Category Archives: Music

CAMA’s Masterseries presents The Kalichstein-Laredo-Robinson Trio

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THE KALICHSTEIN-LAREDO-ROBINSON TRIO, photo by Christian Steiner (courtesy photo)

THE KALICHSTEIN-LAREDO-ROBINSON TRIO, photo by Christian Steiner (courtesy photo)

CAMA’s 2014 Masterseries at the newly restored Lobero Theatre (33 E. Canon Perdido St.) opens with a concert by The Kalichstein-Laredo-Robinson Trio on Saturday, January 11 at 8 p.m. Three and a half decades after its debut at the White House, The Kalichstein-Laredo-Robinson Trio remains America’s Premier Piano Trio, featuring Joseph Kalichstein on piano, Jaime Laredo on violin and Sharon Robinson on cello.

Carnegie Hall commemorated their 30th Anniversary in 2007 with a concert in Stern Auditorium. One of today’s most beloved ensembles, these three artists share their passion for music with audiences worldwide. Tickets are on sale now at the Lobero Theatre Box Office; call 805/963-0761 or visit lobero.com.

Program:

Franz Schubert: Notturno (Adagio) in E-flat Major, Op.148 (D.897)
Felix Mendelssohn: Piano Trio No.2 in C minor, Op.66
Johannes Brahms: Trio in B Major, Op.8, rev.1891

—Leslie Dinaberg

Originally published in Santa Barbara SEASONS on December 30, 2013

Noozhawk Talks: Paul Freeman Gives Fresh Voice to Santa Barbara Children’s Chorus

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Paul Freeman, artistic director of the Santa Barbara Children’s Chorus, says there a number of reasons the community needs a children’s choir opportunity: “We had 60 or 70 kids audition and maybe 10 percent of them could sing well. Here are a bunch of kids who are clearly interested and they had all done musicals. They had all been doing all of the theater programs in town but none of them had been getting vocal training.” (Elite Henenson / Noozhawk photo)

Paul Freeman, artistic director of the Santa Barbara Children’s Chorus, says there a number of reasons the community needs a children’s choir opportunity: “We had 60 or 70 kids audition and maybe 10 percent of them could sing well. Here are a bunch of kids who are clearly interested and they had all done musicals. They had all been doing all of the theater programs in town but none of them had been getting vocal training.” (Elite Henenson / Noozhawk photo)

Revival of program is first step in plan to give kids more chances to sing

The Santa Barbara Children’s Chorus is getting a gleeful reprieve, thanks to local
businessman Paul Freeman. He didn’t even know of the dormant choir’s
existence when he decided, several years ago, that Santa Barbara needed a
better choral program for children and that he should be the one to give it to
them.

“It was a back-of-mind, pet project/goal of mine for years and I’m excited to be
able to finally do it, and do it in a way where I don’t have to worry so much about
making money doing it,” explains Freeman, a UCSB graduate. He was a child
singer and sang and toured with the Golden State Boys Choir, studied voice with
Peggy Norcross and performed with the Santa Barbara Camarata Choir, UCSB
Men’s Chorus and Mixed Choir and the Santa Barbara Symphony.

As president and owner of Professional Development Partners, a business
consulting firm for high tech companies, Freeman is now in a position to give
back to the community, filling what he sees as a void in student’s musical
training. When Freeman and his wife Tracy–who both grew up in town–returned
to Santa Barbara in 2008 with their two sons (Cole, now 13, and Parker, age 9)
he joined long-time theater friend, Clark Sayre, and has been co-directing the
Spring musical at Dos Pueblos High School for the past two seasons, an
experience which further underscored the need for better music education in
town.

“The weakest area for the kids was singing. We had 60 or 70 kids audition and
maybe 10 percent of them could sing well,” says Freeman. “Here are a bunch of
kids that are clearly interested and they had all done musicals. They had all been
doing all of the theater programs in town but none of them had been getting vocal
training.”

He found that while there were many instrument programs in the elementary
schools, there were virtually no singing programs.

“The original plan was to start up a for-profit choir and then turn it into a nonprofit
once we got it up and running,” explains Freeman, who began teaching in 1984
as Assistant Artistic Director of the Santa Barbara Children’s Theater, where he
wrote and directed musicals “for children, by children.” He continued working with
the Children’s Theater after moving to Los Angeles in 1989, where he
established the West Valley Children’s Chorus, which he ran for several
years.

