Notice of Officer Election
and Update to Bylaws
Officers of the Board of Directors of the Cascade Blues Association will be elected by vote of the general membership. Officers shall be elected by individual ballot and bylaw amendments will be ratified in aggregate between December 2nd and December 16th as provided in the current bylaws. Voting forms will be sent via email to all current members* no later than December 2nd and submitted votes will be collected until December 16th.
*Emails will be sent to the email addresses associated with all members in good standing as of November 28th to allow time for processing new memberships and renewals before preparing voting forms.
*CANDIDATES* (Presented in alphabetical order by position) Please review individual candidate bios and discussions on the CBA Facebook Group
FOR VICE PRESIDENT:
FOR GENERAL SECRETARY:
FOR MEMBERSHIP DIRECTOR:
(Presented in alphabetical order by position)
Officer elections for the Cascade Blues Association are Dec. 2-16. I want your vote for Anni Piper as president in 2022. I’ve been a touring blues musician since my mid-20s, performing throughout Australia, Canada and 43 states in the USA. I’m an Australian Blues Music Award winner, former Blues Leaf Records artist (Janiva Magness, Albert Castiglia), IBC semifinalist and Road Dawg Touring act. I have a bachelor of arts in contemporary music from Southern Cross University and spent seven years as a high school classroom music educator. Throughout my career I have been a member of seven different blues societies. I joined the CBA immediately upon moving to Portland four years ago. I have been an at-large board member of the CBA for about six months, and a contributing writer for BluesNotes. My previous experience with nonprofits includes three years as a charity ambassador for Cristina’s House of Hope (Australia).
When I first started recording and touring, my husband at the time said “Anni, I know this is your hobby and your passion, but you have to run this as a business.” This was sage advice. The CBA must investigate alternative methods of funding if it is to continue to survive and thrive. I plan to secure continued funding for the CBA by hiring a professional writer of government arts grants. There are many of these grants available to 501(c) nonprofit groups. In the long run it will be well worth the investment of spending a little to gain a lot. Through this I hope to create new paid performance opportunities not only for our local blues artists, but also for touring acts. Recommencing physical distribution of BluesNotes is also a priority. Portland promotes herself as a progressive city, and I believe an ongoing focus should be diversity in the acts the CBA chooses to showcase.
James Thornton is a jazz and blues musician and dancer who has planned, developed, and executed music and dance events that bring musicians and dancers together. He is enthusiastic about bringing communities together as president of the CBA. James was the live music coordinator for Portland Blues and Jazz Dance Society from 2019 to 2020. He has 30 years of performance experience for music festivals, dance events and event planning activities. James has a deep passion for diversity and inclusiveness in the Portland music scene.
FOR VICE PRESIDENT:
Robert Umali Evans
Robert Umali Evans has been in the Portland blues community for a long while, showing up to many a blues concert and dance over the years as a patron, volunteer and instructor, and organizing events himself as the owner of Portland Dance Studio. He is excited to steward CBA as vice president with energy and enthusiasm! Robert also sits on the board of the Portland Blues and Jazz Dance Society, serving as a bridge between the two blues-focused nonprofits. He prioritizes diversity and inclusion.
The Cascade Blues Association is in the middle of a profound transition, all too apparent to those watching the organization. I’ve been a quiet CBA member for a while, but now I hear the call to help. Though I recently joined the board of directors in an at-large capacity, to serve as vice president of the Cascade Blues Association would be an honor and a pleasure.
Passion. I’m musical, but don’t call me a musician. I think of myself as a student, which brings its own style of passion for the music! While my personal pursuit of music-making adds to my appreciation for the expertise and dedication of the musicians, I’m here to support the artistry (and business) of the entire blues community.
Skills. I bring with me a background in technology, media (traditional and social/electronics), journalism, executive leadership, marketing, promotion, project/event management, organizing/leading teams and networking. My skill set is best suited to helping the operations of the organization.
