Soon, Handmade Moments blitz through Oklahoma, including a stop in Oklahoma City to perform a house concert.  Two people, Anna Moss and Joel Ludford, produce a dizzying and delightful array of music variety.  Out of this world vocals:  check.  Great guitar playing:  check.  Bass clarinet:  check.  Same for tuba, beat-boxing, and improvised raps. 
         “One of the specific memories I have is when we were playing in a biker bar in Eureka Springs, Arkansas,” Moss says.  “Back when we first started Handmade Moments, we didn’t have the luxury of an intimate listening audience.  We just had to play for drunk bikers.  Drunk people at bars in Eureka Springs.  We’re like, how do we get their attention, and Joel started beat-boxing on the mic.  I remember we were playing ‘Ain’t No Sunshine’ by Bill Withers, and he started beat-boxing – cool.  You watched the whole room change.  Then I started beat-boxing, and it’s so fun to do.  And it’s drums without the drama.  Get it, because drummers are dramatic?” 
            Although Handmade Moments play festivals for thousands, they welcome a house concert gig. 
          “There’s something different about a house show,” Ludford says.  “It feels more intimate.  It feels like – I feel like I tend to ramble more and maybe be a bit freer with banter and I don’t feel like I have to – you know, on stage, you have to kind of watch what you say or not say anything too offensive.  But, when you’re at someone’s house, you don’t have that much pressure.  So I feel like it’s more fun.  I feel like some of our best performances have been at really small festivals or house shows that are very non-corporate and folk-driven.  We go more out on a limb, take more chances, and I think I perform a little more realer.” 
            Moss agrees.  “I love the intimate setting.  I much prefer to play for twenty people in an intimate space that are really listening than play for 2,000 people in a crazy arena where no one can hear you and everyone is talking.” 
            Handmade Moments play an Oklahoma City house concert on Saturday, July 12.  For more information or reservations, contact [email protected] or 205-616-5009. 

Check it out, OKC!  Handmade Moments (Anna Moss and Joel Ludford) bring their delightful beats to a cozy living room on Saturday, July 12.  Get ready for great songwriting and an exquisite blend of guitar, bass, tuba, bass clarinet, beat-box, extemporaneous rap, and more!  Email [email protected] or call or text 205-616-5009 for reservations / more information.  

Seattle native and New Orleans singer-songwriter Chris Acker returns to Oklahoma City to share his evocative, funny, insightful, sad – all the things! – songs at a house concert on Friday, June 20.  Anticipating Chris’s arrival, we chatted with him about a range of topics – recent books he’s read, vegetables and herbs to plant that thrive in New Orleans’s buggy setting (answers:  arugula and pole beans), what he does for fun, and the outlook for his favorite baseball team, the Seattle Mariners.  We also talked about his musical influences and beginnings.    
            Curious Pair:  What led to your interest in music? 
           Chris Acker:  It was a lot of what my parents would play in the car.  My main thing is I remember road trips to Idaho from Washington.  Those were my earliest memories of really falling in love with a piece of music. 
             CP:  What kind of music did your parents listen to?
           CA:  They listen to a lot of songwriter stuff.  If anything, I notice as I’ve gotten older, I didn’t really grow up on The Beatles or anything like that or even Bob Dylan.  It was a lot of Nanci Griffith and Emmylou Harris and that kind of stuff.  My dad really likes female singers particularly.  And Paul Simon, Simon and Garfunkel, James Taylor.  But not a lot of big rock bands or anything like that.
            CP:  Are these folks, would you consider them your early influences?
           CA:  Yeah, those were the early ones.  I had a big Dylan phase in high school.  I felt like it was a turning point when I got into Bob Dylan because you had really heavy gnarly songs that were heavy topics, but then there would be this more tender side, and I really became a romantic through him.  When you listen to him, it informs so much other stuff.  Like John Prine.  Growing up, my dad played him a lot.  But it made more sense after Dylan.  Same with when I got into Townes Van Zandt and Guy Clark, all the classic ‘70s songwriters.  I feel like Dylan was my first obsession when I was probably fifteen or sixteen.  Oh, and I would say this band Against Me.  They were like a folk-punk band.  They were acoustic.  They’re great.  They were a really big influence on me.  I saw them live like ten times.  Going to shows, they were really inspirational because those were my first experiences of having a really transcendent show experience.  They were kind of the reason I picked up an acoustic guitar. 
            CP:  Did you take lessons?
         CA:  I took one lesson.  I just learned on YouTube.  Which is a cool resource.  You can learn anything there.  I also learned a lot from friends.  My friends and I started a band, and we were all beginners, so we learned together a lot. 
           CP:  What was the name of your band?
          CA:  Dennis.  Just the name Dennis.  Which is a name nobody in the band was named.     
           CP:  Was that with Sam Gelband?
          CA:  Yeah, yeah. 
          CP:  Do you mind telling us a little bit about your connection with Sam?  You guys went to high school together in Seattle.  You were playing gigs at a record store in Seattle and getting paid in records.  Fast-forward fifteen years, you’re both in New Orleans and making great music. 
        CA:  One of the coolest parts about doing this has been the friendships but that one [with Sam] specifically.  That’s been the strongest through-line because we got into playing music together.  He plays in my band – he plays drums on all those records.  And sings.  And then he has his own projects.  We still share stuff with each other all the time.  We don’t necessarily write tunes together but still collaborate pretty heavily. 