When he began doing research for the Santa Barbara project, Freeman
discovered the Santa Barbara Children’s Chorus, which was no longer active.
The timing to take over the nonprofit was perfect because it was “out of money
and out of momentum,” while Freeman and his team-which consists of himself
as Artistic Director, and Stephanie Hein Muench as Musical Director-were
ready to pick up the ball and run with it.

Winter session auditions for the non-denominational choir will be held between
10 a.m. and 1 p.m. on Saturday, December 11 at the Unitarian Society of Santa
Barbara, 1535 Santa Barbara Street. If children have an audition song they will
be asked to perform it. However, Freeman emphasized that “it’s an inclusive
group, meaning if you sign up you can get in. We want to make music available
to anybody. The audition process is to help us understand what their skill level
is.”

He is looking to target children in grades 4-8, to give them proper vocal training
before they get to high school. “It’s no secret that money for a lot of that stuff has
been cut. The schools that do have choral programs are funded through
fundraising by PTA or some other outside group. There is very little public
funding.”

Freeman applies his management skills to his plans for the chorus. “Long-term
there are three things that we want to do,” he says. “The first is a fee-based
program with scholarships available. The idea is to try to get anybody who comes
in regardless of skill level or economic situation, and the curriculum is a
combination of group singing, solo singing and music theory.”

The students will be exposed to an eclectic array of music. Inspired in part by the
popular TV series “Glee,” Freeman plans to start a performance choir summer
camp to help attract more kids to the program.

Once the classes get up and running, the plan is to start an all schools choir.
“This would be an outreach program to all the schools that are interested in
participating,” he explains. “We would hold in-school auditions and take five or
ten kids per school, depending on how many kids there are, at no cost to them.
… We would have one rehearsal a month during the school year and then put on
a big, all-school concert at a venue like the Santa Barbara Bowl, the Lobero or
the Arlington.”

The third phase of the evolution will be to develop what Freeman describes as a
music franchise program. “This is being done in other big cities, like Chicago
Children’s Choir has this killer program where they put choral teachers in the city
schools and they bring the whole curriculum of the main program into the schools
as little modules.”

This is clearly a project driven by passion for Freeman, a former professional
chef at some of Los Angeles’ top restaurants, who now serves on the Goleta
Valley Junior High PTA Board and coaches and referees AYSO soccer in his
“spare” time. An admittedly very driven and busy guy, he says, “I always get
asked how do I manage to do all that stuff and I don’t always know the answer.”

Freeman says, “These programs are going to take some time to roll out but the
message I want to get across to people is that there’s some meat on this idea of
what to do with the choir. It’s not like we’re just trying to get some classes
running and that’s it. We’d really like to make this more institutional. I have a lot
of attention on getting it to the point where it’s self-sustaining, where it’s not
reliant on one or two people to make the thing happen, because that’s what
happens in these groups. You see it all the time.”

When asked to come up with three adjectives to describe himself, Freeman says
he’s “optimistic, goal-oriented and creative,” all qualities which will serve him well
in his new choir venture. “It’s sort of a puzzle to figure out and I have pretty high
aspirations for it,” he acknowledges. “If I wasn’t running a business that was
dealing in very huge deals it might seem more challenging. A lot of people would
see this as a big project and a lot of challenges, but for me, compared to some of
the other stuff at work I’ve got going on right now, it’s pretty straightforward. I
feel like it’s doable.”

Originally published in Noozhawk on November 22, 2010.

My Kind of Playground

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Viva ELVIS - Courtesy Julie Aucoin, Aria Resort

Viva ELVIS – Courtesy Julie Aucoin, Aria Resort

Once you have children, those moments when you feel completely relaxed are few and far between. I think I had one once in the early 90s and then another time in 2002 when I was zonked out on cold medicine, but until recently, that’s about it. And it occurs to me that I didn’t even have a kid in the 90s, so that must have just been anticipation. It’s not that being a mom isn’t absolutely wonderful, precious and fulfilling at least 77 percent of the time, but it’s almost never relaxing.

But once in a harvest moon the stars align just right and someone offers you and your husband a free trip to Las Vegas on the exact same weekend that someone else offers to take your son camping and, miracle of miracles, your kid’s soccer team has a bye that weekend.

Talk about timing.

