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Omaha’s jazz past and present merge at The Jewell 

February 9, 2019 Leave a comment

Omaha’s jazz past and present merge at The Jewell 

©by Leo Adam Biga

Appearing in the February 2019 edition of The Reader (www.thereader.com)

 

Brian McKenna, a drummer and former Sony Music Studios executive, pays homage to North Omaha’s rich jazz history at his new downtown club, The Jewell, in the Capitol District.

The fine dining-live music establishment’s February 6-7 grand opening features Grammy Award-winner David Sanborn and his Jazz Quintet.

McKenna’s appreciation for North O’s legacy music scene is evident throughout the swank space. Oversized reproductions of archival photos picture icons who played the Dreamland Ballroom. The black and white images add warmth to an already intimate room distinguished by a contoured stage backdrop meant to represent a jewel’s kaleidoscopic patterns. The club takes its name from Jimmy Jewell Jr., who booked the killer acts that made the Dreamland on North 24th Street a venue of some renown in jazz circles.

Dreamland operated on an upper floor of the Jewell Building, which today is home to nonprofit agencies, and back in the day housed a street level barber shop and pool hall. Leave it to a transplant from New York to put the Dreamland, which closed in 1965, front and center again. McKenna, an Eastman School of Music graduate, first learned about the venue in school. He was intrigued how it was a Midwest circuit stop for touring legends Louis Armstrong, Duke Ellington, Count Basie, Dizzy Gillespie, Nat King Cole, Sarah Vaughan, Dinah Washington, Lionel Hampton and many more.

Now the Jewell carries forward the Dreamland’s heritage.

“To revitalize it a little bit is kind of cool. That’s why I called it The Jewell – to bring that back and to do right by North Omaha,” said McKenna, who’s located his club in the Capitol District to take advantage of folks staying in downtown’s 3,000 hotel rooms. Besides, North Omaha already has Love’s Jazz & Art Center.

Still, he said, “This is not going to happen without North Omaha’s blessing. I have 11 investors from different pockets of the city, including North Omaha. I’m taking ads out in the Omaha Star. I’m trying to really embrace this authentic storyline, so that we can work together to make sure this is a community celebration.”

He wants The Jewell to be a platform for sharing this undertold narrative about North O’s live music culture.

“Along the way I’ve been telling this story and a lot of people don’t know this story. To keep it genuine, we’ve got to really spell it out.”

When McKenna and his Fremont, Nebraska native wife moved to Omaha in 2015 to raise their daughter, he researched Jimmy Jewell Jr., the Dreamland, other historic local music hives and the many noted musicians who resided or visited here. Once the Jewell idea crystalized, he sounded out North O leaders (Mike Maroney, Al Goodwin) and players (Curly Martin) for their knowledge and approval in creating a venue that’s both tribute to the past and showcase for established and emerging talent.

Having left Sony in 2008 to form his own music management company, McKenna Group Productions, which he now operates out of Omaha and New York, and fueled by his fascination with the history here, he found a project to challenge himself.

 

Brian McKenna at The Jewell.jpg

 

Brian McKenna at The Jewell

 

 

“I figured out something that wasn’t here at the level I thought it should be and that was a proper sit-down fine dining music venue,” he said. “But I knew it wasn’t going to work unless we really found the thread – and that was North Omaha.

“We’re going to hopefully carry that torch and really expose what used to be and try to bring some people back and then deliver that to future generations. The next generations need to know that this was a great scene, a beautiful scene. There’s a huge story there.”

McKenna marvels at what Jimmy Jewell Jr. did.

“He was able to get the biggest names. I mean, c’mon, man. It’s not easy to convince managers and agents,

but he was selling out the venue from 1930 all the way to 1965. Kudos to Jimmy Jewell Jr. for doing that.”

McKenna’s collecting stories. How on an extended Omaha stay, Nat King Cole wrote the hit “Straighten Up and Fly Right” –  “i’ve got some artists that will be doing tributes to Nat King Cole” – and how artists arrived by bus and stayed in private black homes or black boardinghouses, lionized by adoring neighbors. After gigs, star musicians jammed with local players.

Meanwhile, hometown musicians honed their chops here before going off to solo, sidemen, studio session careers. Victor Lewis, Arno Lucas, Carol Rogers, Calvin Keys, Lois McMorris, the late Buddy Miles and others broke out. Those who left (Wali Ali) or returned (Curly Martin) now have a new place to gig at.

McKenna digs how Count Basie hired Preston Love Sr. at the Dreamland to tour with his orchestra and how Anna Mae Winburn headlined there and later lead the International Sweethearts of Rhythm all-female swing band that McKenna studied in college.

“We need to talk about this,” McKenna said. “We’re going to really be celebrating the historical sense but also bringing the new players, too, like Esperanza Spalding and Christian McBride. Every time I go back East and talk to them about North Omaha, they’re like, ‘Oh yeah – there was a scene there.’ We’ve got to put the spotlight on that. That’s what I want to do. On our social media we’re posting a lot of that historical stuff. We’ve got to educate folks that we had this here.”

He’s also insisting artists make pilgrimages to the Jewell Building, whose display of photos from the Dreamland’s heyday, said McKenna, “gives me chills.”

David Sanborn is eager to learn.

“I’m sorry to say I’m unaware of the history of jazz in Omaha. It’ll certainly be new to me and an interesting experience,” Sanborn said.

McKenna’s taking steps to immerse visiting artists in the community by contractually requiring they do outreach through master classes or workshops. “I have relationships with UNO, the Holland Center and Love’s for this educational component.”

His support of the local music community extends to reserving Wednesdays for area performers.

Programming-wise, the club’s “not going to be a hundred percent jazz,” he said, adding, “There are  singer-songwriters coming through.”

The Jewell’s about good quality music, whatever the genre. Just no hard rock.

“It’s good to be diverse like that. Good music is good music.”

Further rooting the club to this place is Assistant General Manager Monique Alexander, a North Omaha native with a legacy connection to Duke Ellington as a distant cousin.

McKenna, who rose through the Sony ranks as a researcher, librarian and eventually vice president of audio operations and marketing. is applying his expertise to the entire endeavor.

“I felt I should do something that taps into that experience. Managing artists is great but you’ve got to do something in the community, too.”

He’s modeled The Jewell after Dizzy’s Club Coca-Cola in New York. Dakota in Minneapolis and Jazz St. Louis.

His industry contacts with agents, managers and talent bookers should aid in attracting top tier artists.

“We will get Wynton Marsalis out here, I guarantee you that. But the timing’s got to be right.”

He’s confident the club’s high standards of decor, house instruments (a Steinway piano, a custom Gretsch drum kit, a killer base) and acoustics (a floating ceiling to isolate vibrations from above), combined with its historical focus, will attract name talents.

“They will do whatever it takes to perform at great venues.”

McKenna’s left nothing to chance.

“It needs to be nurtured and developed. It’s not going to be rushed. It’s gotta be done right. To put this together has not been an easy thing. It’s been very detailed oriented. Every single move I’m making means something.”

The cozy, 150-seat venue boasts great sight-lines, with patrons only a few feet from the stage.

“When you’re that close it’s a different thing,” he said. “That’s the treat – to be that close to these types of artists. They’ll talk to you in a different way than they will performing in a big house. That’s what I love about this club – it’s a whole different vibe.”

He’s leveraging The Jewell’s sustainability on business travelers-tourists as well as locals looking for a signature night out. The club, at 1030 Capitol Avenue, is accessible from the Marriott and The Capitol Plaza.

It has its own dedicated chefs (Jon Seymour and Mark Budler) food and beverage director (Brent Hockenberry), hosts and servers in putting out its New Orleans-influenced menu.

McKenna expects to draw diverse audiences.

“People of all different cultures and walks of life will congregate similar to what happened at the Dreamland Ballroom. People will come to eat, drink and hear great music.”

The club worked out the kinks during a soft opening that launched January 17. Sanborn will help officially usher in The Jewell at a ribbon-cutting. He and his quintet will play 6:30 and 8:30 p.m. shows both nights. Sanborn’s trademark alto saxophone will blend with acoustic bass, drums, piano and trombone in performing works from his personal repertoire and from the late jazz composer-instrumentalist, Michael Brecker.