Chris Acker plays an Oklahoma City house concert on Friday, June 20.  For more information or reservations, contact [email protected] or 205-616-5009. 

Oklahoma City LUCKILY welcomes back Gar Hole Records artist Chris Acker for a house concert on Friday, June 20!  Chris is an amazing writer and performer, and it's an absolute TREAT he returns to share his music in a cozy living room setting.  Message for reservations / details. 

Join us as we host Zach and Marina for a house concert in our cozy living room on Sunday, May 18!  For more information / reservations, contact [email protected]. 

John Depew joins us for a house concert on Wednesday, April 9.  7:00 p.m. happy hour, music at 8:00 p.m., BYOB, suggested donation of $15 to the artist.  For reservations and or questions, contact [email protected] or 205-616-5009. 

AND, John joined us for an interview -- see the transcript below.  Enjoy!

Curious Pair Presents:  What led to your interest in music? 
 
John Depew:  I don't really remember a time before music was a major part of my life. My dad is a musician and started me out young. My interest in music as more than a hobby in recent years really comes from wanting to ask questions with music in a way that connects with people who have the same questions and ideas, as well as the demonstrable positive impact that live music can have on the world in a time when I think society is very fragile. We deeply need shared in-person experiences that are unifying across ideologies and backgrounds, and music is one very powerful way to achieve that end. It's also really friggin' fun. 
 
CPP:  How many instruments do you play?  What are they? 
 
JD:  I can make noise on a lot of different things but my primary 4 instruments are mandolin, octave mandolin, guitar, and banjo (clawhammer, I don't do well with 3-finger banjo at this point), in that order of competency, I'd say.
 
CPP:  When did you begin to play the banjo?  How did you learn the instrument? 
 
JD:  I built a banjo out of a box of parts someone had given me about 15 years ago or so. Prior to that I hadn't played one much, but my brother had been learning some clawhammer tunes and he got me infected with a love for that sound, particularly melodic players like Adam Hurt among others. Having already played stringed instruments for years at that point certainly made it easier since the right-hand technique is the main thing I need to work on. Basically, I just left a banjo next to the couch for a few years and would pick it up for a few minutes whenever I had free time, and it kinda taught itself to me in a casual way. 
 
CPP:  Did / do you have any mentors who took you under their wing and showed you the ropes about music?  If so, who are they, and how did they help you grow? 
 
JD:  Yeah, definitely. Starting with my dad, who taught me a lot of foundational stuff when I was a kid. A couple guys, Kentucky White and Shelby Eicher, have been kind enough to show me some more advanced stuff in recent years, primarily music theory things that they can explain in 15 minutes but will take me years to really understand on a practical level. My current bandmate Peter Oviatt is a big motivator for me; he's a monster player but more importantly isn't shy about gracefully telling me the honest truth about places where I can improve. That's a hard relationship to find and I value it dearly. 
 
CPP:  Related question:  who are your influences?  And, how do they influence you? 
 
JD:  Musically, I'm influenced pretty obviously by Chris Thile and the sort of chamber-grass mandolin scene, but also in smaller ways by people across the spectrum from Dave Brubeck to Django Reinhardt to Debussy, Satie, Phillip Glass, Bela Fleck, and songwriters like Darrell Scott, Tim O'Brien, Norman Blake, folks like that. 
 
CPP:  Describe your daily music routine – what do you do to maintain your playing skills, write songs, and keep your ear open to discover new sounds?
 
