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Conversations in Spontobeat-Patti Stering-Walter Tore

 
Conversations in Spontobeat-Patti Stering-Walter Tore

spontaneous blues

12 songs
714 plays
1
Picture for song 'walking with my baby' by artist 'Conversations in Spontobeat-Patti Stering-Walter Tore'

walking with my baby

lazy jimmy reed sounding shuffle
2
Picture for song 'Cold Blues' by artist 'Conversations in Spontobeat-Patti Stering-Walter Tore'

Cold Blues

Patti had the flu and a 102 fever during the session
3
Picture for song 'troubled children blues' by artist 'Conversations in Spontobeat-Patti Stering-Walter Tore'

troubled children blues

Patti and walter work with children, and see alot of pain in their hearts
4
Picture for song 'got religon' by artist 'Conversations in Spontobeat-Patti Stering-Walter Tore'

got religon

Patti was raised in the baptist church, including working with the revrend James Clevland, and walter played in a baptist church band, in austin texas. This is just vocals, harp, drums
5
Picture for song 'Walter Lost the Spontobeat' by artist 'Conversations in Spontobeat-Patti Stering-Walter Tore'

Walter Lost the Spontobeat

when walter starts a song, and it just doesn't groove, he stops it.
This is the first of hopefully, many more sessions between Patti and Walter. There is discussion of doing a studio session recording, and a couple of club date recordings, up in the wine country of Sonoma County, where Walter lives. Walter was awed by Patti's vocals, and contacted her, to see if she would be up for a spontobeat session at some point. She said yes, and after a failed attempt, or two (they live 400 miles apart), it came together in hollywood, at a friend of Patti's house. He has a studio out back. They got together in early January 2006, and recorded this session. It is all done spontaneously-the words and music. The tape rolled continuously, and each song is posted in the order it took place, including all the in betweens. Patti is on vocals, as well as Walter. Walter Plays the 1 man band- guitar, harp, bass drum, high hat, snare, vocals, all at the same time. These field recordings, although not of very high quality, capture the feel of the session as it went down. Patti had a 102 fever, but you would never know it. We hope you enjoy the music! Patti and Walter
Band/artist history
Patti Sterling: At age 3 it became evident that Patti was blessed with the gift of song, singing "The Lords Prayer" before an evening Prayer Meeting at her parent's Church. Her first professional "gig" was singing back-up for Henry Mancini and Johnny Mathis at Los Angeles famed, Greek Theatre. She was sixteen years old. This experience led to her acquaintance with arranger/composer Ralph Carmichael, who introduced her to jazz legends Plas Johnson, Shorty Rogers, Jimmy Rowles, and the Candoli Brothers, Conte and Pete. These gentlemen took her under their wing, and showed her what the "Pros" did for a living. She attended sessions watching the "Big Guys" play music for TV, and commercials. She watched great session singers like The Blossoms work their magic in the studio, and while being amazed, longed for the day she could do the same. As a "Young American" Patti found work on the sound stages in LA doing television shows, Four Star Productions, The Lucille Ball Show with Gale Gordon, Christmas Specials for Andy Williams, Julie Andrews and Jackie DeShannon; all the time watching the "Stars" at work . . . taking it all to heart. Patti went "on the Road" shortly after graduating High School. While playing Lake Tahoe, she met Sarah Vaughn, an artist who made a lasting impression on her. Patti found her taste growing and changing musically. She replaced Linda Ronstadt in a World Fusion project called "Morning of the World" signed to Elektra records with Jac Holtzman at the helm. The project was produced in part, by Alex Hasseliev of Limelighters fame. Glen Yarborough used to come by rehearsals, as well as Cyrus Farar, and Hugh Masekaleh. Morning of the World rocked in asymetric times before most of