Article written by Jon Rothe for swer.net — January 2002

"I bought my first guitar from Dot and Charles in 1966, in their store across from the current location. They have been my musical supporters ever since. I have bought, borrowed and used many of their instruments over the years, including several that I used on the Welcome to Life CD. I have known Ben since he was a little boy; I used to be good friends with his father, Leonard. Ben was also my luthier and repairman for many years, keeping my instruments in good working order. Although I have seen little of Ben since first left to tour years ago, I consider his friendship, and the friendship of his grandparents and parents, to be especially important to my development as a musician and composer.

The Folk Music Center has been a local Mecca for musicians, artists and poets of the Claremont area since I first moved there in 1965. Charles Chase had taught in public education for years, but with wife Dot’s musical renown growing, they decided to open FMC in the downtown village. Since 1966, I can remember the store/museum/school being full of college students, older folks, toddlers and musicians almost every time I visited. The guitars, mandolins, banjoes and percussion instruments were all available for playing, as long as you were careful and not too loud. I met several musicians for the first time at Folk Music Center that I later would play with on and off over the next 35 years.

The Folk Music Center has been that kind of place; a safe haven from parental and societal pressures, with Charles and Dorothy acting as surrogate parents and supportive role models.

During my high school days, the era of “sit-ins” and ”love-ins” was in full bloom in the collegiate town of Claremont. Music and protest were everywhere, and Folk Music Center was often a focal point for expressing feelings of frustration with the Vietnam War and the draft. Students, musicians and artists flocked to impromptu gatherings around the village. Racism was denounced, and civil rights were trumpeted at many meetings and congregations that took place in or near Folk Music Center. I will always remember the assassination of civil rights leader Medgar Evers, because soon after that tragedy, his wife and children were relocated to Claremont. It was at Claremont High School that Darrell and Reena, Medgar Evers’ children, became my friends.

When Dorothy and Charles’ daughter, Ellen, married Leonard Harper, many of us felt that society was changing for the better, and that discrimination and intolerance would soon be on the run. Friends delighted in seeing Leonard’s and Ellen’s little boys come to the store to “help” the Chases’ run the shop.

After the Harper’s marriage dissolved, I kept in touch with Leonard, and he was most supportive of my music and my first band, Waves. Leonard worked at several jobs within the Claremont Colleges system, and was well-loved by many of us in the community. For several years Leonard would be the emcee for my band’s musical performances. He would always introduce the band with an anecdote, phrase or spiritual preamble that would always put the right spin on what we hoped to share with the audience, at the same time energizing the band into giving the best performance possible.

I would often visit Leonard when he had the boys, and can remember Ben, Peter and Joel playing while their dad inspired my musician friends and me with new music. Leonard was ahead of his time in introducing many of us to reggae music and Bob Marley, long before the Wailers had become well known.

One friend from that time is now one of my closest : Michael Kotzen. Mike was a young bass player when we first met, and Leonard encouraged me to share what I knew about playing music with Michael and his musician friends. Everyone that knew Leonard seemed to know each other, and he was always encouraging all of us to be as creative and honest with our talent as we could be. Just as Ellen still is, Leonard was a spiritual, musical, intelligent and immensely talented individual, and he and Ellen have passed on those wonderful qualities to each of their three creative children. Dorothy and Charles must also share in the boys’ artistic foundation, as they and the Folk Music Center were always at the center of the boys’ world.

Folk Music Center has always held a certain global cachet for those of us who grew up Claremont, and it was Charles and Dorothy, and the Folk Music Center, that opened my eyes to many new musical, political, and environmental worlds.

In the late 1980’s, Ben was ensconced at Folk Music Center as their luthier and restorer. He was always there with a smile and a story whenever I stopped by to have a guitar repaired or evaluated. He often shared some of his early compositions with me, and I have admired his slide technique since those days. I have not seen much of Ben since he went off to become the celebrity that he is today! However, during a brief reunion in Folk Music Center at Christmastime 2000, we ran in to each other, and although almost eight years had passed since we had last spoken, it was as if it had only been a day. This is testament to Ben’s character; he is always down-to-earth, honest, and extremely spiritual. Much like his father, you leave a conversation with Ben a little more enlightened and encouraged."

"Michael Kotzen is a product of Folk Music Center, as well. Like me, he has spent a great deal of time involved with the Chases, the Harpers, and the artistic and creative world that Folk Music Center embraces.
Mike’s love of music, and his artistic hands, ears and eyes, have benefited many percussionists today through his Kotz Tonecajon. Mike has been designing, modifying and constructing percussion instruments for several years, and got his impetus through Charles and Ben, both of who encouraged him to create his instruments. Mike’s renown has taken him into the studios and sessions of LA’s best musicians, and his instruments are gaining deserved recognition and respect.
On-and-off for the past several years, Mike has played bass and percussion with my band, Obscure Cover. My wife and I are frequent guests in his home, and we eagerly look forward to inspecting his latest instruments when we visit. Both Mike and I like to appoint our homes in a similar style : our rooms are decorated like Folk Music Center, with instruments, artwork and spiritual icons strewn about the house.
We both have been influenced by the wonder and creativity that the Chases (Charles, Dorothy, Ellen) and the Harpers (Ben, Peter, Joel) have shared with us over the years through their store and their friendship. The Folk Music Center is very much a family establishment: the Chase and Harper families, the families of artists, musicians and poets, and, ultimately, the family of the globe."

more info on | Michael Kotzen

Bio — from www.obscurecover.com

"Obscure Cover, featuring husband and wife Jon and Cindie Rothe, is a unique and original musical group currently performing throughout Southern California. Mixing obscure 'cover' tunes with their own engaging original songs, Jon and Cindie bring an intimate atmosphere to each of their appearances. Cindie, whose background lies in blues and R & B material, is equally adept at singing in bluegrass, folk, and country styles. Jon, a multi-instrumentalist, has a strong rock background, but flavors the band's performances with jazz and world music influences. Obscure Cover is presently performing in intimate clubs and coffee houses throughout the L.A. area, as well as many corporate events and private parties.