JD:  Ideally, I try to spend a minimum of a couple of hours a day on an instrument. I tend to write best first thing in the morning, so whenever possible I try to get up early, make some coffee and get right to work before everyone else in the house is awake. Doesn't always happen that way but that's the ideal. Typically then once my kids are up I'm busy with other things until evening, which is when I generally put in real practice time, as opposed to creative time. Lately I've been doing a lot of work with a metronome, trying to break through some bluegrass speed barriers I have and hopefully improving my natural sense of timing (an area that matters less as a solo artist but creates challenges in a band setting if you're not really living in the pocket). 
As for keeping an open ear, a lot of my songwriting process revolves around hearing things that other people are doing that I don't understand and trying to understand them through songwriting. Easy example of this is odd meters. I've gotten interested in recent years in learning how to exist in meters like 5/4 and 7/8 for instance, or experimenting with layered rhythms in different meters, or harmony structures that aren't intuitive to me, but trying to 'intuitize' them by writing music using these tools that you barely understand. That's what really interests me as a musician these days.
 
CPP:  What is your preference, working solo or collaboratively?  Why? 
 
JD:  I've done two fully solo albums and one (most recently) with a trio since getting really serious about music as a business back around 2020. I like the freedom of playing solo, on one hand, because there's infinite room to improvise and deviate from the script and have a lot of fun just poking around inside the music. On the other hand, I've got a trio going now that I feel like is really stepping into next level music from what I've been able to do solo. There's just something about the dynamic range that we can create with a mandolin-banjo-double bass trio that is really something wholly different. So right now, I've been investing a lot of time in the trio format, but I'm actually really looking forward to playing some solo shows again because of the coziness I've found playing as a solo artist. Both formats are really fun and challenging but in very different ways. 
 
CPP:  What is / are some tips to frying chicken well?  Follow-up:  how did you discover this insight? 
 
JD:  Haha, this is not a question I've ever had in an interview. Love it! Temperature of the chicken is important, particularly with white meat, breast meat that's not quite frozen but not quite thawed is my preference because you can get it crispy without it overcooking, if you watch it closely. My favorite fried chicken uses de-boned thighs cut into strips or nuggets. Buttermilk dip and then into a dry flour mixture with white pepper and salt and baking powder. If you like extra crispy chicken, throw it back in the buttermilk and then back in the flour and let it sit a while so that buttermilk really sticks up a thick layer of flour. Then into the fryer. It's not really difficult. Awesome on a good green salad or with sesame sauce over steamed vegetables and sticky rice, or a bunch of other ways. 
 
CPP:  What do you do for fun? 
 
JD:  Hmm. I've tuned both my main hobbies ostensibly into jobs in recent years (music and cattle) so I guess you could say I work for fun, haha. I like to hike and bike, and I enjoy cooking and listening to records. I like to read, particularly poetry, and also I'm a big fan of fire (we heat with wood in the winter, and many evenings will hang out around a campfire through the evenings in the warmer months). 
 
CPP:  You’re playing Oklahoma City on April 9.  Do you have any memorable Oklahoma or Oklahoma City experiences? 
 
JD:  I used to come down to Quartz Mtn and the Wichita Mountains regularly to rock climb, even though I never got to be a high-level climber. I learned how to lead "trad" routes (I think 5.9 was the hardest I ever did, nothing really impressive, but still intense and fun) and have a bunch of great memories climbing Elk Slabs, Echo Dome, and some others. One time, we went to Quartz in January and tent camped in like single digit weather. We were the only ones there. Went to the restaurant at the Lodge down there and were the only customers all night, had like a two-hour conversation with the waitress, and drank beers. Everyone we met was astounded that we were there camping and climbing, but it was one of the most fun trips I can remember. Would do it again in a heartbeat but now I have a van with a heater and a guilt-complex, haha.
 
CPP:  What’s next for you musically? 
 
JD:  I've got a really fun summer season of shows with John Depew Trio this summer from Michigan on the east end to Oregon on the west. I'm working out the fine points of most of the material for the next album (we just put out Bell of Hope which I'm really proud of and excited about, here: https://johndepew.bandcamp.com/album/bell-of-hope). I'm also experimenting a little bit with a more traditional bluegrass side project, which will be a fun outlet for me; I'm playing occasionally in a contra-dance band, that's fun, and doing some session recording and producing work here and there which is also a really fun area to explore (anybody who's interested in that feel free to reach out to me). 
 
CPP:  Anything else?  Anything we left out that you'd like to add?
 
JD:  I write semi-regularly about all kinds of stuff on SubStack for anyone who didn't think this was long-winded enough, haha! You can find that here: https://substack.com/@johndepewmusic

I've started a baseball history podcast, See You at the Ballpark!  One of its goals is to present players' first-hand perspectives and insights, and the first episode is a chat with pitcher Mike Smithson and his experiences on the 1988 Boston Red Sox who, after a managerial change at the All-Star Break, went on an incredible 19-1 winning streak.  The podcast is available on Spotify and Apple. 

