Ventura Rocks in the Ventura Breeze 5/19/2021 – 6/1/2021

Ventura MusVentura Breeze logoic Scene
by Pam Baumgardner
VenturaRocks.com
Pam@VenturaRocks.com

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You know we’re heading back to normal when the Ventura Music Festival confirms live concerts. These will be 100%-vaccinated events for artists, crew, audience, staff and volunteers. The three-day line-up includes Aubrey Logan on July 23, Time for Three on the 24th and Italy’s Andrea Roberto on the 25th. Tickets and more information on the artists can be found at VenturaMusicFestival.org.

Quick Notes: RJ Mischo has a one-man show at Namba, Saturday, May 29; Cadillac Zack presents Kirk Fletcher on Monday, May 31 for a Memorial Day Blues Bash at Vaquero y Mar (call for tickets at 323-377-5291); McWorter, Berghoff & Jones are starting back up Tuesdays Blues Day at Copa Cubana; and tickets go on sale May 20 for the Gin Blossoms Concerts in Your Car date at the Ventura Fairgrounds for Saturday, June 19.

In this issue of the Breeze, I have Part One of a Two Part Interview with local artist Natalie Gelman who will soon be releasing Moth to the Flame this next month.

Pam Baumgardner: Congratulations on your new music! So many questions to ask, but first share the basics.

Natalie Gelman: Thanks! I’m really excited to be sharing this new music from Moth to the Flame and can’t wait for the full album to come out on June 18th. The singles are being really well received and it’s my best music yet which I know everyone says but this album has been seven years in the making and I worked very hard to bring together amazing people to make the music I heard in my head come to life.

Charlie Midnight and I produced it together. Charlie is a fantastic, Grammy-nominated songwriter and he and I wrote many of the songs on the album together as well. We recorded in Ojai at Carbonite Sound with Grammy-winning engineer Jason Mariani and featured musicians from Ojai and Los Angeles that have played for some of my favorite artists. The mastering on the CD and vinyl was done by Bernie Grundman; he’s mastered so many legendary records like Tapestry for Carole King and Thriller for Michael Jackson so it was a treat to work with him. This is my first full-length album and first release with an indie label so that’s really exciting.

Photo credit: Mariana Schulze

Before we circle back to Moth to the Flame, get us caught up on your music history to date.

Natalie: Most recently I’ve released a series of singles, a fun song called “2020” came out this past December. It’s a look back at the crazy year we all went through and there’s a fantastic music video out for it too. Before that, I shared “The Lights Upstairs,” which is a song I wrote for my mom. She passed from Alzheimer’s a few years ago and I wrote the song when she first started showing signs of the disease. It ended up giving me a lot of hope and grace to keep the message of the song close as she progressed and eventually passed from it. There’s an artful music video for that song that captures the lightness of the message. The last single I released looking back is “Sundance In Your Eyes” which is a love song I wrote after I met my husband while busking at the Sundance Film Festival.

Before those singles, my Streetlamp Musician EP came out. That music was produced by Mark Needham as well as Charlie Midnight who was my songwriter collaborator on many of the songs too. Those songs took me around the world on tour playing for lots of folks and those are still some of my favorites. Looking further back, my debut, self-titled EP Nataile Gelman came out a long time ago but I still get requests to play songs from it and love it for the role that it played in me starting to release music more officially. I had a bunch of bootleg studio EP’s before then that I released in college and somewhere those are still floating around waiting to embarrass me I’m sure.

I’m certain there’s been several lessons learned since your first recording session, but what sage advice would you pass along to artists looking to record for their first time?

Natalie: I think the best advice I have is to not rush and to be prepared. Studio time is expensive but you don’t want to push to get too much done and then end up without anything that’s truly great or even usable. It’s better to record one amazing song then 3 that are just okay. I would also suggest to record yourself a lot at home before you go into a studio; even just into your iPhone or Garageband… really whatever you can get your hands on. Then you can listen back to your song or your band and see if there are things you don’t love about it. That’s the time to work on it and change it, not when you’re already in the studio. Unless you have a rich uncle paying for it all and money is no object then do whatever you feel like.

How well prepared are you before you step into the studio? Do you just roll out the tunes, or is there collaborating with your musicians and/or working with a producer and changing things up?