Jon's award-winning compositions have been performed by countless musicians over the past decade, including the groups Junction 605, Waves, The Appollonicon, Rothe & Friends and the Cal State L.A. Chamber Orchestra. With several soundtracks to his credit, Jon's music has also been featured on the television program, 'On Campus.' Music Connection magazine, in its review of Rothe's music, has said, "Jon Rothe is extremely talented, and easily adapts himself from keyboards to guitar, even in mid-number." His original songs contain a wry sense of humor and clever word-play, and incorporate entertaining commentaries about society, relationships, and change.

Obscure Cover has an extensive pedigree. It is the latest in a long line of musical ensembles assembled by Jon. Some of the groups and their members are listed here.

Junction 605 was the first band that featured Rothe's early compositions. Jon joined with Jesse Moreno, Tony Sandell, George Harrell, Steve Cowan, and Greg Sandell in a "horn band" that featured many other musicians in its brief history including Ron Nava, Ray Castro and, Allen Chavis. Besides Jon's and Jesse's songs, Junction 605 performed the music of Santana, Chicago and Tower of Power at several local (Azusa and environs) dances and events.

Waves was the next band formed by Rothe. At first it was a very large ensemble: a string quartet featuring Andrew Levin, Kim Sigona, Jenny Black, and Lorene Ivory; a flute quartet featuring Barbara Belmont, Linda Jones, Claire Ann Sabino and Laurie Smith; bassists Greg Sandell and Marc Silva, Dion Sorrell on electric cello, Tony Sandell and Martin Maudal on drums, and vocalists Liz Hangan and Katherine Robinson. That group performed at various community events in the Claremont area. Consisting of Greg Sandell (bass), Marc Hellman (drums), Dave Hindson (saxophones), and Dion Sorrell (cello), the revamped Waves played many gigs in and around the La Verne area (and the Los Angeles County Fair,) performing original instrumental music in the Jazz Fusion genre.

The Appollonicon was the next group formed by Rothe. It consisted of Tony Sandell on drums, Steve Biondo on marimba, steel pan, and percussion, Harol Van Lommel, percussion, Porte' Walls and Victor Patron on bass, Will Donato (now with Art of Sax) and Steve Vaughn on saxophones, Chris Stevens on vibraphone and percussion, Steve Torres on guitar, and Booker Hall, vocalist. The Appollonicon appeared weekly at the Lighthouse in Hermosa Beach, Hop Singhs in Marina del Rey, The Coffee Emporium, and most frequently at the Comeback Inn in Venice. Jon's music with the Appollonicon was used in several videos and on NBC's "On Campus," which did a feature on Jon and his music. During this period Rothe wrote an orchestral piece, Back Azimuth, for the Cal State LA Chamber Orchestra, then under the direction of Andrew Levin. He also composed a four movement symphonic piece for his senior project at the University of La Verne, which featured the Appollonicon performing with full orchestra.

Rothe and Friends as been a perennially performing band that features the music of composers other than Rothe. This band, often made up of old friends and new acquaintences, features a horn section, vocalists, and a strong rhythm section. This band performs for dances and community events. A partial list of past members include: Tony Sandell, Chris Stevens, Reed Gratz, Mike Crandall, Mark Norris, Dave Beyer, Greg Samuels, Jesse Moreno, Robbie Davis, Vernon Lewis, Eddie Reddick, Mike Rodriguez, Andrew Ford, K.O. Skinsness, Chet Smith, Jeff Jorgensen, Larry Paschall, Bruce Salvatti, George Harrell, Harold Van Lommel, Ron Gonzalez, Bobby Bancalari, Bobby Dominguez, and of course, Cindie Rothe!

Jon and Cindie formed Obscure Cover in 1997. They have stayed very busy performing at Borders books in Montclair and La Puente, coffeeshops and clubs, and numerous private parties and corporate events. The musicians that have worked with Obscure Cover include Steve Biondo, Tony Sandell, Mark Noreyko, Mark Norris, Mike Kotzen, Chris Stevens, Bruce Salvatti and Caleb & Aaron Rothe.

The group's first CD release is scheduled for February 2000, and is titled Welcome To Life. The recording will consist of 11 original songs written by Jon Rothe, and features some well-known L.A. area musicians, including: percussionist and steel pan player Steve Biondo (Monkey Meet), bassists Bruce Salvatti (Debra Davis Band), Mark Noreyko (Reno Jones), and Andrew Ford (Al Jarreau); keyboardist Reed Gratz (The Reed Gratz Band), saxophonist Mark Norris (Reno Jones), drummers Tony Sandell, Chris Stevens, Larry Paschall (Reno Jones), accordion player Alexander Lavruk and Bobby Dominguez; flautist Hai Muradian (The Ravelers), and pedal steel guitarist Rickard Schmidt (Heather Myles), just to name a few."