I’ve heard rumors that younger, childless people stay out late and drink cocktails with fancy names on a regular basis, and I have a vague foggy memory of doing something like that myself once upon another lifetime. I’ve also heard alien mumblings about sleeping in, massages, long baths and spa treatments, but again, it had been a long, long while since I had indulged in anything that luscious.

I shooed away any guilty thoughts about lazy Saturdays as I lay soaking in a vanilla-scented spa tub at the ARIA Resort & Casino in Las Vegas, which is surely one of the least Vegas-like hotels on the strip. For some reason everything in this hotel smells like vanilla – although I’m guessing the reason is that they pump in the scent of vanilla. And, dare I say it; the opulent decor is tasteful by Vegas standards. From the curved 250-feet-long by 24-feet-high water wall that greets you along with the valet, to the stunning-but understated-for-Vegas-anyway, Maya Lin silver sculpture of the Colorado River that flows above the registration desk-this is hardly a typical hotel.

The Aria is the largest hotel in the world to earn a Leadership in Energy and Environmental Design (LEED) Gold Certification from the U.S. Green Building Council, but it also features the most technologically advanced guest rooms in the country, as my husband discovered when he put new grey hairs onto my head by accidentally pushing the “sleep” button, where one click closes the curtains, shuts down all of the electronics and turns off all the lights.

Luckily I was out of the tub at that point.

Even the casino has eco-friendly features like slot machine bases that serve as floor air-conditioning and specialized air curtains that help minimize the impact of tobacco smoke and perhaps pump the vanilla scent in. Of course neither of those things stopped us from losing what could have been a very nice pair of shoes at the Craps tables, but it was fun anyway.

We were wined and dined through a global variety of cuisines at the Town Square Center, with yummy nibbles and cocktails from Cana Latin Kitchen & Bar (South American), Texas de Brazil (Brazilian by way of Texas), Tommy Bahama’s Restaurant & Bar (Island-inspired), BRIO Tuscan Grille (Northern Italian) and Blue Martini (all-American alcohol). Then in a lovely coincidence, we were able to meet up with some of our best friends from Santa Barbara who happened to be spending their anniversary in Vegas.

Meeting for late night drinks (yes, more drinks) at the Aria’s View Bar, where my husband and our male friend were more drawn to the view of our sexy waitress’ accoutrements than the (also excellent) view of the strip, we couldn’t help but giggle at how much fun it was to be out late and not worrying about babysitters’ curfews.

The next morning it was spa time. Spa just happens to be one of my favorite words in the English language. My Vita Boost Facial was wonderfully relaxing and my skin looked great afterward, unlike some of the facials I’ve had where “bringing all of the impurities to the surface” actually makes your skin look worse. Not only that, the lovely Gina gave me paraffin treatments as well, leaving my hands and feet ever so soft and happy.

Then it was on to more gourmet cuisine (don’t miss the stuffed piquillo peppers, pintxo de chorizos and the churros with chili chocolate sauce at Julian Serrano), and my discovery of what a pleasant daytime beverage white sangria can be.

After a tour of Crystals, an impressive 500,000-square-foot retail/dining area at CityCenter featuring gorgeous galleries and stores like Prada, Christian Dior, Bulgari, Carolina Herrera, Hermes, Cartier, and Van Cleef & Arpels, it was time to tour the shopping areas of Town Square Center, where the more along the lines of my budget retailers like Old Navy, Victoria’s Secret, Borders, Lucky Brand Jeans and Bebe reside.

Spa treatments, gourmet food and shopping all in the same day! This is my kind of playtime. But it got even better. After returning to BRIO for yummy crab cakes and Mezza Chicken Limone, they treated us to Cirque Du Soleil’s newest offering, Viva ELVIS, an energetic fusion of dance, acrobatics and live music that had us bopping our heads and singing along with the King. Watching the show was actually one of the few times in this decidedly adult weekend that I wished my son had been with us, as it was definitely an entertaining event that kids of all ages would appreciate.

As for the rest, well, sometimes it’s good to get away from it all and play like a grownup.

When Leslie’s not fantasizing about her return to the Aria spa, she can be reached at Leslie@LeslieDinaberg.com. For more columns visit www.LeslieDinaberg.com. Originally published in the Santa Barbara Daily Sound on October 15, 2010.