Nonprofit experience. Prior to joining the CBA board, I served as an executive officer at Rose City Yacht Club and as media relations committee chair commissioning the USS Portland, here at the Port of Portland, in 2018. I have also served on the board at large for the local chapter of the Navy League.
Platform. CBA faces a number of transitions simultaneously: diversity – in ethnicity, age and gender; promotion of the blues as an art form in the community; outreach to educational institutions and programs to support the blues; nurturing a thriving network of venues supporting a wide variety of local talent; increased support for performers, both local and touring; and a mandate to build a solid and thriving leadership structure with new people and perspectives. As vice president, I look forward to being of service, amplifying the blues within the association, with members, with the performers, in the media.
FOR GENERAL SECRETARY:
Marie Walters (Incumbent)
In her role as general secretary of the Cascade Blues Association for the past two years, Marie has found a way to combine her lifelong enthusiasm and love of live music with her administrative and organizational proficiency. Having spent decades collaborating in committees and boards, from nonprofits to governmental agencies to the corporate boardroom, Marie contributes to the stability and effectiveness of the CBA. She finds great satisfaction in being able to give back to the community, and her intention is to contribute to an efficient, dynamic organization that will not only sustain, but allow the blues music community in Portland to flourish, diversify and grow.
Some of the tasks and roles that Marie has taken on include introducing a communications strategy, location coordinator for board meetings, administration of CBA voicemail, emails and Facebook, 2020 Portland Parks & Rec Partnership (PVP) Committee and GoFundMe Campaign, graphics for website, Facebook and newsletters, BluesNotes contributor, event ticketing. She’s been a key instigator in co-chairing planning and diversity committees, and lead for the Best Self-Produced CD. Marie’s developing partnerships with POC-led organizations to expand the reach and exposure of the CBA into more diverse communities, and is booking performers for Blues Nights and membership meetings, with plans to expand.
Mike Day (Incumbent)
I’m Mike Day and am currently the interim CBA treasurer. I have a master of public administration degree and currently work in public health IT management. For several years, I was the secretary/treasurer for a volunteer, nonprofit association based in California. I’ve been learning the CBA financial reporting structure and am starting work on developing a budget that will support the various initiatives being developed by the board. I look forward to being able to continue this work.
FOR MEMBERSHIP DIRECTOR:
Mike Todd (Incumbent)
My name is Mike Todd and I’m the current membership director for the CBA. I’m organized, detail oriented, and have served on the board as membership secretary (now director) for the past two terms (2020-21). I was previously an at-large board member and vice president back in the 1990s. I’ve volunteered with various organizations in the Portland metro area for 30 years – working with homeless citizens, terminally ill children, low-income homeowners, and at-risk and incarcerated youths. I believe that volunteerism is the heart and soul of every community. I want to do my part to help keep music and the arts alive in my community because it’s those types of self-expression that generally reveal the collective heart and soul of our humanity.
Rusty Ends Blues Band
Rusty Ends Blues Band
Earwig Music Co.
Review by Anni Piper
There is something timeless about blues music, and that’s one of the reasons we are drawn to it like moths to a flame.
First impressions upon listening to this album were immediately of James Harman or Little Charlie and the Nightcats. This is traditional guitar-and harmonica-fueled blues driven by Rusty Ends and Jim Rosen respectively. Curious as to why this recording had such an authentic old-school sound? It’s explained by reading the liner notes. This album was made in 1996 when the aforementioned artists were at their peak. An unfortunately timed release, coincided with a record label folding, is why we are only hearing this music now. Don’t let that discourage you from giving it a listen, because although it may now officially be a period piece, that’s part of what makes it so enjoyable.
“High Powered Loving Man,” “Secrets in the Street,” and the New Orleans-inspired “High Beams are my standout tracks. Always blues-oriented, there is still a variety of feels on this album, from snappy shuffles to stoner reggae.
Louisville, Ky., is home to Ends and his band, an area that geographically isn’t really part of the South, Midwest or East Coast, but floats somewhere in between. There is a little of everything, as Ends himself puts it, “….Kentucky burgoo is just a soup or a stew that they just throw everybody in it. They throw in rabbit. They throw in squirrel. They throw in groundhog. And that’s what our music is.”