The Spotify link is here. 

The Apple link is here. 

Thank you for considering giving the episode a listen.  

Oklahoma City!  It's time for a house concert!!!  Friday, April 4, join us as we host BEAU JENNINGS in a cozy living room setting!  Contact [email protected] for more information / reservation. 

Bluegrass-adjacent songwriter and multi-instrumentalist, fryer of chicken and eater of salad (his description on Bandcamp) John Depew plays a house concert in Oklahoma City on Wednesday, April 9.  We asked John a few questions, and he graciously responded.  Enjoy the chat below, and join us for the show. 
 
Curious Pair Presents:  What led to your interest in music? 
 
John Depew:  I don't really remember a time before music was a major part of my life. My dad is a musician and started me out young. My interest in music as more than a hobby in recent years really comes from wanting to ask questions with music in a way that connects with people who have the same questions and ideas, as well as the demonstrable positive impact that live music can have on the world in a time when I think society is very fragile. We deeply need shared in-person experiences that are unifying across ideologies and backgrounds, and music is one very powerful way to achieve that end. It's also really friggin' fun. 
 
CPP:  How many instruments do you play?  What are they? 
 
JD:  I can make noise on a lot of different things but my primary 4 instruments are mandolin, octave mandolin, guitar, and banjo (clawhammer, I don't do well with 3-finger banjo at this point), in that order of competency, I'd say.
 
CPP:  When did you begin to play the banjo?  How did you learn the instrument? 
 
JD:  I built a banjo out of a box of parts someone had given me about 15 years ago or so. Prior to that I hadn't played one much, but my brother had been learning some clawhammer tunes and he got me infected with a love for that sound, particularly melodic players like Adam Hurt among others. Having already played stringed instruments for years at that point certainly made it easier since the right-hand technique is the main thing I need to work on. Basically, I just left a banjo next to the couch for a few years and would pick it up for a few minutes whenever I had free time, and it kinda taught itself to me in a casual way. 
 
CPP:  Did / do you have any mentors who took you under their wing and showed you the ropes about music?  If so, who are they, and how did they help you grow? 
 
JD:  Yeah, definitely. Starting with my dad, who taught me a lot of foundational stuff when I was a kid. A couple guys, Kentucky White and Shelby Eicher, have been kind enough to show me some more advanced stuff in recent years, primarily music theory things that they can explain in 15 minutes but will take me years to really understand on a practical level. My current bandmate Peter Oviatt is a big motivator for me; he's a monster player but more importantly isn't shy about gracefully telling me the honest truth about places where I can improve. That's a hard relationship to find and I value it dearly. 
 
CPP:  Related question:  who are your influences?  And, how do they influence you? 
 
JD:  Musically, I'm influenced pretty obviously by Chris Thile and the sort of chamber-grass mandolin scene, but also in smaller ways by people across the spectrum from Dave Brubeck to Django Reinhardt to Debussy, Satie, Phillip Glass, Bela Fleck, and songwriters like Darrell Scott, Tim O'Brien, Norman Blake, folks like that. 
 
CPP:  Describe your daily music routine – what do you do to maintain your playing skills, write songs, and keep your ear open to discover new sounds?
 
JD:  Ideally, I try to spend a minimum of a couple of hours a day on an instrument. I tend to write best first thing in the morning, so whenever possible I try to get up early, make some coffee and get right to work before everyone else in the house is awake. Doesn't always happen that way but that's the ideal. Typically then once my kids are up I'm busy with other things until evening, which is when I generally put in real practice time, as opposed to creative time. Lately I've been doing a lot of work with a metronome, trying to break through some bluegrass speed barriers I have and hopefully improving my natural sense of timing (an area that matters less as a solo artist but creates challenges in a band setting if you're not really living in the pocket). 
As for keeping an open ear, a lot of my songwriting process revolves around hearing things that other people are doing that I don't understand and trying to understand them through songwriting. Easy example of this is odd meters. I've gotten interested in recent years in learning how to exist in meters like 5/4 and 7/8 for instance, or experimenting with layered rhythms in different meters, or harmony structures that aren't intuitive to me, but trying to 'intuitize' them by writing music using these tools that you barely understand. That's what really interests me as a musician these days.
 
CPP:  What is your preference, working solo or collaboratively?  Why? 
 
JD:  I've done two fully solo albums and one (most recently) with a trio since getting really serious about music as a business back around 2020. I like the freedom of playing solo, on one hand, because there's infinite room to improvise and deviate from the script and have a lot of fun just poking around inside the music. On the other hand, I've got a trio going now that I feel like is really stepping into next level music from what I've been able to do solo. There's just something about the dynamic range that we can create with a mandolin-banjo-double bass trio that is really something wholly different. So right now, I've been investing a lot of time in the trio format, but I'm actually really looking forward to playing some solo shows again because of the coziness I've found playing as a solo artist. Both formats are really fun and challenging but in very different ways. 
 