Peace Love Dirt

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Courtesy Live Oak Music Festival (Instagram)

Courtesy Live Oak Music Festival (Instagram)

Welcoming summer at Live Oak Music Festival

The salty smell of Coppertone. A colorful explosion of tie-dyed t-shirts and low-backed beach chairs. A cacophony of live music out in the sun and under the stars. That first sip of an ice cold Cadillac Margarita where the sweet kiss of Grand Marnier meets the sour tang of lime-laced tequila. Summer has finally arrived and I couldn’t have conjured up a better place to greet it than the Live Oak Music Festival.

Believe it or not, this was my first journey to this timeless spot, nestled in the peaceful Santa Ynez Valley, just minutes away from my Santa Barbara home, but worlds away from my fall-winter-springtime life in the carpool lane.

I know it seems like an oxymoron to say that a live music festival featuring a kaleidoscope of sounds ranging from traditional folk, bluegrass, gospel, to blues, jazz, classical, pop, world music and pirate aurghs could actually be peaceful, but somehow this one was.

Unlike some of the musical festivals I’ve been to in recent years, at Live Oak there was no mosh pit to fear, no skunkweed stink and no stale beer spills to accidentally step into. It was just an eclectic mix of great opportunities to hear, make and learn about music in a pleasant atmosphere alongside a community of several thousand genuinely friendly people relaxing and enjoying themselves. What a great way to welcome the summer.

No wonder people have been coming back here for 22 years.

It was Rickie Lee Jones who finally lured us to Live Oak. I was first introduced to her spacey, jazzy, sad chick sounds when I was in college, and thought “We Belong Together” was the most romantic song on earth. I still can’t resist Johnny the King walking in the streets without her in the rain looking for a leather jacket and a girl who wrote her name forever.

Her “Flying Cowboys” CD tunefully distracted me while her album of standards (“Pop Pop”) amused me through my commute during my driving years of living in Los Angeles. Zak was a fan too. We’d seen Rickie Lee Jones perform half a dozen or so times over the years, mostly in dark, smoky clubs, so we jumped at the chance to see her outside under the giant oak trees. The fact that it was Father’s Day was a bonus, as the rest of my family (and a few friends) jumped at this unique way to celebrate the holiday.

As usual, she didn’t disappoint. The sound was great, the setting unparalleled and I still love her music just as much as I did the first time I heard it.

I didn’t have any idea what to expect from the rest of the artists and was happily surprised. Starting with the high energy antics of Baka Beyond, who fuse African music from the Cameroon rainforest with Celtic fiddling, and sing about things like peace and porridge. Then there was the amazing jazz organist Dr. Lonnie Smith, who you really have to see-and hear-to believe; followed by the folksy rock tunes of Josh Ritter, an indie artist who is making a dent in the mainstream big-time, having recently been discovered and marketed by Starbucks.

They were all enjoyable but I have to say I took as much pleasure in people watching as I did the music.

Where else can you see (and Solstice doesn’t count) an absurdly fun parade led by an octogenarian Grandma in a purple tutu; a tribe of Zinka-nosed surf rats; a blissed-out hippie swaying to a tune that only he can hear; a weathered cowboy hosing down the dusty path as a bevy of tiny fairies hand out wishing dust; joined by a 50-ish brunette with a stylish haircut, Prada shoes, and a pair of ladybug wings and a yupped-out backpacker couple loaded down with the entire REI catalog worth of coolers and chairs?

My son liked playing soccer the best and I think my dad enjoyed his nap, so three generations of our family and friends all found something to like under the giant oaks this Father’s Day.

“This is a really cool thing. We should do it again next year,” said my mom, smiling and passing some more food. I couldn’t agree more.

What signals summer to you? Email Leslie@LeslieDinaberg.com. For more columns visit www.LeslieDinaberg.com. Originally published in the Santa Barbara Daily Sound on June 25, 2010.

Noozhawk Talks: Leslie Dinaberg Sits Down With Spencer Barnitz

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Spencer Barnitz, aka Spencer the Gardener, says his music is “shaped by the ocean, the rhythms of the world and pop music from my life.” (Lara Cooper / Noozhawk photo)

Spencer Barnitz, aka Spencer the Gardener, says his music is “shaped by the ocean, the rhythms of the world and pop music from my life.” (Lara Cooper / Noozhawk photo)

Spencer Barnitz‘s unique pipes and idiosyncratic perspective have entertained music fans for most of his life. His new wave band The Tan began when he was barely out of Santa Barbara High, eventually followed by a still-active cover band, The Wedding Band, and for the past 21 years, Spencer the Gardener, a sound the band describes as “California sun-kissed, Latin-tinged, genre-bending, big-band surf mariachi indie pop.”

