunch of hot licks but often don’t learn the fundamentals of music. So I’m finally taking the time to learn what the chords are and be able to play them at soloing speed!

‘A great bass solo has to be a high quality melody that would sound like a high quality melody if it was played on another instrument. You’d go, “well, it’s down kinda low on the piano, and he’s playing a little slow, but that’s a great melody!” Most bass solos on any other instrument would sound kinda weak.

‘I have a million miles to go, but that’s what I aspire to, that’s what I’m going to work on for the next 20 years. I’m sat up there playing for myself and for the audience but I’ve also got Pat and Lyle, two of the finest melodic improvisers around, sat right behind me! I’m not going to get a smile out of them by playing fast, but my playing good strong melodies.”

Pat Metheny on Steve Rodby:

When you’ve played with the most highly respected bassists on the planet, the must be something pretty special about the guys that you keep in your band for 15 years. Here’s what Pat has to say about Steve –

‘The kinds of things I need in any musician who is going to be in the group, regardless of their role in the band, is a certain musical insight that includes, but hopefully transcends, a deep sense of what has happened on their respective instrument, particularly over the past 60 or 70 years of popular and improvised music, combined with the musical skill and vocabulary to sonically render their conception of what just what that history implies into a personal sound. Steve Rodby has the ability to do just that and so much more, and that is what makes him the perfect bass player for this band. His background in classical music combined with his extensive jazz playing and studio work has made him an exceptionally well rounded player with a genuine musical curiosity that transcends style. His relentless pursuit of just the right part, played with just the right intonation and sound are well suited for the basic musical aesthetic that our band aspires toward.’

managing copyright in a global environment…

One of the big problems for artists distributing music (for free or profit) online is that copyright laws are different the world over. That’s why there are Russian websites selling very cheap downloads of ‘illegally’ ripped CDs. There’s very little law enforcement in most of the former soviet union, and if a site is hosted in a particular country, it’s subject to those hosting laws…

…at least, it seemed to be. Tom from the forum sent me a link to this BBC article about a public domain sheet music site in Canada who had fastidiously made sure that all the music they posted complied with Canadian copyright law, but were then threatened with being sued for copyright infringement when Europeans downloaded the scores! (the salient legal point being that copyright in Europe remains with the estate of a deceased composer for 20 years longer than in Canada).

The interesting thing here from a moral/ethical standpoint is that the point was a) contested by the Europeans, and b) there wasn’t an option to add a disclaimer to the site. Interesting that one of the synonyms for this in the web world would be porn, where the laws related to what you can and can’t look at are hugely different across the globe (I’m not sure if they still do, but the UK used to have MUCH stricter laws about what could be published than in the US…) – I’m sure there’s a hell of a lot of stuff available on sites that are legal in the host country but illegal in other places. In the US, it’s probably true across state lines! But has anyone been prosecuted? I’ve not read about it if they have (but to be fair, I tend to read a lot of news stories about legal issues in the music industry, and not too many about the porn industry…)

So it’s kinda sad that porn goes on unchecked and able to get round localised legality just by hosting off-shore, and a wiki established by a student strictly within the laws of the host country, attempting to provide a great resource for musicians firstly in Canada, but then across the world, is curtailed…

The pernicious onward march of Capitalism, I guess – he who can afford the best lawyers wins…

…though it’s definitely worth comparing the worlds of sheet music and recorded music here – this was, apparently, the largest public domain music score library on the internet, and was being widely used. Is there much of a community for trading public domain recordings? I know there was a bit of a kerfuffle recently when a bunch of still-living crusty old jazz dudes were getting upset that they were about to lose the rights to their own recordings which were now 50 years old (that does seem a bit weird, though not really top of the list when looking at the positive and negative impacts of copyright…) No, copyright infringement in recorded music is now seen as a matter of not getting caught – the RIAA prosecute a bunch of school kids for downloading and think it will frighten everyone else into compliance.