the USA recognized the term "World Beat". An audition for Randy Sparks put her into the "folk" movement of the early seventies, she shared the stage with Hoyt Axton, Steve Gillette, Kenny Rogers, The Hager Twins, Kin Vassy, the Dillards, and Kim Carnes. As a member of The Back Porch Majority, she played Fairs and venues all across the nation, consequently her appreciation of this great country of ours is profound. Dot Records producer, Ray Ruff drafted Patti into the All Star Cast of the ground breaking production of the Gospel Rock Opera, TRUTH OF TRUTHS. Both on vinyl and stage at the Greek Theatre, Patti interpreted the roles of Eve and the Virgin Mary. Truth of Truths brought her together with the talented Douglas Gibbs, who performed with Billy Preston. Douglas invited Patti to sing backup for Steven Stills, The Reverend James Cleveland, and The Master's Children (now known as Earth, Wind and Fire). Patti and Douglas became writing partners, and were on staff at Playboy Music. Family Tragedy swept Patti to Dallas Texas. Gig by gig, phone number by phone number, recommendation by recommendation, Patti broke into the Dallas "studio system" that produced IDs for syndicated radio in the US and Worldwide. Her involvement here earned her several regional commercial successes and a series of National commercials for Toyota, Sears, The Limited, Seven Eleven, and Sportsworld. Several of these commercial packages won "Clios". Dallas presented many opportunities to grow as a singer and define her style. She could sing straight ahead "bop' with renowned jazzers like Lyle Mays and Pat Coil, or Rhythm and Blues with Texas Tornadoes Wally Wilson (Grammy nominated producer, songwriter) and Gary Nicholson (Grammy nominated songwriter). She sang with Blood Sweat and Tears sax man Bill Tillman and Gary Willis (Tribal Tech) on bass. Teamed with Dallas piano-man Whitey Thomas, she wrote a dozen songs for WORD artist Becky Fender's first two albums. Eight were chosen. The secular versions of some of these songs appear on Patti's CDs Left Turn Only and Bettin' On You . Patti did some background arranging for Stevie Nicks, Alex Harvey, Mike Settle, and Kin Vassy while in Dallas. She opened shows for Point Blank, Ray Stevens, Clarence "Gatemouth" Brown, and Stevie Ray Vaughn with the Satisfires, her own original band, and toured Texas and Louisiana, playing larger venues including the Dallas Summer Fest, The Scott Theatre, Fort Worth; Caravan of Dreams, Fort Worth and Rockefellers in Houston. Then Patti, with a brief stopover in Las Vegas, returned to LA. She performed at the Wang Center for Performing Arts, Boston Mass, Cape Cod Melody Tent, and the Hotel Presidente, Mexico City. The collaboration that led to the first album "Left Turn Only" began when Patti was involved with a jazz project at the Los Angeles studio of Righteous Brothers lead guitarist, and Phil Spector session player, Art Munson. A few months later Patti needed to lay down a track for a song she was going to pitch for a Tina Turner project. She called Art and a year later came away with a finished album. Songs from that album are currently being played on over 500 radio stations across the US in addition to continually dominating their individual Genre charts on the web via mp3.com and 1sound.com. A high energy performer, Patti has spent a busy Spring. In the studio cutting new material for Bettin' On You, appearing Wednesday nights at The Classroom with the Kelly Joe Jones Blues Band, and hosting the Blue Mondays Pro Jazz Jam at WHISPER'Z , both in Northridge CA. Patti is very much at home on stage giving you all she has got at All times. Patti is proud that her songs are represented by Iowa HomeGrown Music. Ms. Sterling was a weekly Winner on BET Network's Jazz Discovery. Walter Tore: All my words and music are spontaneously created, never to be done again. I have done over 1 million spontaneously created songs so far. God blessed me with the ability to do this and cursed me with the disability to do a cover, even one of my own. My brain gets totally scrambled. But