Leslie Dinaberg: There’s something really unique about your music, whether you’re singing a pop song or in Spanish and even now with your kids’ album, “Organic Gangster.”  What do you think it is that makes something a Spencer song?

Spencer Barnitz: My songs are really shaped by the ocean, the rhythms of the world and pop music from my life. As a kid I listened to the Supremes but I loved Brit pop too and Mexican stuff, Salsa music, so it’s kind of a fusion in a way of a lot of those different things, which has been great and has been bad. It’s kind of a blessing and a curse in a lot of different ways.

LD: Is it different playing kid’s music?

SB: It’s funny having a CD like that. It’s cute and it has a good message. … For me it’s such a different thing because I’ve been doing pop music for so long. It’s still pop music but it’s just a different manifestation.

LD: How did you decide that you wanted to do this?

SB: Well it was kind of interesting because my girlfriend sells worms; she’s the worm girl. Last year they did a short it was in the green shorts festival. … I said you want a song? I’ll write a song for it.

I loved it! I had done the “Gobble Song” a couple of years ago, which became sort of an Internet sensation, every Thanksgiving it gets tons of hits. So there were a couple kid’s songs and I thought you know what, I should just try to keep going because everything I wrote was really fast and fun.

I did it very fast. Like one day I was reading the horoscope and it was talking about a mountain chicken frog. I was like there’s no way there is a mountain chicken frog. I went and looked it up and there it was. It’s in danger of becoming extinct. I just quickly wrote a song about it and loved the song and I love the fact that that’s how I found it. … So it’s been kind of fun and it’s been educational for me in a way.

LD: Talking to kids you get to-or have to be-so much more on the nose than you are when you are talking to adults. You do have to really say things in a different way and it’s not always easy.

SB: Because you have to sort of know what you’re talking about. (Laughs)

LD: I’ve been listening to your music since I was 16 or something and now my son got to hear you sing at his school. I love that.

SB: You know there was somebody there at the spaghetti dinner at the school and the dad had been aware of the Tan since he was 14. So it was kind of like oh wow, I don’t know if I should say thanks or sorry. Now his daughter is listening to it, so that is just an insanely long generational thing, which I like that for myself, it makes me happy. I don’t know if it makes other people happy (Laughs).

LD: Oh absolutely it does.

SB: I think I’m past the point of … sometimes you get to a point where they’re like wow they’re still here. And then you go beyond that point and it’s like wow, they’re still here.

LD: Plus you do such a wide variety of stuff Do you write all the music for Spencer the Gardener?

SB: I do except for we did put out two years ago we put out a record called “Fiesta” and I didn’t write any of that, those are all cover songs. I’ve wanted to do that record since I was a kid. Probably the reason I speak Spanish is because I grew up singing Spanish, which has a lot to do with Santa Barbara. Fiesta was just always a part of things. So I did that record because I wanted to and I’ll probably do another one at some point.

I remember I had a class at Santa Barbara High School, Mr. Hall was my Spanish teacher, and every Friday he would have everybody sing, which was just terrifying in high school.

LD: Why?

SB: I didn’t do that yet. My sister was always a good singer. She’s actually on this record.

LD: I saw that.

SB: And she’s the principal at Ellwood School. So my sister had sung a lot but I wasn’t a singer, but I would surf and I was going to Mexico so in high school on Friday afternoons you could just see everyone go oh no, but it was fun, but it was terrifying. But for these young kids it’s really fun. They’re young, they’re singing, they’re laughing. They don’t have the self-conscious thing that you do when you’re in high school.

LD: I remember your sister from junior high. That’s cool that she sang on your record.

SB: She’s got a great voice. When she got out of high school she left Santa Barbara and didn’t come back for a long time. She went to Berklee School of Music, she sang on the East Coast and so she is a very good singer.

LD: How did you guys get so musical?

SB: I don’t know. My dad died young so I don’t really even know that whole side of the family. But my sister and I, when she came back into town and she was singing she was doing some weird hand movements and I was looking at her like those are mine. They’re not my mom’s or my dad’s, they’re mine, but they are hers too. And she speaks fluent Spanish, she actually speaks a couple of languages and its like wow this is so weird, there are two kids who do these things. She just started to surf. We both do these things that are completely separate from both of our parents. … it’s just kind of some mix, maybe some weird hybrid.