CD artworkNatalie: It’s actually in the woodshedding and preparedness that you can be spontaneous and find some magic and happen upon something amazing. I had lived with some of the songs that I recorded for many years before recording them for this new album. So, there were hundreds of shows where I played them live and tried things out and I also rewrote parts of the lyric or arrangements. Then, I also was prepared with lyric and chord charts for all the musicians in the studio but found out that they would write their own too.

Each song was mostly tracked live with the core band; drums, bass, acoustic guitar, pianos/keys and me singing live over a series of 4 days. Before we would record each song, I would sing through the song with the band and we would talk about the vibe and try out some things. I sent them demos of the songs before the session so they were already familiar and they would listen and chart what the form was and make notes about what they wanted to do within the arrangement. It was amazing to see how even the guitar player playing acoustic could mimic the way I play and the kinda “singer-songwriter” percussive vibe of my strumming. They were just incredible musicians. Because of their talent and ability, it allowed for us to get the song down in 2-3 takes usually and then we would go back over it and try new things if one of us heard something.

Having it be mostly live really breathes a lot of life into the recording. We did some percussive overdubs and a half day of electric guitar overdubs too. We also overdubbed some instruments that I didn’t have on each song; banjo, cello, harmonica and violin and I also spent sessions with Jesse Siebenberg at his studio going over each song and adding a little more percussion, some guitar parts and harmonies.

There were a couple sessions of just vocal overdubs on some songs too. I noticed that I could approach my songs differently as a singer once they were built with the band. Often at my live shows it’s just me and a guitar, ukulele or piano and I have to communicate the full range of the song with just my voice and instrument. When I had the full band playing, they are dynamic as well and create the energy or mood with me. Then I can use my voice more to sit on top and share the intimacy of the stories in each song. Some songs were very different from how I approach them solo so that was very cool to unfold.

It’s all such collaboration. I have tons of ideas always but I like to bounce them off people and often what I’ve come up with is just a stepping-stone to an even better idea the musician has. If you bring creative people together sometimes the best thing you can do is just get out of their way and let them be creative.

Be sure to pick up the next issue of the Breeze for Part Two of my interview with Natalie Gelman when we find out more about Moth to the Flame, her mentors, free music on her website and that time she opened for Bon Jovi.

Do you have any music-related news or upcoming shows you want help publicizing? Please send all information short or long to Pam@VenturaRocks.com, and for updated music listings daily, go to www.VenturaRocks.com.

Ventura Rocks in the Ventura Breeze 5/5/2021 – 5/18/2021

Ventura MusVentura Breeze logoic Scene
by Pam Baumgardner
VenturaRocks.com
Pam@VenturaRocks.com

More venues are offering more live music as we transition gently back towards normalcy. I’m grateful to see strict Covid guidelines in place at the venues I’ve frequented the past couple of weeks. I’m hearing Winchesters will be offering live music on Thursdays (along with Fridays and Saturdays), the Raven Tavern in Oxnard now has live music on the weekends, Pierano’s has been ramping up their live music roster, and more and more artists are reaching out to me sharing their live music schedules which can be found at VenturaRocks.com. You can find the week’s listing on the Ventura Weekly Music Calendar link and the current day’s line up on the homepage.


In this issue of the Breeze, I have a Q&A with local artist Tom Buenger, He first landed on my radar performing as Tom & Milo around town a few years ago. Tom has been working on original music which always warms my heart. He has his debut release Suburban Gospel this month so I thought I’d reach out and get the community acquainted with Tom Buenger.

Pam: How long have you been playing live music in the 805?

Tom Buenger: I grew up in the 805 and have always been around music one way or another. But after I left the military and settled into Ventura County in 2014, I quickly met Milo Sledge. Milo and I played a few times a week at venues between Goleta, Oxnard, Ventura, and Camarillo. One New Year’s, (2017 I think), I picked up a gig, and Milo was unavailable. I asked Teresa Russell if she would play the gig with me, and we instantly hit it off. She and I then played at least weekly until 2020 or so.

Give me the background on your musical journey.