For tickets and upcoming featured artists, visit https://jewellomaha.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

 

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Washington Garcia’s international music career finds perfect balance in Omaha

December 26, 2018 Leave a comment

 

Washington Garcia’s international music career finds perfect balance in Omaha

©by Leo Adam Biga

Originally published in El Perico (el-perico.com)

UNO School of Music Director Washington Garcia’s destiny was set the first time he tickled the keys of his grandmother’s piano at age 4 in his native Ecuador.

“I’ve always considered myself blessed to know my purpose in life from very early on,” Garcia said. “That’s a gift not many people have. My family knew my mission was to come to the United States one day. They trained me from a young age to prepare for it. They had me learn English. They mentored me so I would mature to be in a leadership position.”

Though born into a musical family, he’s the only one to have made music a career. His father’s a retired neurosurgeon. His mother, a retired accountant.

His talent was so evident that by 6 he enrolled in Ecuador’s National Conservatory of Music. His first public performance came at 7. Recognizing the prodigy in their midst, conservatory leaders created a program for him. He advanced quickly enough to debut with the Ecuadorian National Symphony Orchestra at only 15.

He won several prestigious piano competitions. He made his international debut in Chile. He’s since performed all over Europe as well as in Canada, Israel, Mexico, Colombia, Japan and China.

Whatever he’s done and wherever he’s gone, he’s felt his parents’ support.

“They knew instinctively music was going to be my tool to connect Ecuador with the world. My parents opened many doors for me because of their perseverance.”

He enjoys national hero status in his native land as a recipient of the Outstanding Cultural Achievement medal – the highest recognition the Ecuadorian National Assembly awards an individual for artistic excellence.

Getting this far has meant sacrifice.

“I didn’t really have a normal childhood practicing piano five or six hours a day in addition to going to private piano and English lessons, doing regular school courses and homework and attending the National Conservatory.

“These were highly intensive academic and artistic activities I invested all of myself into. I don’t regret it. I would do exactly the same thing again.”

He feels in music he’s found the great common ground.

“Music has the power to connect us all,” he said. “When I travel abroad, language is a barrier, but the moment I perform music it connects us. Music is the language of the soul. I’ve created so many relationships and associations with people who don’t speak a word of English. They understand immediately that music is a bridge between cultures.”

The University of Nebraska at Omaha School of Music he leads is all about making connections.

Said Garcia, “Music has so many angles that impact community. We place music teachers in the schools. Our faculty tour the nation and world. We host an international music festival and visiting teaching artists.”

“We have been able to enhance our visibility on a national and international level. It allows us to bring the world to Omaha. We’re like an ambassador for the city.”

Coming to Omaha culminated a love affair with America. He first came to the U.S. in the late 1990s as a Kennedy Center Fellow in Washington D.C. That led him to the Peabody Institute at Johns Hopkins University in Baltimore, where he earned his master’s and doctorate.

“I was the institute”s youngest Latin American graduate in piano performance.”

He taught there before being hired by Texas State University. He became assistant director of TSU’s music school. Then “the right opportunity” appeared at UNO. A national search for the founding director of UNO’s newly established school of music led recruiters to Garcia. He and his wife Valeria moved to Omaha in December 2015. He assumed the post the following January.

In addition to administrative duties, he’s a full tenured professor of piano at UNO.

“I run my life based on mission and one of my missions is to teach and give to others what I have received in terms of artistic and academic knowledge.”

He arrived in the middle of the school year during an accreditation review.

“It was a challenge,” he said, “but I’ve always loved challenges as opportunities to learn and grow from. Still, it almost felt like somebody dropped me from a plane and I had no idea if I had a parachute or not. I pulled the plug on what looked like a parachute. It opened and then I looked for the safest place to land. I landed and  started running and I haven’t stopped since.

“It’s been a really fast pace. We’ve accomplished a lot of initiatives and collaborations. We would like to establish the School of Music as one of the top academic and artistic institutions in Nebraska and the nation. We have    everything it takes – a great faculty and support from the community and the university – to make this happen.”

Like his faculty, he also performs. He’s played with the Omaha Symphony and he does special engagements nationally and internationally.

Every performance is an opportunity to serve.

“I pray every time before I perform that God will help me inspire those who hear me with the gift of music. I want to be for young people who desire a career in music but may not have the means what my parents were for me.”

He feels fortunate.

“The U.S. gave me a free education, a job and continues giving me the opportunity to serve others. That is why this is my home. When I go to Ecuador or anywhere abroad  I feel like a visitor. After a week I’m ready to go back home.

“My wife and I know we have a mission to complete here in Omaha. This is our family.”

He and Valeria have a 2-year-old child and are expecting their second child in December.

Visit washingtongarcia.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

Improbable music journey leads Maldonado to Nebraska as an Omaha Omaha Fellow

December 24, 2018 Leave a comment

 

Jose Maldonado pictured with another Opera Omaha Fellow Kate Pomrenke

 

 

Improbable music journey leads Maldonado to Nebraska as an Opera Omaha Fellow

©by Leo Adam Biga

Originally published in El Perico (el-perico,com)

Jose Luis Maldonado concedes the improbability of how he became an opera singer. But that just makes him more eager to share his tale because if it could happen to him, than who knows how many other potential vocalists are out there without even realizing it?

Part of his role as a first-year Opera Omaha Fellow in the Holland Community Opera Fellowship is exposing young people to an art form that may be foreign to them.

The California native grew up around the East L.A. area, where the strains of opera are rarely heard. He comes from a musical family. His father played piano in L.A. salsa bands. His grandfather, Jesus Francisco Maldonado, played saxophone in Mexico, where he’s known in Cuahutemoc Chihuahua as El Botas.

Jazz and Sinatra were some of Maldonado’s other musical influences. From an early age he set his sights on following his grandfather as a saxophonist. He studied hard and became proficient.

In high school his varied activities in band, sports, student government, public speaking and tutoring led his football coach to call him “a renaissance man.”

By his junior year he’d formulated a plan for college. He would study music and business (his father’s in real estate) with an ultimate goal of attending USC and playing in the Trojan marching band.

But then fate threw him a curve. With no suitable artist to sing the national anthem for an all-school assembly, he volunteered, even though it meant singing in public for the first time before thousands. Until then, all he’d done was imitate Rat Pack crooners for friends. He nailed the anthem by mimicking Robert Merrill but it was Jose’s rich baritone that won over the crowd

Then, at his senior graduation, a teacher made him promise to take a voice class in college before she handed over his diploma. He vowed he would. He kept his vow at Rio Hondo Community College but only as a courtesy. Then an unexpected thing happened.

“I ended up really enjoying it. The vibrant teacher. Ann Gresham, made it more than singing. She lured me back to the class every semester by saying, ‘If you want to know your real voice, you should come back next semester,’ because I was still mimicking.”

He credits touring music shows she created that he performed in at schools with honing his stage presence and sparking his interest in community outreach, which is the focus of his Opera Omaha Fellow work.

As much as he liked singing, he considered it a hobby, not a career path. He was still stuck on his USC dream . But his best-laid plans got disrupted after he sang a German song for his final.

“That song really changed my perception of what a singer is,” he said. “The way she had me learn this song was so deep and specific. It was not just learning and translating the words but relating it to the culture and why it was written and honoring the composer and the librettist for that poetry.

“At the end of the song I closed my eyes and repeated this phrase (lyric). I felt this energy. I opened my eyes and everybody was in tears. There was silence, then applause. It was just this beautiful experience.”

When the teacher asked to see him privately after class, he thought he’d somehow messed up.

“She asked, ‘You felt that in there, right?’ I said, ‘Yes.’  She said, ‘I know you’ve achieved what you wanted to at the school and you’re going to be moving on. I’m very proud of you. But I would not be doing my job if I didn’t ask you this,’ and she looked me dead in the eye and said, ‘Do you want to be an opera singer? Because I can get you there. But it’s going to take a lot of work.’

“I was speechless because I never thought to be a singer. i remember, frozen, looking at her and saying. yes, but I didn’t consciously make a decision. She said great and told me about another college where the state would pay for my lessons. I just kind of nodded and walked away in shock.”

What he’d done didn’t sink in until he got home.

“Back in my room I yelled out, ‘What did I just do?’ Because the opportunity to realize my dream was right there in front of me. I worked really hard to get straight As. Counselors from USC and Rio Hondo made sure I met all the requisites. There it was and I just threw it away to become a singer.”