LD: So tell me about how you got started in music?

SB: Well Brad (Nack) went to Europe in 1978 and … he came back and said you know we should start a new wave band. I was 18, and he was 20 … it was like we thought maybe girls would like us and it was something to do besides surfing (Laughs) and all of those same reasons that everyone does that. … I said that sounds fun, let’s go to Mexico I’ll teach you how to play guitar and we’ll write some songs and start a band.

LD: Why Mexico?

SB: Mexico has been an interesting part of my life. For some reason no matter where I go it’s like something ends up having part of Mexico in it. Mexico is because we surf for one, so that’s always a thing. If you live in California and you surf, usually you take some trips to Mexico because it’s close. For me it is a lot more than because like I said, I grew up singing in Spanish and I’ve just always spent a lot of time in Mexico. Perhaps that was one of the reasons too is just because we started the band there. We were gone for three months and then came back and started the Tan.

We were even thinking of doing a new Tan record and going to Mexico to do it.

LD: After seeing all of those people who showed up at your reunion show last summer, I think you’d have a market.

SB: There are a lot of justifications and rationalizations for doing things like going to Mexico. Yeah let’s go for six months. We need to do this. This is what we need to do (Laughs). This is really going to be a good thing for us. And it is always a good thing for me. I mean it’s been it’s been rejuvenation, escape, it’s been all kinds of things I suppose.

… We went to Mexico on a surf trip with the idea of learning to play guitars and writing songs and that’s exactly what we did and came back and started the Tan. And for a while it was fun but it was like we were definitely counter culture at that time and then somehow or other we got into the mainstream and I somehow ended up being in music for the rest of my life (Laughs).

LD: Did you ever think when you and Brad were wandering off to Mexico to learn to play guitar that this would become your life’s work?

SB: Not in the same way that I do now. There’s the beauty of youth which is you just think everything you do is going to be great. So yeah, sure, we thought we would be retired by 26 and have all the money in the world (Laughs). It was kind of a brutally rude awakening that that wasn’t going to happen. But it’s been a pretty fun ride. A good one. Music has given me a lot. It’s taken me all over the world. I mean it’s probably not for everybody because it is not real stable; there are highs and lows. It’s left me in far corners of the world too.

LD: To sing your way home?

SB: Yeah. But it’s gotten me there.

LD: Have you always stayed pretty much rooted in Santa Barbara?

SB: Yeah. I lived in LA for a little while. We moved to London with the Tan for a couple years but more and more it doesn’t matter where you are now because everything is so easy to get somewhere else. Santa Barbara is, I mean this is a great place. It is it has so much out of the world of what you want, at least what I want. It’s beautiful, it’s warm, and it’s convenient. It’s expensive but a lot of places are expensive.

LD: I read that you had a pretty serious car accident years ago?

SB: 1991. I broke all of the bones in my face. I still have plates in my face. The worst thing about that was that was right after we put out two CDs, we were on fire, and everyone was just like waiting for what the next thing with us was going to be. We had a management company and it just seemed like there was no stopping us, except for maybe a head-on, death-defying car accident, which put us out of commission for a year.

And the musical landscape changed. Our management company and us severed ties and then we just blindly kept going because I was stubborn. So yeah, that changed, that reshaped probably a lot of my future.

LD: It’s interesting though to look back on things like that because you’re making very different music now than you did back then.

SB: The stuff I do is always slightly quirky so I mean in that way if you listen to the first Spencer the Gardener CD and the one that I’m about to do, it’s still similar. Or if you listen to the first one and the kids’ one, it’s still crazy, wacky funny.

LD: Do you ever feel a kind of push and pull between art and commerce?

SB: (Laughs) Yes I do. I wish that my stuff sold like crazy!

You know I think it’s funny now because everything is so much easier. Everybody can do things but there are so many more people doing it and everything is pretty good you know, and I bind myself into that. It’s not like it’s world changingly earth shatteringly fantastic. There are a lot of fairly good bands out there, so it’s hard to kind of like sneak through and end up where you are basically have broken though where your art and commerce intersect in a beautiful way.

LD: What else do you do when you’re not working?

SB: I like to surf, play basketball, salsa, those are probably tops, jump high, run fast.

LD: If you could pick three adjectives to describe yourself, what would they be?