when I just let it flow, I have an endless bag of songs. When I am in the groove, I walk into the song. The only way I can describe it is to imagine walking into a big screen movie. I feel like a spectator, watching as the songs unfold. I can feel, smell, taste, all the details of the songs. Old blues spirits visit often. They sit on bleachers, like you see at a little leauge field, and cheer me on. Their musty smelling suits, fill my nostrils, and their rythms take me over. If you are still with me, here is my story. I have several set ups. I do a real live 1 man band(bass drum, snare, high hat, guitar, vocal, harp), that I learned from Wilbert "Kansas City" Harrison, in the 70's, solo guitar and harp, and a 3 piece band. Douglas Ian Mckenzie is on bass, and Katherine "steady baby" Stevens, is on drums. Between us we have about 100 years of playing experience. For the past 2 years, I have begun to teach myself the art of recording, and have recently converted the back room of our garage to a studio. I finally have my own musical space! Over the past year I have recorded over 300 full lenght cds. I started playing music when I was a teenager, in the Newark, N.J. area. One day, Wilbert Harrison, of Kansas City fame, literally followed me down a sidewalk in his Cadillac, screaming at me to get in his car as I walked and played my harmonica. He had women in the car, champagne glasses on the dash, and almost crushed me into a building. He wanted me to play in his "comeback" band. I didn't know who he was, and was worried for my life. He kept holding up empty album covers from the 50's, screaming "boy get your ass in this car. My name is Wilbert Harrison, and I want your ass in my band." I got in and my life changed forever. I spent time with him playing from the elite Tramps Blues Club in NYC, to pot bellied stove dives that had no restrooms. You peed on the sawdust floor and the local hardcore wino would sweep it up twice a day and spread new dust for a free drink. I learned that beat he had and tuned it my own way. I also learned the one-man band concept (bass drum, high hat cymbal, guitar, and harmonica, played simultaneously) from him in those places. During this time I played with local blues bands and was often fired for making songs up on the spot. I would spend my free time playing at the local train station to the local winos. They taught me more than anyone else about singing and performing. I would make up songs on the spot, which were usually about them, and the energy level would hit the ceiling. From that point on, I pushed this concept into my professional concerts. During this transition time I kept close to the old blues men, including living with Louisiana Red on Long Island. I played around the NYC area with him a lot. He turned me on to many great blues men like Lightning Hopkins, Sonny Terry, Champion Jack Dupree, Bo Diddley, Lonnie Brooks, Eric Burdon, and others. Red moved to Europe and I continued to play the NYC/NJ scene. I soon left too, for Arizona, and then Ca. In Ca I played with many blues men including Sonny Rhodes, Cool Papa, Mississippi Johnny Waters, Frankie Lee, Mark Naftalin, Charlie Musselwhite, Johnny B. Good, Troyce Keys and J.J. Malone, and began a long friendship with Albert Collins. I lived in Sonoma County, Ca. during these years and also had my own band called Walter H.K. Tore and Below Zero. A famous guitar player from Norway heard me playing in Oakland and brought us over for a tour. We ended up living in Brussels for two years. I played throughout Europe and Scandinavia with my band, and a lot of festivals with Louisiana Red. He is a great blues man, and a great man. He still lives in Germany. He and Champion jack Dupree lived together there. I then moved back to the NYC area, and then on to Austin for 11 years. The Austin music scene is the best in the USA. I met hundreds of great musicians there, and the ego trips were minimal compared to the other 20 or so cities I had tried to break into. We all shared food, equipment, and housing. I had dozens of drummers through those