“But as soon as I yelled out, I felt this epiphany. In my mind I saw this blender with everything I was mixed in it and what poured out was opera singer. I just remember saying, ‘Okay, this is what I’m going to do with the rest of my life.’ Like magic, the calling was there for me. I haven’t looked back since.”

He continued music studies at Cal-State Fullerton. The woman responsible for putting him on the path to opera, Ann Gresham, became his private instructor.

An unforgettable experience occurred at Cal-State in a production of The Merry Widow. For the first time. his whole family saw him perform, even grandpa Jesus, who disapproved of his choice to make a life in music.

“My grandfather was not on board with me being a singer because of his experience with the musician’s life. He worried I wouldn’t be able to support myself. I’ll never forget his face when I walked out after the performance. He was just crying. It completely changed his perception. That was impactful for me. Now my Papi Chuy is my biggest fan.

“To be able to convince him that way spoke volumes for how much conviction I have for what I do. He saw I was going to be successful.”

Jose, 29, paid homage to him when, in a gibberish rant his character The Baron makes, he inserted Spanish words in the middle of the German operetta.

From Cal-State, Maldonado went to Manhattan School of Music in New York, where he graduated with his master’s in May. He gave the school’s commencement address. At the ceremony he got to meet two music icons who received honorary degrees: Opera tenor Placido Domingo and Latin jazzman Paquito D’Rivera.

In July he played the lead in a production of Falstaff for the Martina Arroyo Foundation’s Prelude to Performance Opera Festival. Arroyo, a famous soprano, created the foundation to help emerging artists like Jose get professional opera experience.

Since starting his Omaha fellowship in August, he and his peer fellow  have engaged the community. They performed an outdoor concert at Turner Park. They’ve worked with the Learning Community Center of South Omaha and Nelson Mandela School. They performed at Buffett Cancer Center and Gallery 1516. They facilitated classes at the Omaha Conservatory of Music.

Jose is scheduled to perform with the Omaha Youth Symphony at an Omaha Area Youth Orchestras concert  on November 11 at the Strategic Air Command and Aerospace Museum.

Wherever he goes, he wants his story of defying expectations to inspire others.

“I didn’t come from a traditional classical background. I’m very proud to say I was made in America with Mexican parts. I’m very proud of my culture. But I’m also an individual, I’m an artist, and I don’t have to be bound by walls or comfort zones or perceptions or interpretations. If i can help shine that upon people and let them choose for themselves what’s possible for them, then I’m doing my job.

“I encourage anybody that feels restricted or limited to break those barriers. Part of it is taking responsibility to take the actions that you can create to step forward and to find those opportunities and angels in your life.”

He wants to continue giving back by creating a cruise line that operates as a business nine months out of the year and that holds an intense summer training program for performing and visual arts students.

“To be able to offer this summer training program completely free is a dream of mine,” he said.

He also aspires to sing with his hometown Los Angeles Opera and at Palacio de Bellas Artes, Teatro Degollado and Teatro Aguas Calientesin Mexico.

Meanwhile, he loves being an Opera Omaha Fellow because it allows him to give back.

“It’s exactly how I began in music. We don’t just come and sing. We build relationships with community partners, We meet their needs. We plant the seeds of opera and we also get to nurture those seeds.”

He appreciates, too, that the two-year fellowship provides professional development opportunities.

“We have coaching every week with Opera Omaha Head of Music Sean Kelly. On top of our salary we get a professional development stipend to use to have voice lessons. It’s inclusive of flights and accommodations. We budget that as we need to continue our growth as vocalists – honing technique and advancing skills

 

That’s something I really cherish. I feel valued not only as an ambassador but as an opera singer.”

Read more of Leo Adam Biga’s work at leoadambiga.com.

Music is legacy and salvation for classical cowboy Hadley Heavin

September 25, 2018 Leave a comment

Music is legacy and salvation for classical cowboy Hadley Heavin

©by Leo Adam Biga

Appearing in the October 2018 issue of New Horizons

Hadley Heavin encountered a personal crossroads in the 1970s. He was a Vietnam War veteran with a background playing blues-rock guitar and competing in rodeo -– pursuits he thought he’d left behind. Little did he know he was about to embark on an improbable road less traveled as a classical cowboy.

He’s long taught classical guitar at the University of Nebraska at Omaha. He also taught at College of Saint Mary, Creighton University, Union College and the University of Nebraska-Lincoln. He’s given countless master classes, residencies and recitals. He and his band Tablao were fixtures at Espana and Little Espana.

Forty-five years ago though he was adrift. It was a dark period of his life. The light in his life returned when he discovered classical guitar. He no sooner taught himself to play that style when, in storybook fashion, he was discovered by Spanish master Segundo Pastor. The maestro passed onto his protege the art form’s direct lineage from its multi-generational source.

Heavin lived nearly a year in Madrid, where daily lessons and hard work made this country boy weaned on American roots music a virtuosic classical player. The men’s lives were intertwined for a decade. Heavin healed and reinvented himself as a performer and educator, taking up riding and roping again.

Musical roots

Heavin’s life has a way of coming around in full circles. Growing up an all-around athlete and a musician in the Ozarks, he became known for both his horsemanship and musicianship. His grandfather, father and uncles all played guitar professionally – swing and jazz – and young Hadley emerged the family prodigy, playing with his father’s band before gravitating to blues and rock. He played some drums but guitar was his destiny.

“Making music was just something we did,” Heavin said, “I was a little freak because I could play really well. I grew up in an environment thinking everybody was like this. I couldn’t believe it when a kid couldn’t sing or carry a tune or do something with music.”

About his father, E.C. Heavin, he said, “I haven’t heard anybody any better than he was. I had a lot of admiration for the kind of music he played. He knew the guitar perfectly. He couldn’t read music, but he could walk up on stage and play anything. He was amazing.”

Hadley’s Uncle Frog still cuts some mean licks at 90.

Athletic ability was another birthright. Frog played pro baseball as did Heavin’s mother.

Losing himself in the war

Hadley made the football team at the University of Kansas as a walk-on and showed promise on the Midwest rodeo circuit. Then he got drafted into the U.S. Army. His carefree existence vanished. Trained to be a killing machine, he fulfilled tours of life or death duty. The searing experience made the music inside him stop. He was unsure if it would ever return.

As a forward observer and artillery fire officer with 1st Field Force, he shuttled from one hot LZ to another with an M79 grenade launcher.

“I was what they called a ‘bastard.’ I would work with all different units. They would just send me wherever they needed me. I was on hill tops, some I can remember like LZ Lily. I was at Dactau and Ben Het during the siege. We were surrounded for like 30 days. I was in the jungle the whole time, mostly in the north, in Two Corps, close to the border of Laos and Cambodia.

“I saw base camp twice.”

Wounded by an AK47 round in a fire fight, he came home to recover. Stationed at Fort Riley, Kansas, he impulsively entered the bare back at a local rodeo.

“I drew a pretty rank horse, plus I hadn’t ridden in years and I was still sore from my war injuries. The horse came out and bucked towards the fence and my spur hung in the fence and hung me upside down, facing the opposite way. He was kicking me in the back as he was bucking away. I got hurt. I could hardly walk that night. When I got back to base they were mad at me because I couldn’t pull my duty. Here I was a decorated combat vet, and they were going to court-martial me.”

Cooler heads prevailed and he completed his military service with an honorable discharge. Like so many combat brethren, he returned home broken.

“I was having bad PTSD. I didn’t know where my life was going. I wasn’t necessarily a violent person but that’s what I was used to. It kind of becomes no big deal at some point in your life. It becomes a big deal after the fact when you’ve got PTSD.”

He resents the morally bankrupt orders he followed.

“Emotionally, I was a mess from the war just as much for the atrocities I was forced to commit than what actually happened to me because there’s always collateral damage. You see that and you see that you’re responsible for it. It doesn’t turn off. It never does.

“I had some years there where I had a hard time because I felt I was part of something that was wrong.”

Then there’s the physical toll.

“I have a broken immune system because of Agent Orange. It became hard for me to travel. I started getting sick in my 50s. Every time I’d fly somewhere to play a concert I’d play with a fever or something. That got really old. It’s curtailed my travel.”

Adding insult to injury, he said the VA “won’t help – you’ve got to be near death before they’ll help you with that.” In the meantime, he said, the effects “can destroy your life and career.” His request for treatment went before an evaluation board who denied him care.