SB: Wow this is a really interesting question because now you’ll dealing with what do you want them to be or what are they. This is one I’m going to actually think about for a while … (Spencer sends an email to Leslie several days later) I have been perplexed by adjectives all week, so I guess self-absorbed would have to be one of them … calm and sarcastic, then, depending on the day, they change directions lazy, driven, witty, dull, thrill seeking, couch laden, etc. I doubt if you meant for me to give it this much thought…

I was thinking adventurous but no that’s not really true anymore. That was true at one time. I’ve changed over the years in different ways. That would have been something that I would have loved and would have said and would have believed and probably not so much anymore.

LD: Well there are all kinds of adventure. You could certainly argue that pursuing a life as a musician is an adventurous path.

SB: Yeah, either that or just kind of ridiculous. If you mix whimsical, adventurous and difficult together you might get ridiculous. … It’s funny because we used to have a song in the Tan called “young, strong and free.”

LD: I like that.

SB: Which would have been really the way we described ourselves. I would still say fun. Because that’s a word I overuse. Stubborn, determined and what does Einstein say when you keep doing the same thing and expecting different results.

LD: That’s the definition of insanity (Laughs).

SB: Yeah, unfortunately that seems to fit with me a little bit too.

Vital Stats: Spencer Barnitz

Born: September 14 in Santa Barbara, CA

Family: Father deceased, mother Mercedes, sister Liz

Civic Involvement: “I’ve done just a whole mess of benefits over the years for a lot of different organizations. I’m not actively involved with anybody right now.”

Best Book You’ve Read Recently: God’s Middle Finger: Into the Lawless Heart of the Sierra Madre by Richard Grant; Shadow of the Wind. 

Originally published in Noozhawk on May 11, 2010.

Leslie Dinaberg Sits Down With Nathan Rundlett

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Nathan S. Rundlett, courtesy photo

Nathan S. Rundlett, courtesy photo

Sharing his passion for classical music is a labor of love for Nathan Rundlett. In 1994, he and his wife Marilyn Gilbert brought opera to town by founding the nonprofit Opera Santa Barbara. An accomplished baritone, now retired from his dual careers as a singer/high school chemistry teacher, Rundlett devotes much of his time these days to working with the nonprofit Santa Barbara Music Club, a group that presents free concerts and workshops to the community and provides musical education scholarships to young people.

Leslie Dinaberg: How did you get involved with the Santa Barbara Music Club?

Nathan Rundlett: I got interested in the club because it fulfilled a need that I felt when I moved to Santa Barbara (in 1981). I had sort of lost touch with my musical connections, which were in Los Angeles. Here was a great opportunity to perform the music that I loved. I wasn’t working as a musician anymore formally, so this was a great chance just once in a while to get something nice together and present it to an audience. …This club has been in existence, I think, 38 years.

LD: Prior to moving here, where did you perform in Los Angeles?

NR: … I sang in operas and shows and I taught and I sang in a large Methodist church. I also sang for a large Jewish synagogue. I also sang for an Italian restaurant. … We decided to come up to Santa Barbara and I just sort of cut all those ties and started going in a different direction. And got involved in the music club and did a few other odd little things, a few little shows and plays…Then my wife and I decided to fund the opera company.

There was no opera, there was no opera audience– so we created it. We raised money and set up a board, set up a 501(c) 3, gave it a name. Opera Santa Barbara was our baby. And after six years of running it we left it.

LD: So your wife, Marilyn Gilbert, is a singer as well?

NR: Yes, she’s a very fine singer.

LD: Is that how you met?

NR: Yes. I met her singing at Temple Sinai on Wilshire Boulevard. We met over the high holidays. … She is also an attorney, semi-retired now. She has sung has sung in music club, often, and we have sung together in the music club, duet programs and so on. It’s been very enjoyable.

LD: What are your responsibilities for the music club?

NR: My responsibility so far has been trying to pick up loose ends … what I want to do, as Vice President is development. Go into new areas, involve young people more and form better connections with schools. And also focus a lot more on the scholarship program. I think it’s our strong suit.

LD: Tell me about that.

NR: Our scholarship program has been there since almost the beginning. And we had some…distinguished, elderly music lovers, benefactors, teachers and lovers of music. One of them died and left us money and the other one just gave a lot of money and so we built up this nice fund to do scholarships with and now I’m hoping–this is just a wild idea–to turn it into an endowment, so we can live off the principal and keep it for many, many years… But I think that the scholarship program is one of the strongest things that we do, because that brings music ahead, classical music particularly, we’re interested in classical music. It brings it forward into the future and involves young people.