Tom: I grew up singing. My mom has the most beautiful voice, and I was raised with her constantly singing to me. Singing, melody…just a sort of melodic communication…is even more engrained into my brain than the English language. I did not pick up an instrument until I turned 21. While in the Air Force I went to this Blues Club (Blues Central) for my 21st, while I was stationed in Alaska. There was a man playing wonderful boogie woogie blues on the piano, and I eventually asked if he would teach me a thing or two. He taught me the Nashville system, and it was downhill from there. I obsessed over piano, locking myself in my apartment on my days off until I had the basic skill (and courage) to play at a local blues jam. I got up, played my one song, it was absolutely terrible, but I loved it. I was obsessive about it and practiced not to memorize, but to understand the language of it all.

Eventually I fell in love with the Hammond organ sound; I saved and bought a Hammond B3, and played in a classic rock band while I was at the Air Force Academy where I learned how to be a good band-member and musician. After a while, I got tired of lugging a 350-lb organ everywhere, and looked for the smallest instrument I could find…the harmonica. Similarly, to piano, I obsessed, keeping a few in my car, playing and practicing harmonica for hours while in traffic and on road trips.

Then a couple years ago, I turned my time and attention to the guitar, which has been the hardest instrument for me, by far. However, it’s opened up a whole new level of understanding and satisfaction, and it really opened the door to allowing me to (1) play extended solo gigs, and (2) write my own music.

What music most influenced you growing up?

All the great music my mom and dad listened to. We would go on camping trips, and the playlist had everything from Elton John to Earth Wind and Fire, to Clapton, and so on. In high school, I discovered jazz, which led me to the blues, which brought me to gospel (sort of backwards!). And I fell in love with the gospel sound. All that said, I spent many hours listening to Ray Charles, Nat King Cole, and funny enough, Bradley Nowell from Sublime. I tried hard to emulate their voices as a kid before finding my own.

How is it you landed back in the 805?

Tom: After leaving the military, I wanted to come back to where I grew up, which is Oxnard and Ventura. It’s a pretty magical place.

Where are a few of your favorite places to play?

Tom: I cut my teeth locally, at The Waterside Restaurant in the Channel Islands Harbor. However, some venues that have been particularly good to me (while playing with Milo and Teresa) are The Red Piano in Santa Barbara, Captain Fatty’s in Goleta, and Madwest now and again. These days, I split my time playing between Oxnard/Ventura with Milo or Teresa, and solo gigs around Seattle.

When did you first start writing original tunes?

Tom: I started writing original tunes about a year ago. Until that time, I felt like I had always had some mental block, keeping me from writing original music. With COVID slowing the world down, coming through a tough personal time in life, and then finding new love, I learned that writing (for me) is all about head-space….open space, mentally, to allow my brain and body to communicate feelings I hadn’t quite understood before.

Suburban Gospel is your first release as a solo artist?

Tom: Suburban Gospel is my first release. I’m not typically one who is good at self-promotion or shouting about my successes, but I will say that I’d put the music on Suburban Gospel up against anyone’s; it’s a great album for which I’m incredibly proud. I also have another 15 songs just about complete for album number two.

What does the title suggest?

Tom: I grew up in the church, and I love the gospel sound. I’m also a middle-class white guy who loves the blues, soul…all of it. I thought Suburban Gospel sort of fit what I was going for. For some songs, I get a bit up onto my soapbox (or pulpit), while others are more songs of hope, and then others are love songs. I’m not sure what genre this album is…It’s certainly blues and gospel influenced, but I truly believe I’ve created something uniquely me. It breaks the mold of a “blues” album in too many ways to be considered blues.

What kind of plans do you have in motion to help get the word out?

Tom: I will probably hire some marketing or push toward a label. As of now, I’m hopeful the music will speak for itself, once it comes available May 14.

Where can people find out more?

Tom: Follow me on Instagram @tombuengermusic, or on my website www.thomasbmusic.com.

Closing words?

Tom: Suburban Gospel is available everywhere, beginning May 14. I have a bunch of collaborations in work, and I’m excited to share more music with the world!


Don’t forget to tune into the Pam Baumgardner Music Hour on KPPQ-LP out of CAPS Media at 104.1 FM here in Ventura where you can hear Tom Buenger’s single, “Butter my Bread” off of Suburban Gospel. My show airs Tuesdays at 5 pm with repeats on Fridays at 5 pm and Sundays at noon. You can also listen via the MyTuner app on your smart device or online at CapsMedia.org/radio.

Do you have any music-related news or upcoming shows you want help publicizing? Please send all information short or long to Pam@VenturaRocks.com, and for updated music listings daily, go to www.VenturaRocks.com.