“I’m just shocked this country doesn’t treat its veterans very well. They just aren’t. I’ve been to the VA hospital. It’s not like going to a normal hospital. You’re just a number. These patients are the guys that fight for their country. They should have the same health care as everyone. Everybody says thank you for your service. Well, that doesn’t help very much. Why don’t you vote for somebody that’s going to help the veterans?”

Coming back to music

In his post-war funk he quit music, roping and riding. But those passions kept calling him back.

“I suffered because by then my father was gone and my mother couldn’t support me. Somehow I played guitar and kept myself fed.”

He was working a job unloading trucks in Springfield, Missouri when, on a whim, he went to see a classical guitarist perform. It changed his life.

“I was enthralled and it just came over me like that,” he said, snapping his fingers. “Right then and there I knew what I was going to do with my life. The feeling that came over me fulfilled me more than anything else ever had up to that time. A part of it was, I needed something, Classical guitar was the thread that gave me something to hang onto just to get through life and the pain.”

He taught himself via recordings and books. Then he found an instructor who took him as far as he could.

“As soon as my hands could take it I practiced six to eight hours a day working a full-time job.”

Attending school on the GI Bill, he convinced the music dean at then-Southwest Missouri State University (now Missouri State) to start a degree guitar program for him.

“I had such a passion for it that I was going to find a way  – whatever it took.”

Once in a lifetime opportunity

Then, a meeting changed his life again. Touring legend Pastor saw Heavin play a concert on campus. He asked to meet Heavin. Pastor complimented the talented beginner and told him what to work on. Pastor returned a year later to instruct Heavin for two weeks and then offered taking him on as his only student in Spain.

Dumbstruck and flattered by this once in a lifetime opportunity, Heavin still needed thousands of dollars to realize it, He approached school department heads and each passed him off onto someone else. His last resort was the head of religious studies, Gerrit tenZhthoff, a Dutch war hero who resisted the Nazis.

“I told him my story – that I played for this man (Pastor) who’s the best in the world and I would be his only student. As I was explaining this he jumped out of his chair and said, ‘This is wonderful, this is amazing.’ He got me the scholarships, got me everything I needed. He even made it so that I kept getting credit while I was away in Spain. He did all of it.”

MSU has recognized Heavin as an honored alumnus.

Heavin leaned on tenZhthoff for more than funding.

“I actually used to go and tell my problems to him. He was always there for me helping me through the shit. He was just a great guy. I owe my existence in the way that I’ve lived my life to people like him and to the maestro. I was just sort of there and fell into some stuff.”

Finding himself and his purpose

Pastor became his next mentor.

“The maestro and my time in Spain was my salvation. The guitar saved me. When I arrived there was an apartment for me. The maestro’s wife was like my mom. His son was like my brother. I realized shortly after I got there I was his only student. He rarely took them. There were Spanish boys waiting in line to study with him.

“He put all of himself into that one student. That’s why he didn’t take on many. It was really like a fairy-tale…”

Heavin struggled with why he should be so fortunate.

“The thing that’s odd about it is that I had only been playing about a year when the maestro invited me to Spain. It was confusing because there were Spanish boys who could play better than I.”

It nagged at him the entire time he was there.

“I kept asking, ‘Why did you pick me?’ And he would never answer it. I suspected he may may have just felt sorry for me because I was a Vietnam vet and I wanted to play guitar and he saw the gleam in my eye.”

Then, the night before his study-abroad fellowship was up and he had to return home, Heavin walked with Pastor down a wet, cobblestone street in Old Madrid.

“He said, ‘You keep asking why I picked you over all the Spanish boys. Well, truthfully, the Spanish boys are good guitarists and will always be good guitarists.’ Then he put his hand on my shoulder and said, ‘But you will be a great guitarist.’ Until then, I was too naive to know if I was any good or not. But he knew. It gave me everything I needed to go forward.”

Not only did Pastor give him a career, Heavin said, “he gave me back myself.”

“He became like my father. We got really close.”

Pastor opened doors to him in Spain that otherwise would have been closed.

“What surprised me mostly when I got there is that he would have me go with him to these recitals he performed for the governors of the provinces in these beautiful concert halls. He would introduce me to very stately, formal people with diamonds on their cigarette holders. I was out of my league. He would me talk me up to these people. i just kept my mouth shut because I was a fish out of water.

“What he was doing was introducing me to the fact I didn’t need to be intimidated. Afterward he would say, ‘I always tell them what they want to hear and then I laugh about it later.’ In other words, don’t take it seriously. Deal with the people you have to deal with and try to understand them so that nobody’s offended. To him a concert was there to make everyone feel better, no matter who they were.”

The jovial Pastor charmed the upper crust in one setting and street people in another. With Pastor’s help, Heavin regained his own sense of humor.

“You can’t take life too seriously.”

Segundo Pastor

Second home

He found acceptance in Spain even after his ally and teacher died.

“After he passed away I did a tour with my friend Pedro, who was also a guitarist, playing the maestro’s music. We played in some of the same places the maestro had taken me to. We even played in his hometown where he was buried. We were very well received. We would always open the program with duets. Then one of us would close the first half by playing solo. Then the other one would play solo. Then we’d finish up with duets. Almost all the music was what the maestro played or wrote. It was a homage to his life.

“I remember walking out on stage at a music school to play solo. I looked out in the audience – there were a lot of guitarists there – and everybody was sitting up straight with their arms crossed, like, Who is this American? It made me a little tentative. But when I got done playing I got a standing ovation and everybody came walking up to me, kind of ignoring Pedro. Everybody was hugging me. Meanwhile. Pedro was over there getting mad. But when Pedro and I played in the States, he was the exotic one, so it was like a tradeoff, only the Americans were a little more forgiving.”

Earlier, Heavin toured Spain and America with Pastor. They once played Carnegie Hall together. He even brought Pastor to perform in Omaha.

During his time in Spain with the maestro, Heavin was introduced to the great guitar builders in Madrid, including the legendary Manuel Contreras.

“I got to know them personally. I played their guitars.”

He also got in on the end of a romantic era when artists – musicians, painters, writers – would get together in cafes to throw down beer or wine while talking about politics or bullfighting or art.

“But those days are gone,” he laments. “The last time I was back there I was talking to some young people about this musician or that musician and they didn’t know who I was talking about. They didn’t even know who Manuel de Falla was (one of Spain’s preeminent composers of the 20th century). I’m glad I got to experience that culture at the time that I did.”

Memories of Pastor are embedded in him. He absorbed the maestro’s mannerisms. The way Heavin plays and teaches, he said, is “very similar” to Pastor.

Heavin recalls a New York City recital they did together. Beforehand, Heavin peaked out from behind a curtain to see a jam-packed hall whose overflow crowd was even seated in folding chairs on stage.

“He saw me looking worried because of all the people and he asked, ‘Hadley, are you nervous?’ I said, ‘Yes, maestro, I’m very nervous.’ He said, ‘Why? Only five guitarists have died on stage.’ I started laughing and I played really well that night. So I’ve used that numerous times on students before they go on stage.”

Once. while visiting Pastor in the town of Caunce, he was reminded how much he took after his teacher.

“His son and I were walking behind him. Segundo said  something funny and I started laughing just like him and his son took my arm and said, ‘It is necessary for you to play the guitar like my father. It is not necessary for you to be like my father.'”

Having learned Spanish in Spain. he became fluent. “But I’m not so good at it anymore because I don’t use it. When i start using it, it starts coming back.”

A part of him would have loved making his home in Spain. But his family’s here. He helped raise his daughter Kaitlin with his ex-wife. Kaitlin is lead singer in his band Tablao. About a decade ago he remarried and now he has grandkids to dote on.

He teaches part-time, plays local gigs (you can soon catch him at The Hunger Block), ropes and rides. He was a Nebraska Arts Council touring artist for decades,  but his touring days are over.

“I enjoy not worrying about stuff so much anymore –making that flight or getting somewhere.”

 

The cowboy thing

His escape from academia is still the outdoors.

“The cowboy thing comes from when I was 4-years old watching Roy Rogers and Gene Autry movies. We grew up with a real simple outlook on how life’s supposed to be from these good guy and bad guy Western values. It’s pretty complex now. There’s a lot of variables that I think are hard for people to deal with.

