Live on Jumpin' on the Bed
with guest host: Folk & Beyond's Aer Stephen
Saturday September 3, 2011, 4:00 PM
“Cross pollinated gypsy music….one of the most thrilling young acts on the planet.”
~ The LA Weekly
Fishtank Ensemble formed in 2005 in the midst of Fabrice Martinez's first visit to the US. After hunting around for musicians with whom he could jam with on his violin, Fishtank Ensemble was born., and this now four-piece outfit has since been playing everywhere from the hippest LA clubs to festivals, cultural centers, museums, parades, and even on the street. The band includes two explosive violins, the best slap bass player in the world, musical saw, flamenco and gypsy jazz guitar, trombone, opera, jazz and gypsy vocals, accordion, and one little banjolele. They tackle everything from French hot jazz to wild Serbian and Transylvanian gypsy anthems, Flamenco, and oddball originals. The band is a not to be missed event for world music lovers wanting to bathe in this intoxicating mix of music. In 2010, they released, on their own label, Woman In Sin. The third album from Fishtank Ensemble finds the band writing and performing at their peak. Transylvanian Gypsy Anthems, 1920's swing, Romanian Folk medleys, Rhythm and Blues Classics, Bulgarian Odd Time Signatures, Flamenco Rumbas, Swing Jazz, Serbian party tunes, Secret Manouche music and original songs are seemlessly blended together in this quintessential offering from a leading Gypsy Band.
The dynamic, virtuosic, fiery and peripatetic quartet that comprises Fishtank Ensemble take their roots both from their own varied musical and national backgrounds, as well as from their adventures and travels. The American singer, Ursula Knudson, sang opera on the streets and town squares of Italy, until she found a love of gypsy music. Their French violinist, Fabrice Martinez, is from Paris, voyaged around all of Europe in a handmade mule-drawn caravan for ten years, and studied with gypsy violinists, collecting music and experiences. Their Serbian bass player, Djordje Stijepovic, has spent time playing with gypsies in the local Romany bands when he was 13 until moving to the US, where he joined a band with Lemmy from Motorhead and Slim Jim Phantom from the Stray Cats, and aptly defends his reputation as the best slap bass player in the world. L. A. bred guitar player, Doug Smolens, used to hang out with Billy Idol and Slash before becoming hooked on flamenco and running off to Spain to learn from masters in the caves around Granada and honed his craft as a master of flamenco and gypsy jazz guitar. It is said that whatever wild time you can expect from this band, it will never match their out of this world performance! You can be the judge of that yourself later this evening across the Blue Ridge and into the valley at Staunton’s Mockingbird Music Hall, 832 W Beverly, at 8 PM.
Intrigued? Here is more for you:
Parked next door to a sandwich truck sits a hand-built, mule drawn “Gypsy wagon,” like an apparition from a bygone era, in the driveway of a contemporary hillside home in Hollywood, California. Belonging to Fishtank Ensemble, it embodies the wild and wooly journeys of the band’s eclectic and eccentric members—vocalist Ursula Knudson, violinist Fabrice Martinez, guitarist Doug “Douje” Smolens, and bassist Djordje Stijepovic—who share a vibrant passion for unbridled creativity and music with Roma roots. The quartet with a quirky name blazes new musical trails. “We all met at a performance space called the Fishtank,” explains Knudson, who often finds herself explaining the group’s unusual moniker. “It had lots of windows, so passers-by could peer in on the activities inside like a fish bowl.” The budding ensemble then spent the weekend learning an entire repertoire of Romanian folk music. They quickly got a local gig, when someone asked the name of the band. Caught off guard, Knudson recalls, “I just blurted Fishtank. It doesn’t fit, and I actually like that.” Their gallop across traditional and original sonic landscapes began in Europe, with serendipitous inspirations, irresistible urges, and love at first sight. It stretches from the echoing caves of Granada to the bombing of Serbia, from rollicking Venice to brooding Transylvania. “We were all guided by unseen forces and random acts of fate,” Knudson reflects.
As a teenager and promising musician, Martinez hitchhiked to Istanbul, collecting a treasure trove of instruments along the way. As jeeps with armed men patrolled the city, Martinez played illegally on the streets to collect enough money to fly back with all his instruments. “One day out of the blue I heard this music near a theatre,” recalls Martinez. “It was just one old guy playing violin and singing in an alley. Nothing more, and I loved it!” Inspired, Martinez returned home to Paris and immediately sold all his instruments, leaving him only with a violin that had been in his family for years. “I wasn’t interested in other music anymore, just the violin,” he says. “I resurrected this long-neglected family heirloom.” His fiddle led him to learn from some of the finest Roma players in Europe.
Smolens also found himself pursuing a passion he couldn’t deny and tracing a Roma route of his own, thanks to some flamenco recordings he just couldn’t get out of his head. He had grown up in the L.A. rock scene, playing drums and hanging out with Billy Idol and Slash of Guns ‘n’ Roses, and had no intention of picking up a new instrument. “I tried to resist for years,” Smolens laughs, “but in the end, I had to learn to play flamenco guitar. It grabbed a hold of my heart.” This unexpected calling led Smolens to the heartland of flamenco—learning from Gitano flamenco masters in the caves of Granada, Spain—and inescapably shaped his musical future.
Passion struck opera-trained American Ursula Knudson as she stood in a mass of masqueraded partiers at Venice’s notoriously decadent carnival one year. “Everyone was just staring at each other. After becoming bored with this scene, I went to a casino where Vinicio Capossela was playing,” recalls Knudson. From across the crowded room, as if by fate, her eyes met with those of a stranger: Martinez, who was playing with Capossela at the time. “He came up to me and we began talking about music,” she continues. Despite having respective fiancés, a year and a half later the two were married. Guided by hidden forces, they soon began their romantic wagon wanderings through Transylvania, and eventually wound up in Oakland, where they teamed up with Smolens.
These traveling troubadours soon picked up exceptional Serbian bassist Djordje Stijepovic, who literally wrote the book on upright slap bass and has lent his trademark slapping style to some of the best rockabilly, Gypsy, bluegrass, and blues acts around the world. Growing up in Serbia, he got his hands on recordings by Elvis and the Stray Cats despite bombs, sanctions, and political upheaval. His masterful bass playing won him gigs with local Romany stars in smoky bars and coffeehouses from the tender age of 13, where the unique pulse and flash of the Balkans became second nature to the omnivorous musician. After moving to US he fulfilled his rock'n'roll dreams playing in a band with Lemmy from Motorhead and Slim Jim Phantom from the Stray Cats.
All these diverse roads led to California, where Fishtank Ensemble became an egalitarian society of like-minded musical overflowing with talent that lend to its rich and varied sound. As this wandering caravan forges new musical trails, each member contributes their own aesthetics and experiences to the collaborative creative process. “I like to start songs,” Smolens notes, “but I really love when the band helps finish them. We all end up shaping them and creating something unexpected.” Woman in Sin teams with a polyglot array of personally-felt folk influences channeled into vivid original songs like the sexy title track, written by Smolens with extensive input from the group to showcase Knudson’s striking looks and torch-singing persona. With a new emphasis on original material and old-school skills, Fishtank Ensemble has matured into their distinctly odd yet remarkably apt name, performing a self-aware selection of twisting timbres and tempos that capture an ineffable joy. “We want to produce music that people have never heard before, taking audiences to new places, so they can experience a range of emotions that we transmit through song,” muses Knudson. “That is the best thing we can offer: our heart.”