years, and many were quite well known. Among them were Jimmy Carl Black, the drummer for Frank Zappa and the Mothers of Invention, Uncle John Turner of Johnny Winter, and Dave Sanger of Asleep at the Wheel. I also had the good fortune of being the house band at the famous Black Cat Lounge in Austin for eight years. This club was a hangout for the best musicians in town. We would often start at 9pm and play until 5am. The owner Paul Sessoms (who is now dead), inspired me to follow my dreams. He was the most determined visionary I have ever met. Those nights in that club are legendary. He let us audition drummers on Friday and Saturday nights while we played. Jamie (my bassist) and I would put an ad in the local music paper for drummers to show up at 10pm. If they sounded good they got the job, if not they were asked to leave. It was kind of like the Gong Show, in front of sold out crowds. What other club owner would allow this on their most profitable nights? I had complete freedom there. I could play solo, loud, quiet, long sets, short sets, have anyone up to jam I liked, take no breaks, or two-hour breaks, sing, talk, cry, or preach. Listen to The Story of the Mojo Guitar on Live at the Alpine Hall cd, and you will learn all about Paul. Through the Black Cat Lounge I met and became friends with many musicians including Dwight Yokum, Joey Rammone, Ronnie Lane, Joe Ely, Doug Sahm, Bobby Keys (sax player for Rolling Stones), Charlie Sexton (guitarist for Bob Dylan), Will Sexton, Evan Johns, Timbuck 3, The Call, and countless others. Major touring bands would stop in the club to get the famous Black Cat t-shirts, and while their busses were idling in front, they would often sit in with us. I even met Badfinger during one of these episodes! I have spontaneously composed and performed over 1 million songs, which is probably a world record. I refuse to compromise my musical concept, Spontobeat, where all my songs are spontaneously made up. I also believe I am the only person out there who makes it all up as I go along. I never rehearse, or sing the same song twice. My bass player for over 10 years, was Jamie Greenan. We met in Sonoma county, Ca. in 1980. We came up with the name Spontobeat - spontaneously created music - around 1985. Together we turned this concept into a reality. He traveled with me until the early 90's, and acted as band director, and conceived many promotional ideas to get our concept better known. These included a Spontobeat documentary, which was shot on a playschool video camera, complete with narration and soundtrack. Many major record labels have approached me through the years, telling me if I would follow the traditional approach of writing, rehearsing, recording, performing, the same songs over and over, I would be as famous as my friends. I am glad I didn't, because I may never have become a teacher! Your influences? SOME OF THE PEOPLE THAT HAVE ENDORSED, JAMMED, OR BEEN IN WALTER TORE’S BAND OVER THE PAST 25 YEARS: BOB DYLAN, CHARLIE SEXTON (GUITARIST FOR BOB DYLAN, DAVID BOWIE, AND ARC ANGELS), WILL SEXTON, ERIC JOHNSON, DAVID GRISSOM (GUITARIST JOHN MELLENCAMP), DAVID HOLT, EVAN JOHNS, MICHAEL BEEN (THE CALL), ROBBIE ROBERTSON (THE BAND), JIMMY CARL BLACK (ORIGINAL DRUMMER FOR FRANK ZAPPA AND THE MOTHERS OF INVENTION), BOBBY KEYS ( SAX PLAYER FOR ROLLING STONES), RONNIE LANE (SMALL FACES), TIMBUCK 3, UNCLE JOHN TURNER (DRUMMER JOHNNY WINTER), JOEY RAMONE, FAST FLOYD, LOU ANN BARTON, LOS LOBOS, DOUG SAHM (SIR DOUGLAS QUINTET), BOB GUCIONNI, JIM RISSMILLER LIGHTNING HOPKINS, SONNY TERRY, LOUISIANA RED, CHAMPION JACK DUPREE, LONNIE BROOKS, ALBERT COLLINS, WILBERT HARRISON (KANSAS CITY), PEE WEE CRAYTON, JOHNNY LITTLEJOHN, JOHNNY COPELAND, KIM WILSON, HUBERT SUMLIN, FRANKIE LEE, COOL PAPA, JOHNNY B GOOD, TROYCE KEYS, MARK NAFTLIN, CLIFFORD ANTONE, IAN MOORE, CHRIS DUARTE, INDIANA SLIM, AUGGIE MYERS, ESTABAN JORDAN, DWIGHT YOAKAM, TOOTS THEILMAN, DAVID SANGER (DRUMMER ASLEEP AT THE WHEEL), TEX THOMAS, MONTE WARDEN, TEXICANA DAMES, RICH MINUS
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