Well put, sir. This album mixes blues with all kinds of roots, and it’s had some time to simmer nicely.
Total time 52 minutes
What Next? / Secrets in the Street / Blue Shadows / I Wanna Know / A Man Can’t Understand a Woman / Sinner’s Strut / High Powered Loving Man / Something Wrong Going On / Don’t Call It Love / Heart Stealer / Broken Dreams for Sale / Sloppy Joe Blues / I’m Searching / Whips and Chains / One Step Forward / High Beams / The One WIsh
The Porkroll Project
Papa Didn’t Raise Me Right
Roadhouse Redemption Records
Review by Anni Piper
When I was 12 years old and transitioning from classical flute to the sphere of electrified instruments, my older brother brought home a copy of “Led Zeppelin II.” It was a defining moment in my musical life as I heard Jimmy Page and John Paul Jones thrashing out the opening riff of “Whole Lotta Love.” My 12-year-old self might have described it as making my brain feel all tingly, but my modern self would describe it as my basilar membrane bouncing around like a trampoline, resulting in sensory information being relayed to my auditory association area.
In any case, I felt something similar when I heard the opening notes of “Papa Didn’t Raise Me Right.” It caught my attention, not like a slap in the face, but more like a stolen kiss. Subsequent listens still made my hair stand on end. Neil “Porkroll” Taylor is a superb frontman, a quadruple threat who is not only a guitarist, composer and vocalist, but a legit pitmaster to boot. And damn, I’m hungry for some slow cooked blues.
While the stories in the lyrics are thematically blues-oriented, they’re refreshing and original. Like I ordered a shot of tequila, but it came with a cinnamon rim and an orange wedge instead of salt and lime, I’m excited rather than disappointed.
“Mama Put the Gun Down,” “Better You Than Me” and “Nothin’ Yet” are well crafted originals, but the standout for me is the title track. The cover of The Coasters’ “Down In Mexico,” featuring David Renz on saxophone, is another notable evocative track to take you South of the Border. Recorded at Noisy Little Critter Studio in their home of Philadelphia, if you like electric guitar-driven blues with a harder edge – which I certainly do – you are going to love this album.
“Papa Didn’t Raise Me Right” never mentions the act of sex, yet throughout the album I am constantly thinking bow-chicka-bow-chicka-bow! It’s got just the right amount of funkiness, and just the right amount of nastiness in these grooves, to make me think it’s lovin’ o’clock. My favorite part of the artwork is the disc itself, featuring a slice of porkroll with a few bites taken out. You have to dig a band with a sense of humor.
Total time: 57 minutes
Papa Didn’t Raise Me Right / Down in Mexico / Going to the Station / Crescent Moon / Better You Than Me / Mama Put the Gun Down / Dancing With the Angels / Nothin’ Yet / The Next Thing Smokin’ / Sentenced to the Blues / A Taste of Malt Liquor
THE HOLIDAY PARTY RETURNS!
By Anni Piper
Why am I reading this? – The Cascade Blues Association Holiday Party is back
Where’s the fun? – Loyal Order of Moose East Portland Lodge, 16411 NE Halsey St.
When’s it happening? – Sunday, Dec. 12. Doors open at 1.30 p.m., music from 2-6 p.m.