LD: And the scholarships go specifically toward instruction?

NR: Yes, it’s only instruction and the teacher and the student have to be residents of Santa Barbara County, so it’s local local, it’s only local which I like.

LD: What is your musical training?

NR: I was trained in college…I became interested in opera singing, briefly considered a career in it, and so I took private lessons in LA from an Italian teacher and I got involved in singing small productions and so on. I went to several coaches… I didn’t take a formal musical training. I wasn’t a music major or music minor. I was actually a chemistry major and a math minor.

LD: Oh wow, that’s probably very unusual, right?

NR: Yeah. But I love performing and I’ve done a lot of singing and acting.

LD: So have you always made your living in the arts or did you do something else?

NR: I taught high school chemistry for 30 years and I did all this other music kind of on the side.

LD: Where did you teach?

NR: I taught in Los Angeles, Granada Hills, Mission Hills, and in Camarillo.

LD: And you were performing at the same time?

NR: Yes, it worked out to be ideal because my school day was finished early and there were lots of rehearsals that didn’t start until late afternoon or evening … then the summers were free and the holidays, a lot of free time to do my music. For a while there I was making about equal amount of money teaching school and singing.

LD: Other than your performances with the music club, do you perform anywhere else in town?

NR: Ever since we left the opera company what we’ve been doing is putting on fundraisers. We put on a couple of Spanish operas for the Legal Aid Foundation… My wife and I did a series of two-person plays last year … For the Anti Defamation League we did performance of “Trial by Jury” by Gilbert and Sullivan. We did also Gilbert and Sullivan for the Santa Barbara Legal Aid Foundation. That was amazing. We did a big performance in the courthouse … the play is about a courtroom trial, so we did the trial in the courtroom …

LD: What else do you like to do?

NR: Well my second passion besides music is woodworking. I like making fine furniture, and cabinet making is my main passion. I took up carving recently and attended several seminars in Williamsburg, VA related to period furniture. …

LD: Do you have a favorite song or a favorite piece of music?

NR: My favorite piece of music to sing, of all time, was the prologue from the opera “Pagliacci.”

LD: How would you describe yourself?

NR: I love music and I love music performance. I enjoy life

I enjoy my family, particularly my great relationship with my wife. We have a wonderful marriage. So those are the important things I guess to me, music, life and my family and my wife.

Vital Stats: Nathan Rundlett

Born: Somerville, Mass; February 23, 1938

Family: Wife Marilyn Gilbert, children Anne, Kirsten, Steven, and Elisabeth (all in their 40s), 14 grandchildren

Civic Involvement: Santa Barbara Music Club, Legal Aid, Anti-Defamation League

Professional Accomplishments: Taught chemistry for 30 years, and developed new programs in field of education. Third place winner in Metropolitan Opera auditions for the west coast of the United States. Founder of Opera Santa Barbara.

Little-Known Fact: “At one time my passion was running, maybe nobody would know that looking at me now but in high school and college, track and field was a passion.”

Originally published in Noozhawk on January 7, 2008.

Harmonizing with Soluna

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By Leslie Dinaberg

SuperOnda Managing Editor

Soluna, For All Time

Soluna, For All Time

Somewhere between the sun and the moon is the female foursome Soluna. Formed in the late ’90s, the group quickly signed with DreamWorks Records and recorded its self-titled debut CD, which came out in May. With the release of their hit single “For All Time” and the accompanying video airing on MTV’s popular TRL viewer request show, band members “T” (short for Christina) Lopez, Jessica Castellanos, Aurora Rodriguez, and America (pronounced Amereeka) Olivio are clearly on a roll. SúperOnda caught up with them in Santa Barbara, hours before they performed as the opening act for Marc Anthony. The four Southern California Latinas were energetic, excited, and entertaining after a rare day of rest for them during the tour.

SO: I know you’ve been together for only three years. How did you get signed with DreamWorks?

Jessica: We were fortunate to get noticed early on in the inception of the group. We had all been struggling artists as soloists. We’ve been trying to do this since we were four years old – singing in church since we were little. But once we got together with the band, doors started to open. People who knew people opened doors for us. They had friends that you never knew they knew. Like your friend had a friend who had a company … and you’re like, “you never introduced them to me before …” [all laugh].

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