But they screwed it up for everyone by trying to make it an issue of illegal action followed by legally enforced action. They excluded themselves entirely from any dialogue about the impact on creativity, or as I keep saying, and the impact of the music life of the listener when you have no filter. So in a digital world, where community ethics seem to have far more influence on behaviour than any notions of legality, they pushed the discussion into communities that proceeded to laugh at them, use Lars Ulrich as as totem of out-of-touch-millionaire-rock-star-greed and were then able to ‘morally’ justify all the filesharing as a blow against ‘the man’.

Actually, I guess what’s worth throwing in here (damn, this is a disjointed blog post!) is the case of the Real Book – a book of jazz scores written by a load of (I think) Berklee college students, with some pretty heinous chords in them, which was sold by the hundreds of thousands the world over. I’ve no idea who was duplicating it, but it was sold under the counter in shops for YEARS before anyone did a proper legal version – then Chuck Sher came along and published a great book called The New Real Book, which has the proper chords for things in it, neatly printed arrangements, a load of unneccesary pictures of jazz stars (huh?), but is generally a great resource. There are about 5 volumes, as well as Latin versions (that’s Latin music, not jazz scores in Latin) and a ‘Standards Real Book’ which I haven’t got, but is probably the most useful of them.

However, there are digital versions of this kicking around as well – some enterprising young file-sharer has scanned in the New Real Books and uploaded them somewhere. I guess they see themselves somehow in the tradition of the old Real Book, keep the music alive, or whatever… I dunno, it’d be great if Chuck would put out a legal PDF version of all the books for a sensible fee. It’s great to be able to support the people who write these tunes.. There is also now a legal version of the old Real Book – cleaned up, some corrected changes, much cheaper than the Sher books…

Anyway, where did this start? Ah, yes, sheet music, porn, cross-border copyright problems… My last point to note is that there’s already cross border protection for buying digital music – you can only access iTunes in the country you’re a) from and b) in – I can’t buy from UK iTunes while I’m in the US!! That seems completely mad. One central store, in the host country of the company, so occasionally someone else gets a break due to fluctuations in exchange rates. Surely that makes the whole thing easier and more fun? :o) Even my favourite legal download site, emusic has different costs for stuff in different countries. There aren’t many online industries that bother with that – if you’re looking to buy domain names, or web hosting, you just pay the fee for the country where the service is being provided…

Anyway, I hope the music library is able to just stick a disclaimer at the top of certain works saying ‘this music is still illegal to download for free in Europe, please go and buy it’ and get their archive back online…

Bass playing, like riding a bike…

Yesterday was the first rehearsal for the London Jazz Festival gig that I’m doing on Nov 24th with Corey Mwamba. I played with Corey years ago at a gig in Derby and we’ve been trying to find a way to play together again since then, so when he asked me to do this gig, I said yes straight away. However, the first time we played together it was all improv (my forte). This time, it’s REALLY heavily written stuff, Corey’s own marvellous, dense, polytonal, odd-meter compositions. Definitely the toughest music I’ve played for a very long time.

I can’t remember the last time I had a heavy reading gig – probably depping on a pantomime about 7 years ago… but at least that stuff had each of the musicians playing in the same key, and the same time signature as the drummer… this stuff is way deeper.

Anyway, I’d glanced at the sheet music a few weeks ago, but had woefully underestimated how tough it was going to be, so when I had a play through on Tuesday, I was pretty certain that at Wednesday’s rehearsal I was going to be rather shit.

Fortunately, I’d also underestimated my own wikkid skillz, and found the stuff much easier than I’d thought. (‘Easy’ definitely being a relative term here…) I got through most of it just fine, and managed to read some of the bits that apparently none of the other bassists who’ve played this music have got right.

A few things helped immensely that are pertinent here for anyone dealing with learning tunes on gigs.

firstly, the rest of the musicians were not only hugely talented but really lovely people. Robert Mitchell on piano, Deborah Jordan on vocals, Shaney Forbes on drums and Corey himself on vibes are all amazing players, great improvisors and delightful people. The aim of everyone was to encourage eachother to get the best out of the music. This has been my experience in EVERY situation I’ve been in like this. At one college I used to teach at, the owner of said college once had a go at me for not giving the students enough of a ‘roasting’ (a very unfortunate term given some of the stories about the antics of certain sporting icons at the time…) – meaning make it tough for them, give them a hard time etc. His reasoning was that that’s what it’s like in ‘the real world’ so was what they needed to be prepared for. Bollocks. It’s never happened to me. Learning to deal with antisocial misanthropic losers isn’t what one should be learning at music college. Developing a love for music and a passion for creativity as well as an understanding of the mechanics of music, a deeper knowledge of the history, of style, of nuance… getting a hard time from the staff is a really stupid idea (especially given that the person who said this time me hadn’t done a proper gig in years, if ever, so was speaking out of no experience whatsoever…)