What’s the lineup? – Nikki Jones, James Ortega Y Los Demon Drivers, Billy D and the Hoodoos, Fenix Project
What will it cost me? – CBA and Lodge members get in free, $5 admission for non-members. Join or renew your CBA membership at the party and get a free CBA bag or hat
What else is happening, apart from the music? – Dancing, dessert table, silent auction, raffle, gift wrapping and 30% off select CBA merchandise
Why should I go? – Apart from having a great time, this is the biggest fundraiser event of the year for the CBA. Our bands are volunteering their time for this event, so please come along to support them and tip generously
What if I don’t want dessert? – Don’t worry, our friends at the Moose will have a selection of bar food appetizers available for purchase
What should I bring? – A mouthwatering holiday dessert to share, cash preferred at the bar, mask, dancing shoes and holiday cheer
The Blues Journey
by CBA staff
While searching for the house of Oregon’s “Swamp Donkey” blues-band leader, Johnny Wheels, it was easy to get lost in the high hills around Willamina. But when finally meeting the singer/harmonicist, that ‘lost-ness’ evaporated. Johnny’s steady, blue-eyed gaze gives the comforting impression of someone knowing exactly where he is, and where his journey is taking him. And 25 years of propelling his own wheelchair around have given an upper body strength to back up that sense of a solid presence.
We’d promised him our interview wouldn’t last more than an hour. Yet, after two-plus hours of conversation, we apologized — we hadn’t factored in the time spent enjoying our laughter together.
Besides Johnny Wheels, there are two current band members who, in January 2020, were in the band’s line-up on the “Journey to Memphis” (to the annual Memphis International Blues Challenge): Brandon Logan (guitar) and Taylor Frazier (bass). Other past members in that line-up were Michael Rabe (guitar) and Doug Knoyle (drums). Out of hundreds of other IBC contestants, The Swamp Donkeys came in at No. 8! New additions to the band are Beth Poore (sax), Rich Dickson (keyboards) and Dennis Ayers (drums).
Johnny Wheels’ journey started early in life. He sat watching his dad’s band rehearsals with other men. Quietly. “If I made any noise, I had to leave,” he explained. Yet his high-tenor, musician father also gave him basic lessons on drums and some brief structures on guitar. But just when he was starting to get traction from those lessons, his father was killed at work in an industrial accident. Johnny was 6 years old.
“Yet that hurt more, because even then I really felt that my mother and my younger sister would need me to help the three of us.”
His father had left behind for Johnny both an elevated musical sense and a variety of instruments. Although he focused on the drums, it gave Johnny a chance to also try a bit of everything. And he let his singing challenge himself against what was playing on the radio: “Trying to match my voice to songs and then recording those to see if it was any good.”
“But playing around with the harmonica really didn’t do anything for me … um, I mean way back then anyway. Of course.” (Mutual laughter) He also benefited from his dad’s band friends checking in to encourage his musical desire. It was in such a wholeness of community that he grew up.
Yet a few years later, sadly at age 12, a grievous accident left him with his C5 and C7 vertebrae severely damaged, resulting in paralysis from his chest down. He spent months in therapy, both in Portland and at the Shriner’s hospital in San Francisco. At age 14 he was able to return to school and promptly looked for others to play music with. At 20, he was able to get others to join more seriously.
JW: I didn’t know chords very well, I don’t read music, I have no music theory training at all. So I just keep learning.”
CBA: Once, in an interview, Miles Davis said “I used to love playing the romantic melodies of pretty love songs. So, I stopped playing … romantic melodies of pretty love songs.” That sounds like the truth of artistry you constantly invoke: Don’t get comfortable? Continue to push yourself and just keep learning, moving.
JW: Yeah, if you’re not learning, you should quit playing. In my opinion, anyway. I mean, once you think you’re the best? What’s left? And a lot of people who think they’re the best never come to the reality that they aren’t. Even locally there are a handful of harmonica players I can show you who could leave me in the dust. In seconds. Those guys, really good. But they haven’t taught themselves they’re that good. They just keep trying to get better. That, is an artist.
It’s like when I met up with Nick Clark in Memphis, one of the nicest guys ever, very unassuming. And yet, when he picks up a harmonica he is just so good, he will blow you away. And still, he’s genuinely humble. He never tells you he’s good, other people say that about him. I don’t feel I play that much better than anybody else. When I go to see a show, I’m watching the other band to see how I could improve.
CBA: And finding the spot where you could fit that in.
JW: Yeah, and to me it’ll be a quite a while before I could agree with the people who tell me I’m “really good.” If someone wants to say that? I appreciate it and I’m grateful. Yes, I can play, but it still feels like a long road ahead. The journey.