“I loved horses. I always wanted a horse from the time I was four. When I was in high school I couldn’t afford a horse so I started rodeoing – riding bare back broncs and bulls.”

He fell head over spurs for it.

“It was a short-lived career because I went in the Army.”

He eventually got back into riding and roping. Today, he mostly enters team roping jackpots and Western horse shows. He has lots of stories. Like the time he was on a gelding at Kent Martin’s horse ranch.

“I backed him in the box and I roped two or three steers. I was heeling on him and he’d come around the corner and buck a little. But I was kind of showing off, thinking, ‘Aw, that’s nothing.’ Then there was one steer that ran really hard. I still thought, ‘We’ll be alright.’ Well, we’re going around the corner and he just started bucking. The steer was getting away from us and I was leaning out over the front trying to rope this steer and the next thing I know I went off right over the front of his head and landed on my shoulder. He stepped on the other shoulder as he was bucking over the top.”

As Heavin lay sprawled in the dirt, sore and dazed, Martin came riding up on his horse, not to offer sympathy, but good-natured cowboy sarcasm.

“Looking down at me, Kent said, ‘Get up, Hadley.’ I said, ‘I can’t right now.’ Then he said, ‘I’m going to charge you a tanning fee if you lay there lay any longer.'”

Martin doesn’t let it go at that. He describes the fall tis way: “The wind changed directions just gradually and caught Hadley just wrong, and he fell off.”

Heavin takes the ribbing in stride, saying, “That’s the way cowboys are. Everybody gets bucked off and   everybody gets injured. It’s no big deal.”

Martin does concede that Heavin “rides pretty good.”

Just as in Spain, Heavin travels in many circles in Nebraska and gets on with everybody. It’s bred in him.

“My whole family were Southern Democrats. We had all kinds of friends, even in the South.” As a progressive living in a Red State, he’s used to debating his Republican friends. “Luckily they tolerate me because I stand up to the stuff they say. We argue. They say things like, ‘We should kick him out of this roping club.'”

He doesn’t mince words about American adventurism.

“I understand Afghanistan was a response to 9/11 and we needed to be able to strike out against something. Iraq, I didn’t understand. That country’s much worse than it would have been if we had left it alone. I didn’t agree with that war. We get our people killed, we spent billions and billions and billions of dollars and we got guys like (Dick) Cheney making a fortune off it.

“I think (George W.) Bush’s heart was probably in the right place, but I think he was mislead. He went in there thinking there were weapons of mass destruction.”

Few of his students and fellow faculty know he’s a vet.

“I don’t tell those people much about this stuff,” he said within earshot of Martin, who quipped, “Hadley’s a closet cowboy.”

Heavin still burns from an old headline that described him as a “real rootin’-tootin’ classical guitar playing cowboy. “I took a lot of heat over that.” He prefers “classical cowboy.”

Music educator

Music offers escape from daily worries, world affairs and partisan politics. He’s been teaching classical guitar almost as long as he’s played it.

“I started teaching as an undergraduate, just privately, in Missouri. While studying for my masters at the University of Denver, I taught all the undergraduates in guitar and coached the ensembles.

“I came to UNO in 1982.”

Combining performing with teaching is tough.

“One robs you of the other. If I were out there performing a lot I wouldn’t be as good a teacher. I would have to be very selfish. I wasn’t a very good a teacher back when I toured because I wasn’t around as much. I’d go off on tour to play and then I’d come back and try to do makeup lessons and it’s really hard to do.

“Touring robs you of putting energy into other people when you have to have that yourself to go on stage and play as perfectly and as musically as you can. It’s a lot of energy, especially with classical guitar. It’s just a difficult instrument to play. After I started winding that down, teaching became more and more important. It’s a high priority for me.

“I’ve got former students out there teaching now and they teach kids that eventually come to me. It’s all coming full circle.”

Some former students are accomplished players, such as Ron Cooley, who plays with Mannheim Steamroller.

For years he only taught adults, but now he’s started teaching younger people and enjoys it.

He also teaches older than average students.

“I’ve got a 72-year-old lady, Sue Russell, that takes lessons and she’s really good. She’s been studying with me for probably 20 years. She plays Flamenco and classical. She’s awesome.

“I have a cardiologist, John Cimino, who’s studied with me for 20 years. He’s amazing. He practices every day despite his busy schedule.”

Long graduated students still rely on his expertise to fix technical problems others cannot. One former student came to him after his new teacher could not explain how to correct a flaw with his fingering.

“I said, ‘Here’s what you do,’ and I explained to him the physiology of it and how he could make it work and he just sat there and did it. That’s what other teachers miss

and that’s from 40 years of teaching.

“Some of the best players can’t teach at all. They’ll be sitting there teaching somebody in front of people and this student obviously has a big issue with a certain finger and the teacher will just say, ‘Well. you’re doing that wrong,’ but they can’t tell them how to do it. That’s what I’m good at.”

Expressive playing is big with Heavin. One of his all-time guitar idols, Steve Ray Vaughan, exemplified it.

“Musically I’m really big into the emotional side of playing. I’ve got a good balance between the physical and emotional. But it’s really hard to teach guitar. You can give all kinds of exercises to do. Some guys will do the work and nothing ever really happens. There has to be a thought process in a student’s head to actually make that happen.”

He recognizes Pastor’s teaching in his own instruction.

“Like he did with me, if someone’s doing something wrong I’ll shake my finger and say, ‘No!’ That taught me how to focus and to take this more seriously. It permeates my teaching today. And a lot of times I ask questions. I’ll stop them in a piece and say, ‘What are you doing?’ That’s how I get their focus.

“Until they start questioning something, they don’t listen. I’ll gradually hone in on the issue before getting to it too quickly. I’ll say, ‘Your wrist is cocked a certain way which causes your A finger to hit at a different angle,’ and then I’ll ask to see their hand. I might say, ‘That nail looks like it’s filed differently than the others.’ I’ll drill them and write out an exercise for them to do to fix that problem and show them how it’s supposed to feel. The hardest thing to do is to teach somebody how to feel something, but I’m really good at it.”

He rarely imparts the classical lineage he represents.

“I’m a little careful with that. I don’t just hand that to everybody. If I’ve got a student working hard and in their last year, then I start dealing with that lineage. I will have them play a piece by Francisco Tarrega. Then we’ll deal with all the technical issues. Then I’ll talk about this lineage thing. ‘What you’re going to hear from me now is as if you were sitting with Tarrega himself because the man I studied with studied with the man who studied with Tarrega, and this has been passed on.

“It’s not just me they’re getting it from, they’re getting it from all of us in the line. The students that figure that out and treasure that are the ones that go off to other schools and blow everybody away,”

He has students watch top guitarists on YouTube to illustrate that even technically brilliant players can lack subtlety  “Those players have it totally wrong. They’re not that close to the source so they don’t know how it’s played. It’s technical but not expressive.”

Heavin breaks it down for students.

“I’ll tell them what’s wrong with it. I’ll say, ‘Here’s what Tarrega wants–- he wants this to be very rhythmic through this phrase because this is going to be a recurring rhythmic unity in the piece. But we don’t do it all the time. It’s what we come back to each time to set it up again. Even a lot of great players don’t know.’

“That’s when they start feeling they’re getting something here that’s different. Some of them are never going to get it and maybe they’re doing it for different reasons. The guitar’s not really their major or where they’re going to end up, so I don’t necessarily put that on them  because it’s almost a responsibility once you have it.”

His world-class level instruction fits well within a UNO Music Department he says has “risen to a high level.”

“Hadley’s exceptional professional experience enhances our programs in a unique way,” said UNO School of Music Director Washington Garcia. “Visiting guest artist Manuel Barrueco, one of the greatest concert guitarists of all time, left Omaha raving about the talent of our students, all due to Hadley’s work and unconditional commitment to their artistic and academic development. As an artist, Hadley carries that tradition of many great masters and is a reflection of talent at its best.”

Having it his way

His cowboy friends know about his classical side. His recitals in Omaha and western Nebraska draw roping cronies.

“They’re full of questions, like, what about your hands?”

To protect his digits, he’s headed most of his roping life. Atop his horse, a header runs with the steer and can kick off when in trouble. Heeling entails catching up to a hard-charging steer moving away. Applying a rope can singe, even take fingers. At his age he’s now allowed to tie on hard and fast, which makes heeling safer.