Secondly, the rehearsal was staggered – it started with just Corey, me and Shaney, working on the rhythm section stuff. It gave Shaney and I a chance to get used to eachother’s playing, and as Deborah and Robert had played the music before, they weren’t sat around getting bored while we learned parts.

Thirdly, Corey was all about making great music – he was open to suggestions, very vocal when he was happy with what was happening, and we were all smiling and enjoying ourselves with it. Deadly serious about having fun.

All in, it was a great day, I realised that I’m a better musician that I thought I was, and learnt some new skills too, played some deep challenging and beautiful music with amazing musicians. What more could we want?

We’ve got another rehearsal next week, and then the gig on the freestage at the Barbican on Nov 24th, at 2.30pm… be there! :o)

Today I will mostly be…

Busy day today – got a remote recording session to finish up for a studio in Nebraska, need to listen through and read through Corey Mwamba’s tunes for a rehearsal tomorrow for the London Jazz Fest gig in November, need to chase up the peoples who said they ‘might’ be coming to tonight’s Recycle Collective gig and confirm as many of them as possible, and then pack up my stuff, get down to the gig, and play! Then tomorrow is the rehearsal with Corey (assuming it’s still going ahead – no confirmation as yet)…

So Thursday may be the next time I get to blog properly, sadly – I’ve got lots of thoughts about all this ‘future of music’ stuff that I need to get down; I might see if I can grab 20 minutes this afternoon to get some of it written up.

Last night’s Musician’s Union session on gigging and getting gigs was very good – lots of interesting info, support and pointers to places for funding and contacts. The panellists were all very approachable, helpful, and well chosen for the event. The gigs and the money the do them are there if you have the get-up-and-go to get out and get them! Time to get motivated…

Recycle Collective gig, Tuesday 30th…

(this is cross-posted from my mailing list – thanks to the lap-top problems I’ve been really slow to send out info about tomorrow night’s Recycle Collective gig, so am putting the word around as much as I can today, giving you the chance to make a last minute decision to come and spend the evening listening to marvellous music in the gorgeous surroundings of Darbucka…)

Sorry for lack of communication over recent gigs (if you have a look at www.stevelawson.net/gigdiary.shtml you might see some stuff that you’ve missed) – broken laptop has messed up my web-life all round… all the more reason to subscribe to the gig RSS Feed on that page… :o)

But anyway, this is really a reminder about tomorrow night’s Recycle Collective gig at Darbucka in Clerkenwell, London – www.darbucka.com is their website.

The line-up is me on bass and loopage, Patrick Wood on keys and Roy Dodds on drums. This is a bit of a dream line-up for me, as I’ve been a fan of Roy’s drumming since his days with Fairground Attraction (yup, that was him on ‘Perfect’) through to his beautiful playing on Theo Travis‘ new ‘Double Talk’ album. And Patrick is a regular at Recycle gigs, having played with us at Greenbelt this year, and is never less than amazing – melodic, funky, inventive; the ideal improvised music collaborator! :o)

So PLEASE come down – it’s only £6 to get in, and Darbucka does fabulous food either upstairs in the restaurant beforehand, or while you’re sitting listening to gorgeous music!

Music starts at 8pm – www.stevelawson.net/gigdiary.shtml – head there for a link to a map for where Darbucka is. The address is 182 St John Street, London EC1V 4JZ and the nearest tube is Farringdon, and we’ll aim to finish in time for you to get the last tube home! Music starts at 8pm.

thanks – please check out the gig calendar for more dates and my blog for more on what I’ve been up to. Hope to see you soon,

take care


© 2008 Steve Lawson and developed by Pretentia. | login