CBA: When you and the band are on stage, it seems like you all are goofing around a bit, making jokes to each other. Yet still, there’s always the music on top that grabs the listeners.
JW: Yeah, it’s the same with all my bands, every version of my bands. You won’t be playing with us if you’re not sharing the fun, the joy of it.
So here’s my quick history of how I developed bands. When I was playing in Lincoln City it got to where that band was fading after the harmonica player died — a guy I idolized. I loved him.
Each show, I’d been allowed to sing a few songs with the band, but only singing. In one of the bands the leader said I needed to do more than just sing. So I started learning a bit of harmonica, watching Ronnie Shellist’s online lessons. But that band fell apart and the leader came to me to give the schedule he’d set for a lot of gigs. And he said, “That’s all yours, now form a band. I’m leaving and we’ve been the only show in town.”
So a guitarist helped me get a drummer and a bass and we started doing the gigs. And I got more incorporated as a singer and started playing some harmonica as well.
Then, closer to home, around 2006 in Willamina, a friend had a recording studio and needed a singer. So by getting myself involved, that became the first band that was my project. While still playing in Lincoln City. We did that for a couple of years, usually with a changing line-up of musicians: bassists, drummers, etc. I was singing and playing more harmonica.
My ass often got kicked because the musicians were usually 30 years older than me and really knew how to play. And weren’t going to just let some kid come in and take over. They were going to give me a lesson until I learned. So I stayed out of the way, and respectfully waited until they invited me to come in.
Sometimes I hear myself playing guitar parts, like Brandon’s. It’s easier than mimicking what another harp player does. Sort of a conversation. But it’s more about just the feel of those parts — finding the feeling.
A lot of it has to do with my disability, something I try to absolutely hide while we’re playing. My diaphragm is completely compromised. The injury is enough near the uppermost part of my spine that it limits my feeling and my movement.
And the lungs are still compromised, but working. I’ll run short of breath but when it gets too short, I’ll just stop and recover. I don’t really know what it’s like to breathe normally after being this way for 25 years. So I can’t tell you how I sing differently, yet I’ve also learned that not just my voice but also my body is an instrument, almost like an accordion. And you’ll see me doing this (bending forward and slightly sideways) to get projection, to get longer notes, to force howls and screams. It puts a strain on me to really, really work at this. And for that “machine gun” sound it’s not draw/blow, draw/blow, but just fast draws.
Harp players always talk about “tongue blocking.” I don’t know anything about it, I can’t do it and I don’t know if I ever want to learn. (More mutual laughter.)
So, back to the bands: I started wanting to play my own gigs. There used to be bands here in Willamina, or Dallas, or Sheridan, to go in and see all the time, every weekend. But that was gone by the time I was playing music. It had just died out.
So a friend and I started an act — acoustic versions of songs, mostly electric, that we liked and started doing them our own way. We played songs from RadioHead and Alice in Chains, John Fogarty, everything. Especially Kenny Wayne Shepherd and Jonny Lang.
I grew up on Van Halen, AC/DC, Motley Crue, Judas Priest. My favorite band has always been KISS. But Kenny Wayne Shepherd’s video of all the blues artists he’d met on tour was something I HAD to have, and I bought it the day it came out. That was a great revelation, even though all music has influenced me.
Anyway, that led to a venture with friends into songwriting. The one thing you always have in common, even with someone you really don’t like? Music will always touch your soul, always moves you in some way. I’ve only met a very few people who aren’t touched by music.
CBA: It can sometimes lead to the spiritual within us.
JW: Yeah, it goes way beyond all of us. Part of my blues upbringing was when in school I discovered Blind Willie McTell. His voice and style are so his own. Here’s him singing blues. (Taps a recording.)
(After listening) That … his voice! I’ve never heard anything that’s made me feel like that before. And that was it! I was in love with that music. And you can’t fake that, it’s a feeling. That down-there feeling of just keeping on anyway. After time going through things, I didn’t stop. So much there I couldn’t figure out. When I had the accident, I said put me in a wheelchair and just let me go, I want to get on with life.