Wherever he goes in ranch-rodeo country, he can swap stories with horsemen. One such place is the giant Pitzer Ranch in the Sandhills.

A top hand, Riley Renner, “won the very difficult ranch horse competition out there and he did it riding my mare Baley,” Heavin, said sounding like a proud owner.

“They do what they call a cowboy trail where they run this obstacle course. They’re running flat out, too. It’s a timed event. It’s all judged. The thing started at 7 in the morning and didn’t get over until 11 at night. The same horse all day long. My mare is kind of famous for going through that. She’s big and strong and easy.”

Asked if he’s ever played guitar on horseback, Heavin deadpanned. “I don’t mix the two genres.”

He enjoys socializing but if he had his druthers he’d just as soon hang out with horses.

Training a horse and a person is not so different.

“There’s a process you go through that’s not always exactly whispering. It’s more of making the wrong thing difficult and the right thing easy, so that the horse believes this is what I need to do. That’s where the trust comes in.”

With students, he said, “I use a lot of horse analogies, like trying too hard and getting too tight. I’ll back them off and say, ‘You’re kind of like a horse that’s nervous in the box. If you try too hard, you end up beating yourself up.  I wait till the horse relaxes.'” Similarly, with students, he said, “I slow everything way down so they can think about every move they make. And it works.”

Pastor’s loving instruction won the trust of his greatest student. Forgiveness freed Heavin to share with others the sublime gift of his music and lineage.

It’s been quite a ride.

Heavin doesn’t consider his story anything special. In his best Western wit, he sums up his life this way: “A guy’s gotta do something between living and dying.”

Read more of Leo Adam Biga’s work at leoadambiga.com.

 

Omaha blues man Hector Anchondo riding high

August 1, 2018 Leave a comment

Omaha blues man Hector Anchondo riding high

©by Leo Adam Biga

Appearing in the August 2018 Reader (www.thereader.com)

Blues singer-songwriter-guitarist Hector Anchondo has paid the price to live the dream. Calling Omaha home for two decades, he led his Hector Anchondo Band to the 2016 International Blues Challenge finals in Memphis after reaching the semis a year earlier.

In 2017, their Roll the Dice album charted worldwide and the group won Omaha Entertainment and Arts Awards recognition for Best Blues.

After years working odd jobs to supplement his music earnings, Anchondo, 38, now supports his family doing what he loves  He also gives back to the adopted hometown that nurtured him as founder of In the Market for Blues festival. Twenty-eight bands will gig at eight Old Market venues Saturday, August 4. His band hits the stage at midnight at T. Henrey’s Pub. A jam session follows.

Things are golden for Anchondo. He’s getting married, He’s becoming a father a second time. He’s written songs for a new album (his eighth). His tour rides are in a 2016 Ford Transit 350 XLT, not the beaters he used to drive. But he was reminded of the fragility of it all last April when the night before a tour was to commence, severe stomach pains landed him at University Hospital. Surgeons removed his gallbladder.

Once through the health crisis, there were crushing medical care costs for which he had no insurance, Anchondo could see it all slipping away. But the Omaha Blues Society held a fundraiser concert at Chrome Lounge and friends launched a YouCaring campaign. He’s healed now and can pay his bills.

Speaking to The Reader from Aspen, Colorado, where he solo toured last month, Anchondo reflected on the journey that’s taken him from his Missouri Ozark hill country origins to this Great Plains base and beyond.

He took up guitar at 16 while living on his family’s farm. He’d never played an instrument before, though he did sing in choir. It was passion at first lick.

“It was like a flip switched on. I took it very serious from the start. I’ve always been about the craft of it,” he said.

He recalls a guitar solo in a Guns N’ Roses video sealing the deal.

“I was like, That is what I’m going to do, and that’s what I’ve been doing ever since.”

He grew up influenced by Los Tigres del Norte, traditional American roots sounds, soaring Jimi Hendrix blues riffs and ’90s grunge-hip hop beats.

“I always liked the blues. It’s the emotional expression when you’re on stage – the personality part of it. You can really be yourself.”

Carlos Santana was another “big influence.”

“I had an immediate connection through our Hispanic background. His Latin grooves caught me right away and I’ve been hooked ever since.

“Eric Clapton was also a big influence. especially his acoustic MTV unplugged album. I could not stop listening to it. Learning the songs was a complete joy.”

He gigged in Missouri before moving to Omaha, where he had family, to try making it in a bigger market.

“There was a lot of not playing music out live because I was starting from scratch. I didn’t know where to begin. Then I started hitting every open mic in town. I would go to those every week without fail. I started meeting other musicians. It was a real tight-knit community.”

 

Stage Right became a second home.

“It was a lot of fun. It was a very nice, accepting, open atmosphere. I also started my own weekly gig at Caffeine Dreams.”

He slept on couches and floors and worked McDonald’s to get by. On stage, veteran players noticed his talent.

“A lot of older musicians came up to me and told me to never stop – that I had a good thing going, I was very fortunate to have lots of encouragement.”

The natural worked to hone his intuitive gifts.

“Sometimes I would practice the same riff or part for hours upon hours until I got it right.”

His pursuit of mastery attracted other artists and he formed a popular band, Anchondo, with some of them. Live performing gigs beckoned and local stations gave their music airplay, especially “She Devil.”

“We were doing a lot of great touring and getting festivals, playing some auditoriums in the Midwest – but barely making any money. We were living dirt poor. Any money I’ve ever made I’ve always invested back into music.”

He’s spared no expense with guitars. Despite having a Fender Strat and a Dobro Resonator (anonymously left on his doorstep), his go-to is a Delaney Austin.

“It was hand-made special for me. The sound quality, the playability, the jumbo frets, the sustain, I could go on and on. Plus, it feels good to be a Delaney-endorsed artist.”

Things were looking up. Then the recession hit and bookings fizzled.

“it just killed us. We stopped playing. I had to do a lot of soul searching, like, Is this when I hang it up?”

Tired of dishwasher, check-out clerk and construction jobs to make ends meet, he recommitted to his dream.

“I just couldn’t stop being a musician.”

He formed a new band, wrote dozens of songs and released the well-received EPs Kicking Up Dust and Young Guns with blues as his new calling card.

He strategically entered his band in the Nebraska Blues Challenge. After losing the first two years, they won the next two, thus qualifying for the international event down South. He describes that hyped stage in the nation’s blues mecca “a game-changer.”

“It meant getting in front of the blues worlds eye. It was a huge learning experience, too, watching other bands that competed.”

He entered “uncharted waters” by hiring L.A.-based radio promoter-record publicist Frank Roszak to get Roll the Dice heard.

“I knew that was the right move to make,” Anchondo said. “I knew I had to strike while the iron was still hot. It was a complete success. I finally had an album being played all over the world. We got some serious exposure out of that. It was a dream come true and something I’d been working for my entire career.”

Meanwhile. he’s trying to enrichen the area blues scene with the In the Market fest – now in year four.

“Every year it’s grown and this year is going to kick a lot of ass,” he said. “All the bands are outstanding.”

He credits E3 Entertainment and the Blues Society for “doing the majority of the work to make the festival happen.”

He said the Blues Society and its BluesEd program “have really grown the Omaha music scene.” His drummer, Khaugman Winfield, is a BluesEd alum.

Anchondo appreciates the Blues Society coming to his aid last spring following emergency surgery.

“It was absolutely wonderful of them. So many people rallied together and helped out. My mind is still blown by all the love and support.”

He’s performing again in Omaha at Baxter Arena September 14 and The Waiting Room November 21.

“I anticipate continuing to be based out of Omaha and keep going with business as usual. Omaha has been such a great and wonderful springboard for my music career.”

He’s been down this road too long to know that “making it” doesn’t ever mean being home free.

“There’s still lots of struggles and sacrificing, but I have a very full life with my family and getting to play music professionally. It’s my full-time job. I couldn’t ask for anything more.”

Except maybe time.

“I’m trying to set this next album up to where I have a lot more time to perfect certain things and to invest more in my guitar and my vocals.”

Follow at hectoranchondo.com.