CPP:  What is / are some tips to frying chicken well?  Follow-up:  how did you discover this insight? 
 
JD:  Haha, this is not a question I've ever had in an interview. Love it! Temperature of the chicken is important, particularly with white meat, breast meat that's not quite frozen but not quite thawed is my preference because you can get it crispy without it overcooking, if you watch it closely. My favorite fried chicken uses de-boned thighs cut into strips or nuggets. Buttermilk dip and then into a dry flour mixture with white pepper and salt and baking powder. If you like extra crispy chicken, throw it back in the buttermilk and then back in the flour and let it sit a while so that buttermilk really sticks up a thick layer of flour. Then into the fryer. It's not really difficult. Awesome on a good green salad or with sesame sauce over steamed vegetables and sticky rice, or a bunch of other ways. 
 
CPP:  What do you do for fun? 
 
JD:  Hmm. I've tuned both my main hobbies ostensibly into jobs in recent years (music and cattle) so I guess you could say I work for fun, haha. I like to hike and bike, and I enjoy cooking and listening to records. I like to read, particularly poetry, and also I'm a big fan of fire (we heat with wood in the winter, and many evenings will hang out around a campfire through the evenings in the warmer months). 
 
CPP:  You’re playing Oklahoma City on April 9.  Do you have any memorable Oklahoma or Oklahoma City experiences? 
 
JD:  I used to come down to Quartz Mtn and the Wichita Mountains regularly to rock climb, even though I never got to be a high-level climber. I learned how to lead "trad" routes (I think 5.9 was the hardest I ever did, nothing really impressive, but still intense and fun) and have a bunch of great memories climbing Elk Slabs, Echo Dome, and some others. One time, we went to Quartz in January and tent camped in like single digit weather. We were the only ones there. Went to the restaurant at the Lodge down there and were the only customers all night, had like a two-hour conversation with the waitress, and drank beers. Everyone we met was astounded that we were there camping and climbing, but it was one of the most fun trips I can remember. Would do it again in a heartbeat but now I have a van with a heater and a guilt-complex, haha.
 
CPP:  What’s next for you musically? 
 
JD:  I've got a really fun summer season of shows with John Depew Trio this summer from Michigan on the east end to Oregon on the west. I'm working out the fine points of most of the material for the next album (we just put out Bell of Hope which I'm really proud of and excited about, here: https://johndepew.bandcamp.com/album/bell-of-hope). I'm also experimenting a little bit with a more traditional bluegrass side project, which will be a fun outlet for me; I'm playing occasionally in a contra-dance band, that's fun, and doing some session recording and producing work here and there which is also a really fun area to explore (anybody who's interested in that feel free to reach out to me). 
 
CPP:  Anything else?  Anything we left out that you'd like to add?
 
JD:  I write semi-regularly about all kinds of stuff on SubStack for anyone who didn't think this was long-winded enough, haha! You can find that here: https://substack.com/@johndepewmusic
 
John Depew appears on Wednesday, April 9 at a house concert in Oklahoma City.  Happy hour at 7:00 p.m.; music starts at 8:00 p.m.; BYOB; donation of $15 to the artist is suggested.  For reservations or more information, please contact [email protected] or 205-616-5009. 

In November 2016, I drove to Altus, Oklahoma to interview Eddie Fisher.  Wanting to write a book about Oklahoma baseball history, I wanted to include as many first-hand insights from players as possible.  Mr. Fisher and I sat down at his crimson-colored bar; I turned on my recorder; and we discussed many topics.  He shared that, when he learned that Alex Rodriguez signed a ten-year contract for more than $200 million, he poured himself a drink at the very bar we were sitting at and put pencil to paper to figure out how long it would take A-Rod to earn what he did during his fifteen year Major League career. 

It was a matter of a few games for A-Rod to collect what it took Fisher years to earn.  

We talked a little about Fisher's work with the Players Association and working with Marvin Miller to level the playing field between players and owners when I asked a goofy follow-up question. 

"So, what did you pour yourself to drink?"

"Vodka tonic."  He paused.  "You want one?  I'll mix you one."  

I passed, citing the drive back to Oklahoma City.  But, I appreciate Mr. Fisher spending an afternoon with me, answering my questions and sharing his perspectives and insights about baseball, and his kindness in offering me a drink.  Thank you very much, Mr. Fisher.