1st November 2008 4 de Diciembre with Maxsalsa @Darlington Arts Centre, Darlington (Part 2)

The East Hall of the Darlington Arts Centre in which MaxSalsa's monthly events are held is a light, wooden-floored, double-height space with a capacity for maybe 140+ dancers and seating on the periphery. It's a nice venue in which to accommodate a dance event, although for live music it's somewhat more tricky: not because of the lack of a stage - I actually enjoy performing on the same floor as the audience, and the hall is not deep enough to disadvantage viewers at the back; but due to the alcove-like end of the hall lined with plenty of uncurtained windows. This is the only place where bands can be set up, which is unfortunately an ill-behaved resonance chamber.

Band in a boom-box: Waiting as Blast dials out the nasties

Talking to Ian, he told me that his previous bookings had found it a challenge to get good control over their sound. I was unperturbed. Those bands didn't have the rather magical BlastPA by their side. Setup and soundcheck passed unremarkably, with Chris and Richard making mincemeat of the wicked Troglodyte of Resonance with their trusty Yamaha LS9 desk. Chris and Sue of http://www.salsayarm.com were Ian's partners-in-crime that night. All three of them enthused that the sound was the best that they'd ever had at the Hall; welcome praise indeed, considering that the former had also booked 4 de Diciembre to play at their big Christmas party in Middlesborough without ever having heard a demo from us.

Tengan fé.

Willie and I unabashedly leapt into the fray when Chris and Sue called everyone to order for the beginners lesson. It comprised some basic steps, cross-body-lead, and he-turns-she-turns-he-turns combination. Partners were changed often, and it was very easy to give people the impression that I didn't know what I was doing - each and every one of my blushing dancers assumed I was such, and I was inclined not to disappoint. Willie helpfully whispered reminders of how unconvincing a beginner I was at every change, which spurred me on to greater efforts.

Then there was just time for a short breather before we were called to stage.

The attendance wasn't as strong as expected, and that always makes it a challenge; it's an experience that every non-manufactured band goes through. I always remind myself of the pop band "The Police" and how they got their big break in the States playing to an audience of only three people, one of whom turned out to be a local radio DJ. They had taken the time to sit down and talk to the members of the audience just before playing. In my own way, I try to do the same by taking part in the lessons beforehand. Anyhow, the moral of the story is, "play for the people who are there, not for the people who aren't."

Loo Yeo getting the show started
with red-hot salsa band 4 de Diciembre

So with me taking the opening number, I start us up as we mean to go on; playing exactly the same way as we would to a house bursting at the seams. I felt extremely proud of Ferret's lead vocals which were solid on his debut: no indication to anyone at all that he hadn't sang lead for us gig-in, gig-out. Willie was dazzling on the violin all the way through, on solos and on rhythm. This gig was also a watershed moment for me: it was the first time I'd performed without having my lyric sheets nearby. Before, even if I never looked at them, they were always a safety net lurking somewhere in line of sight. This time, without their implicit presence, I found my performance having a stronger connection to the audience. I missed them only once; when I repeated a verse in 'Recordando Africa', but now having left sheltered waters and realised the benefit of the risk, there's no turning back! It all boils down to confidence.

There were enthusiastic responses for every song we played, salsa and son alike, where the floor wasn't short for dancers. The setlists I'd designed worked flawlessly, but the best bit was the comments afterwards. Both Chris and Sue felt that Cuatro de Diciembre were the best band they've seen - high praise indeed, as they have brought a number of leading names to the North-East. At a personal level, it was very rewarding to meet up again with Donna and Colin Piper, salsa instructors whom I'd last met in January at the 12th Night Salsa Extravaganza. They'd made the trip across especially to see us perform, and I felt immensely flattered. You won't meet two people more warm and genuine than this couple.

Challenges are there to be overcome, and at the end of it all: MaxSalsa got a terrific performance and the best live sound it ever had, with 4de12 setting down a marker as a tough act to follow; Chris and Sue know exactly what they've got booked for their Christmas party; and the salseros of Darlington got a good dose of music CuatroDeDiciembre-style.

4 de Diciembre in relaxed mode
closing out the evening

And I got to catch up with good friends and meet new ones, including a winsome lady whose idea of a good dance is to finish it with hair looking like it's come out of a washing machine. The same one who insists that dancers of the North-East like their music very, very fast.

If she's right, we might need to work up more of a lather at practices for X'mas.

looyenyeo

Prologue: 1st November 2008 4 de Diciembre with Maxsalsa @Darlington Arts Centre, Darlington (Part 1)

The Road To Darlington...

Britain was wearing her most lustrous of autumns and the bright sunshine set off a kaleidoscope colours on the Saturday we made our way to Darlington.

Arrival: 4 de Diciembre touch down
at the Darlington Arts Centre

The calm and relaxed air in the minibus was quite a contrast to what I had been personally feeling not three days before.

Before summer, and based on word-of-mouth from Cuatro de Diciembre's blinding performance at the Engine Shed in April, Ian Steer, the larger-than-life promoter of MaxSalsa, booked us to deliver the goods in his November live band slot at the Darlington Arts Centre. We were only too happy to oblige, and Catie took up the baton and ran with it - unselfishly acting as first point of contact, and all the pressure that that entails.

This was going to be the first of our several gigs after the summer break and with my music director's hat on, I anticipated the return to form as being a bit of a bumpy ride. With only four weeks to polish the rust spots off when everyone officially came back together, I knew I was going to have my hands full: two Decemberists were away for half of that period; we had new songs to deliver in two expanded set lists; the very talented Willie Lok was featuring as a guest violinist; and the Ferret making his debut as a lead vocalist.

Scheduling the content for the practices was proving to be a bit of a challenge. A Royal Marines assault course was starting to look inviting.

But the greatest source of pressure came from my impression, rightly or wrongly, that we were resting on our laurels. The euphoria generated by our mini-tour of the North (of England) where we were very well received, a slew of glowing commendations, and being so comfortable on stage, made for what felt to me like a laissez-faire attitude. Understandable though that might have been, it didn't make sense to wait until a poor performance before learning from it. Each gig should be attacked the the same commitment, the same energy as a debut. That's easy to pay lip service to, but much harder to make true.

Even poor Catie was feeling the pressure.

Almost everyone pulled together and made it through both practices in the last week. At the end of the second session, I finally could say to myself, "We're ready".

A lush Darlington autumn
enjoyed with salsa band 4 de Diciembre

With relief and lightened mood, I drowsed in the back of the mile-eating minibus that Saturday afternoon listening to César Pedroso's latest album. It was a pleasant surprise to find that the journey lasted just two hours (and not the three that I had anticipated), as we rocked up to the main entrance of the Arts Centre in a gorgeous leafy suburban setting.

[Part 2: Live at MaxSalsa]

Loo Yeo


A Side Note
I can just imagine what you must be thinking: that booking '4 de Diciembre' sounds like a bit of a gamble; and that maybe I should be censoring this glimpse into 4de12's musical life. Not on yer life! When I started this blog, I made a promise to be open. But I would ask you to temper your judgement, knowing that my perspective is that of a perfectionist and that I don't like leaving anything, and I mean 'anything', to chance.