Visit http://www.InTheMarketForBlues.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

 

Life Itself XIII: Music stories through the years


Life Itself XIII:

Music stories through the years

 

 

Omaha blues man Hector Anchondo riding high

https://leoadambiga.com/2018/08/01/omaha-blues-man-…ondo-riding-high/

Paul Serrato finds balance as musician and educator

https://leoadambiga.com/2018/06/01/paul-serrato-fin…an-and-educator 

Stage-screen star Vanessa Williams in concert with the Omaha Symphony

https://leoadambiga.com/2018/04/24/stage-screen-sta…e-omaha-symphony

Roni Shelley Perez staking her claim as Nebraska’s next “Broadway baby”

https://leoadambiga.com/2018/02/01/roni-shelley-per…xt-broadway-baby

 

Screen Shot 2018-04-11 at 11.16.01 AM.png

 

 

Glen Campbell’s sweet goodbye

https://leoadambiga.com/2017/02/06/glen-campbells-sweet-goodbye

Camille Metoyer Moten: With a song in her heart

https://leoadambiga.com/2016/12/26/camille-metoyer-…ong-in-her-heart/

Creative to the core: 

John Hargiss and his handmade world

https://leoadambiga.com/2016/06/30/creative-to-the-…s-handmade-world/

Entrepreneur and craftsman John Hargiss invests in North Omaha: Stringed instrument maker envisions ambitious plans for his new Hargissville digs

https://leoadambiga.com/2012/12/26/entrepreneur-and…argissville-digs

 

 

A MOTHER’S DAY TRIBUTE Mother-Daughter Music Legacy and Inheritance: Jeanne and Carol Rogers

https://leoadambiga.com/2016/05/08/a-mother-daughte…and-carol-rogers

Music-Culture Mixologist Brent Crampton: Rhythmic anthropology and pure love of human bodies moving

https://leoadambiga.com/2015/07/04/brent-cramptons-…an-bodies-moving

Stephanie Kurtzuba: From bowling alley to Broadway and back

https://leoadambiga.com/2016/08/27/stephanie-kurtzu…roadway-and-back

Making the cut: 

Music video editor Taylor Tracy

https://leoadambiga.com/2015/05/08/making-the-cut-m…tor-taylor-tracy

Paul Williams: Alive and well, sober and serene, making memorable music again

https://leoadambiga.com/2015/05/01/paul-williams-al…usic-again-at-74

 

 

Charles Ahovissi brings West African culture to the Heartland: African Culture Connection uses dance, music to tell indigenous yet universal stories

https://leoadambiga.com/2014/12/12/charles-ahovissi…niversal-stories/

Rock photographer Janette Beckman keeps it real: Her hip-hop and biker images showing at Carver Bank as part of Bemis residency

https://leoadambiga.com/2014/09/19/rock-photographe…-bemis-residency

Goin’ down the Lincoln Highway with Omaha music guru Nils Anders Erickson

https://leoadambiga.com/2013/10/01/goin-down-the-li…-anders-erickson

Omaha Songstress Mary Carrick Takes Flight in New CD  

https://leoadambiga.com/2014/07/14/omaha-songstress…flight-in-new-cd/

Omaha performer Brenda Allen recalls her friendship with Johnny Cash: “Ring of Fir”e pays tribute to iconic singer-songwriter

https://leoadambiga.com/2014/08/08/omaha-performer-…inger-songwriter/

Brenda Allen’s real life country music drama took her from Nebraska to Vietnam to Vegas

https://leoadambiga.com/2013/06/01/brenda-allens-re…vietnam-to-vegas

Life comes full circle for singer Carol Rogers

https://leoadambiga.com/2015/08/28/life-comes-full-…ger-carol-rogers

Rogers cover (reduced)

 

 

Sisters of song: Kathy Tyree connects with Ella Fitzgerald; Omaha singer feels kinship to her stage alter ego

https://leoadambiga.com/2014/03/12/sisters-of-song-…-stage-alter-ego/

Tiffany White-Welchen delivers memorable performance in “Lady Day”

https://leoadambiga.com/2015/10/14/tiffany-white-we…s-left-oct-23-24

Faith, Friends and Facebook: The Healing Journey of Camille Metoyer Moten

https://leoadambiga.com/2014/12/13/when-cancer-stru…aith-on-facebook

Camille Metoyer Moten: A singer for all seasons

https://leoadambiga.com/2011/06/22/camille-metoyer-…-for-all-seasons

 

 

Omaha’s black sirens of song and spoken word

https://leoadambiga.com/2016/02/15/omahas-black-sir…-and-spoken-word/

Omaha theater gypsy Gordon Cantiello back with new show

https://leoadambiga.com/2013/08/09/omaha-theater-gy…ck-with-new-show

 

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Jocelyn and Deven Muhammad: Creative Siblings Move Past Labels to Make Their Marks

https://leoadambiga.com/2015/09/15/jocelyn-and-deve…make-their-marks

Passion Power: Dominique Morgan’s voice will not be stilled

https://leoadambiga.com/2015/04/07/passion-power-do…l-not-be-stilled

After decades in NYC, Omaha native jazz pianist Paul Serrato proves you can come home again

https://leoadambiga.com/2013/06/06/jazz-pianist-pau…in-new-york-city

 

 

Opera Omaha re-imagines the gala with “A Flowering Tree”

https://leoadambiga.com/2015/03/24/opera-omaha-re-i…a-flowering-tree

Breaking the mold: 

Opera Omaha re-imagines the gala

https://leoadambiga.com/2014/12/11/breaking-the-mol…gines-the-gala-2/

BRAVO! Sing for the Cure

https://leoadambiga.com/2016/05/22/14215

Jazz-Plena fusion artist Miguel Zenon bridges worlds of music

https://leoadambiga.com/2012/07/21/jazz-plena-fusio…-worlds-of-music

 

Identical twin horn players set to lead Omaha jazz revival

https://leoadambiga.com/2018/03/27/identical-twin-h…aha-jazz-revival

Potash Twins making waves in jazz: Teen brothers count jazz greats as mentors

https://leoadambiga.com/2013/06/05/potash-twins-mak…reats-as-mentors

Indigenous music celebrated in Omaha Conservatory of Music Nebraska Roots concert

https://leoadambiga.com/2012/03/25/indigenous-music…ka-roots-concert/ 

Omaha’s KVNO 90.7 FM turns 40: Commercial-free public radio station serves the community all classical music and local news

https://leoadambiga.com/2012/02/11/omahas-kvno-90-7…ent-set-it-apart

20130928_bs_4919

 

Artists running with opportunity to go to the next level; Carver Bank resident artists bring new life to area

https://leoadambiga.com/2013/05/20/artists-running-…new-life-to-area

Shirley Jones Interview: Classic Hollywood star to appear at Omaha screening of “Carousel”

https://leoadambiga.com/2013/05/01/shirley-jones-in…ning-of-carousel

Hollywood legend Debbie Reynolds and classic film “Singin’ in the Rain” to be saluted

https://leoadambiga.com/2010/10/31/hollywood-legend…d-at-nov-5-event

Jill Scott Interview

https://leoadambiga.com/2012/08/08/interview-with-jill-scott

Oklahoma!, Gordon MacRae, Shirley Jones, 1955 Photo

 

Life is a Cabaret, the Anne Marie Kenny Story: From Omaha to Paris to Prague and Back to Omaha, with Love

https://leoadambiga.com/2011/05/28/life-is-a-cabare…-omaha-with-love

From Omaha to Paris to Omaha, with Love, Anne-Marie Kenny’s Journey in Song and Spirit 

https://leoadambiga.com/2012/06/21/from-omaha-to-pa…-song-and-spirit

A queen gets his day in the sun: Music director Jim Boggess let’s it all out in “Jurassic Queen” cabaret

https://leoadambiga.com/2012/01/04/a-queen-gets-his…ic-queen-cabaret

Martinez Music Legacy: 311’s SA Martinez takes music tradition laid down by father and grandfather in new direction

https://leoadambiga.com/2011/12/19/a-martinez-music…-a-new-direction

Tito Munoz: Rising young conductor leads Omaha Symphony Chamber concert

https://leoadambiga.com/2012/07/22/rising-young-con…-chamber-concert

Peter Buffett completes circle of life furthering Kent Bellows legacy

https://leoadambiga.com/2012/07/21/peter-buffett-co…-of-kent-bellows

Heart Strings: World-renowned cellist Alisa Weilerstein refuses to let chronic illness slow her down and she encourages others to pursue their dreams, too

https://leoadambiga.com/2012/02/19/heart-strings-wo…their-dreams-too

 