I try to listen and learn by myself, but practicing is only done with others, and almost always only on stage. Applying what I’ve learned. That might not turn out good, but the next time’s always better.
Still, there are always those who’re much better than you. But if they look down at you because of that, they’re just bastards. That can be why choosing who to listen to, to learn from, is so important.
Oddly, one of the most uncomfortable things in the world is learning how to just be yourself. Maybe that’s why the band plays how we play. Our set-list? No set-list. Never.
CBA: When you search to find the right band members? What’s your first question?
JW: “Are you any good?” (Laughing.) Of course, there’s going to be some frauds and failures, but I don’t want to talk bad about anyone. It’s best when it’s someone I can learn a lot from, and who wants to learn from me. I’m not shy about telling someone “Hey, that’s not the right chord.” They may not like it, but it usually turns out I was right.
Also, I’m not going to steal someone’s bassist or drummer. But if it happens naturally? I’m going to roll with it. So that’s how Taylor joined us on bass. In the “Memphis” line-up, we’d met Brandon and Michael on guitar a few years earlier and their band was fizzling out, so we asked them to join us. And we got busy playing at lotsa gigs. Hey, after waiting forever to get this circle of really good musicians? Let’s just play songs we already know and that’ll be our only practice! And, it was.
Then Brandon and I talked about “Journey to Memphis.” He had tried with several bands that came up short. So we tried at Waterfront and lost to Fenix.
And yet, that’s why we started playing just the blues. Since then we’ve reopened a little. Playing everything, including country, but we love the blues and we’re good at playing it. And it’s not enough to just play the harp, you’ve got to SAY something with it. Still, I don’t want to sell myself. Just watch and you can decide for yourself. I don’t sound like anybody else.
CBA: Who do you regard as your mentors?
- Jim Belushi’s a good friend who got me with Dan Ackroyd (“a master class!”) and in three seconds with Jim I learned how to really be on stage!
- Rae Gordon, now on the National Board of Women in Blues.
- Ben Rice I’ve known for a long time.
- Drummer Tony Coleman and guitarist Ty Curtis both shared important advice for Memphis.
- And the under-appreciated guitar legend, Robbie Laws, must be included
The byword for us in PDX? “We’re different.” And because we’re ourselves, we stumbled into the final 8 in Memphis!
CBA: Quite a list! What do you see going on with blues now? And what can be done to keep it going?
JW: We see a lot more young people dancing to our music. And, well, the world right now is perfect for the blues, because that deals with sadness and despair. The blues can also be pretty religious and somebody’s gotta keep this stuff going. The world’s history is in the blues: We’ve all been slaves, we are all slaves right now to a monster that could probably destroy us. We need to unite together to listen to this music, just to feel better. I’d like to go back to small bars, 50 to 100 people, and sell tickets. Makes it easier to interact with the audience.
CBA: What else might you want to say about the “Memphis Journey?”
JW: An incredible journey, it really helped shape us. The Cascade Blues Association has been a big help, and with what’s going on with Greg Johnson, I hope to give some inspiration that you can just keep going. And keep fighting!
That’s what the CBA keeps doing. It’s the best for all of us. But we need to help it keep growing.
New Blues Releases of Note for December 2021
The Washboard Resonators — Streamlined Rag
JD Simo (USA) — Mind Control
Elvin Bishop & Charlie Musselwhite — 100 Years of Blues
Daniel Bahamondes — Amor Presto
Manny Fizzotti — Nobody Understands
Gov’t Mule — Heavy Load Blues
A.J. Crawdaddy — Steppin’ Out
Joe Bonamassa — Time Clocks
Hannah PK — Blues All Over My Shoes
Ben Levin — Still Hear
The Union Blues — We All Need The Morning
Key Events — Save the Date!