Miss Leola Says Goodbye

https://leoadambiga.com/2011/09/01/miss-leola-says-goodbye/

Leola keeps the faith at her North Side music shop

https://leoadambiga.com/2011/09/02/leola-keeps-the-…-side-music-shop

Laura Love: Omaha’s High Yaller Gal Comes Home

https://leoadambiga.com/2013/04/27/laura-love-omaha…r-gal-comes-home/

Hard Times Ring Sweet in the Soulful Words of Singer-Songwriter-Author Laura Love, Daughter of the Late Jazz Man, Preston Love Sr.

https://leoadambiga.com/2010/05/01/hard-times-ring-…uthor-laura-love

 

 

Omaha Symphony Maestro Thomas Wilkins and His Ever-Seeking Musical Journey

https://leoadambiga.com/2011/01/12/omaha-symphony-m…-musical-journey

House of Loom weaves a new cultural-social dynamic for Omaha

https://leoadambiga.com/2012/02/02/house-of-loom-we…ynamic-for-omaha/

The Sweet Sounds of Sacred Heart’s Freedom Choir

https://leoadambiga.com/2015/03/10/the-sweet-sounds…ts-freedom-choir/

Blizzard Voices: 

Stories from the Great White Shroud

https://leoadambiga.com/2011/12/24/blizzard-voices-…eat-white-shroud

 

 

 

 

Bobby Bridger: Singing America’s Heart Song

https://leoadambiga.com/2011/12/09/bobby-bridger-si…ricas-heart-song/

Bobby Bridger’s Rendezvous

https://leoadambiga.com/2010/05/11/bobby-bridgers-rendezvous

 

 

 

Open Minds: “Portals” explores human longing in the digital age

https://leoadambiga.com/2011/04/15/open-minds-porta…-the-digital-age

“Portals” opens new dimensions in performance art – Multimedia concert comes home for Midwest premiere

https://leoadambiga.com/2011/10/06/portals-opens-ne…midwest-premiere

More than Buddy: Billy McGuigan expands on Buddy Holly shtick to collaborate with his brothers and band in Beatles tribute

https://leoadambiga.com/2011/03/06/more-than-buddy-…les-tribute-show

 

 

Tyler Owen: Man of MAHA

https://leoadambiga.com/2011/03/20/tyler-owen-man-of-maha

Quiana Smith’s dream time takes her to regional, off-Broadway and Great White Way theater success

https://leoadambiga.com/2011/01/23/quiana-smiths-dream-time-2

Quiana Smith’s Dream Time

https://leoadambiga.com/2010/08/22/quiana-smiths-dream-time

High Res Can't get enough of Q. Smith. Photo by David Wells.

 

Hadley Heavin’s Idiosyncratic Journey as a Real Rootin-Tootin, Classical Guitar Playing Cowboy

https://leoadambiga.com/2010/05/01/a-real-rootin-to…r-playing-cowboy

From the Archives: Hadley Heavin sees no incongruity in being rodeo cowboy, concert classical guitarist, music educator and Vietnam combat vet

https://leoadambiga.com/2011/10/17/from-the-archive…etnam-combat-vet/

 

Luigi’s Legacy: 

Omaha jazz artist Luigi Waites fondly remembered

https://leoadambiga.com/2011/07/18/luigis-legacy-th…ondly-remembered

Get Crackin’

https://leoadambiga.com/2011/06/21/get-crackin/

Arno Lucas, Serious Sidekick

https://leoadambiga.com/2011/06/21/arno-lucas-serious-sidekick/

Big Bad Buddy Miles

https://leoadambiga.com/2011/06/21/big-bad-buddy-miles

Enchantress “LadyMac” Gets Down

https://leoadambiga.com/2011/06/21/enchantress-ladymac-gets-down

 

Rich music history long untold revealed and celebrated by Omaha Black Music Hall of Fame

https://leoadambiga.com/2011/07/02/a-rich-music-his…sic-hall-of-fame

Black Women in Music

https://leoadambiga.com/2010/07/11/black-women-in-music/

“Walking Behind to Freedom” – A musical theater examination of race

https://leoadambiga.com/2011/06/21/walking-behind-t…mination-of-race/

Tiempo Libre kicks off Jazz on the Green at Midtown Crossing in Omaha

https://leoadambiga.com/2011/07/04/tiempo-libre-kic…rossing-in-omaha

Home Girl Karrin Allyson Gets Her Jazz Thing On

https://leoadambiga.com/2011/06/22/home-girl-karrin…er-jazz-thing-on

 

Song girl Ann Ronell

https://leoadambiga.com/2011/08/19/song-girl-ann-ronell/

Kevyn Morrow’s homecoming

https://leoadambiga.com/2011/06/14/kevyn-morrows-homecoming

Frederick Brown’s journey through art: Passage across form and passing on legacy

https://leoadambiga.com/2011/06/22/frederick-browns…ing-on-of-legacy

Marcia Hinkle and Bill Sprague are the Omaha Symphony Orchestra’s Golden Anniversary Players

https://leoadambiga.com/2010/08/03/marcia-hinkle-an…iversary-players

Playing to the beat of a distant violin

https://leoadambiga.com/2010/07/06/playing-to-the-b…istant-violinist

A Woman Under the Influence: 

Robinlyn Sayers as Hattie McDaniel

https://leoadambiga.com/2010/07/05/a-woman-under-the-influence/

Cool Cat Billy Melton and the Sportin’ Life

https://leoadambiga.com/2010/07/01/sportin-life/

Salem’s Voices of Victory Gospel Choir Gets Justified with the Lord

https://leoadambiga.com/2010/06/07/salems-voices-of…ed-with-the-lord

 

Voices of Victory Mass Choir of the Salem Baptist Church CD

 

 

 

 

 

 

 

 

 

 

 

 

 

Radio One queen Cathy Hughes rules by keeping it real: Native Omahan created Urban Radio format

https://leoadambiga.com/2010/04/29/radio-one-queen-…-keeping-it-real/

Now Wasn’t That a Time? Helen Jones Woods and the International Sweethearts of Rhythm

https://leoadambiga.com/2010/04/29/17

Omaha Music Legend Preston Love

Preston Love: A Tribute to Omaha’s Late Hepcat King

https://leoadambiga.com/2016/05/05/preston-love-a-t…late-hepcat-king

The Smooth Jazz Stylings of Mr. Saturday Night, Preston Love Sr.

https://leoadambiga.com/2010/06/03/mr-saturday-night

RIP Preston Love Sr., 1921-2004, He Played at Everything

https://leoadambiga.com/2010/06/03/preston-love-192…ed-at-everything

Preston Love: His voice will not be stilled

https://leoadambiga.com/2010/06/03/preston-love-his…l-not-be-stilled/

“Omaha Blues” and “Preston Love’s Omaha Bar-B-Q’”: Two scorching instrumental blues journeys by Omaha music legend Preston Love

https://leoadambiga.com/2010/06/03/omaha-blues-and-…end-preston-love

 

 

 

 

War and peace: Bosnian refugees purge war’s horrors in song and dance that make plea for harmony

https://leoadambiga.com/2011/08/18/war-and-peace

From the Archives: Opera comes alive behind the scenes at Opera Omaha staging of Donizetti’s “Maria Padilla” starring Renee Fleming

https://leoadambiga.com/2011/09/26/from-the-archive…ing-rene-fleming

North Omaha Summer Arts (NOSA) presents: An Arts Crawl 7


North Omaha Summer Arts (NOSA) presents:

An Arts Crawl 7

Friday, August 10

6 to 9 p.m.

Join us for the 7th Arts Crawl

Take a stroll or drive from Metropolitan Community College Fort Omaha campus down North 30th Street, ending at Trinity Lutheran Church, to experience beautiful art and great food by North O visual, performing and culinary artists.

A free event.

 

 

An Arts Crawl reception kicks things off at the

Washington Branch Library, 2888 Ames Avenue, from 5:30 to 6:30 p.m.

All other locations open 6 to 9 p.m.

Arts Crawl route Begins at–

MCC at Fort Omaha

Mule Barn (Building #21)

Church of the Resurrection

3004 Belvedere Blvd. (just northwest of 30th and Kansas)

Nelson Mandela School

6316 North 30th Street

Ends at–

Trinity Lutheran Church

6340 North 30th Street

For more info (artists and patrons), call Pamela Jo Berry at 402-445-4666

 

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