12/1 — Marc Broussard, Revolution Hall
12/5–IBC fundraiser for Rae Gordon & Brady Goss and The Sugar Roots, Trail’s End Saloon, 1pm
12/8 & 12/9 — Black Pumas, Roseland Theater
12/12 — CBA Holiday Party, Moose Lodge
1/21 — Tommy Castro & the Painkillers, Jack London
1/22—Michael Bean Celebration of Life—Catfish Lou’s & Legends Billiard Room
2/10 — Allen Stone, Roseland Theater
2/11—North Mississippi Allstars, Aladdin Theater
3/04—Jason Isbell and the 400 Unit, Keller Auditorium
3/23 — Kenny Wayne Shepherd, Revolution Hall
3/24 — Ana Popovic, Alberta Rose Theatre
3/30— Keb Mo, Brothers, Revolution Hall
4/2 & 4/3 — Valerie June, Aladdin Theater
4/21 — Buddy Guy, Tom Hambridge Duo, Revolution Hall
5/10—Christone “Kingfish” Ingram, Roseland Theater
Thanks to Mike and Debra Penk for adding to and editing this!
Board Update December 2021
Member voting for officer positions is Dec. 2-16. Candidate statements will be included in the member eblast.
Brad Bleidt led the first brainstorming meeting in mid-October, then presented the mission statement and priorities to the full board, which approved them. See below:
MISSION STATEMENT: A nonprofit organization committed to the promotion and preservation of all varieties of blues, Americana and roots music.
- BluesNotes (chair: TBD) Randy, Anni, John Taylor
- Media/Communication Strategy (chair: Nolan) Marie, Brad
- Diversity (chair: Marie) Robert, JP Peterson, La Rhonda Steele, Wendy Schumer
- Quarterly Events (chair: Robert)
- Partnerships & Venue Development (chair: Brad) Marie
- Survey (chair: Nolan) Marie
- Grant Writing/Revenue Generation (chair: Brad) Marie, Randy
- Acquisition & Assets Priorities (chair: Brad)
- By-Laws (chair: Brad), Marie
- Institutional Knowledge (chair: tabled until after officer elections…note that Shelley is documenting as much as possible to help the new board)
The committees are meeting now, so if you are interested in joining the conversation and guiding the direction of the CBA, please reach out to the lead (Brad Bleidt) or send an email to firstname.lastname@example.org
Dec. 12 at the Moose Lodge, 16411 NE Halsey — 2 p.m. See the event write-up by Anni for the complete details.
December 2021 General Membership Meeting
JT Wise / Vintage Soul
Wednesday Decmber 1st
Meeting begins: 6:30 pm
There will be drawings for prizes and we’ll have merch and memberships available on site — what better time to sign up or renew! Still only $25 for a 1 year membership. Please use the main entrance to be sure you pick up your raffle tickets.
The Pacific Northwest husband and wife songwriters perform bluesy, roots music that is dynamic, not ordinary and crosses musical traditions. Americana’s breadth is as deep as it is wide. They are inspiring musicians with vocal harmonies, improvisation and toe tapping rhythms.
Vintage Soul is ready to deliver your dose of That Feel Good Music to members and guests! Join Steve Kerin, Ben Jones, Brian Foxworth, and Chance Hayden for a guaranteed good time that’ll have you on your feet!
CBA Members get in free, guests pay $5
Start time: 6:30pm
SPARE ROOM COVID-19 POLICY:
The venue now requires all customers, performers and staff to show proof of a negative COVID-19 test within 72-hours before entering the Spare Room, OR to provide proof of COVID-19 immunization (at least two weeks after final dose) with an appropriate ID matching the name on your documentation.
CDC-issued vaccination card including the name of the person vaccinated, the type of vaccination provided and the date that the last dose was administered,
digital photo of a CDC-issued vaccination card stored on a phone or electronic device, or printed photo of a CDC-issued vaccination card.
Digital or printed photo of negative COVID-19 PCR test results that includes the name of the customer or performer.
These confirmations will apply to all members of your party before they are allowed to enter the Spare Room.
Thanks in advance for your patience and understanding!