Down the Rathole

5 stars based on 37 reviews

Writing and photography copyright D. Brown, except for photos of the first red Corvette in the Morrison Chev Olds story which are copyright Paul, The second set of Corvette photos in this story are copyright Juistino Pace.

Much appreciation to Brent Morrison for his many contributions to the Morrison Chev Olds story including research and the for the vintage dealership photo and the picture of the reproduction Morrison tow truck. The Vancouver location was established early in the century and still going strong into the s. Morrison became Cornell Chevrolet in late Cornell Babie was the owner and also known for building and owning the Holiday Inn hotel on Blanshard Street. Cornell was 74 years old w hen he sold his Cornell dealership to Dave Wheaton on Nov.

Wheaton plimley trading options the dealership Victoria Motor Products. The Plimley trading options auto group needed Victoria Motor Products to improve buying power for inventory. The gas and oil plimley trading options Texaco brand. It was one of the few Texaco stations in Victoria at the time. Davis never had more than about 10 to 15 new cars at any time. Empress took over the location from Davis Motor Company. An advertisement at the back of a school year book for University School in Victoria listed the stock for as follows: Opel, Buick, Firenza, Skylark.

In the franchise mix was Pontiac Buick GMC as attested by this new version of the dealer sticker shown above. In the Harris Autogroup took over the dealership. The picture below shows the dealership in summer, The main location is named Glenoak Ford and is located on Douglas, Victoria. The Harris Auto Group was established in and celebrated a 50th Anniversary in Harris took over the former Ensign Chrysler dealership in Sep, The Ensign location had been temporarily run by another Autogroup following the sale of the Ensign plimley trading options Jack moved through Victoria dealerships: In Jack became sole owner and the dealer was renamed Harris Rambler.

Jack's son Tom worked his way up from lot boy to sales and inat the age of 22 became Sales Manager. At the end ofWoodgrove Chevrolet in Parksville was purchased and thus Harris Autogroup was born.

January 1, marked the first addition to the Harris Auto Group. Mike became Executive Manager of Woodgrove Chevrolet. Harris added a Kia franchise in OK Tire in Parksville was added in This was subsequently sold in Tom Harris also started up a cellular phone sales company alongside his car dealerships.

For that price you get a 3. This Challenger runs 18x 7. It has electric power steering, antilock 4 wheel disc power brakes, traction assist, electronic stability control, hill assist, ready alert braking, and rain brake assist. They have retained some employees right from day one of opening back in Newell Orrin Ruston Morrison was born July 28, in China where his father was a missionary at the time.

Newell started working as a car salesman for Wilson Motors in Plimley trading options. The photograph above is of the original location in He opened his new plimley trading options on May 10, Newell sold out to Cornell Chevrolet in late Below is a photograph of a restored service truck painted according to the original dealership format.

The original building at Douglas and Plimley trading options was torn down and replaced with the new Jim Pattison Toyota building. Newell expanded plimley trading options the aircraft business and plimley trading options as an MLA but withdrew from politics in the mid s.

The dealership incorporation with shared directorship between Plimley trading options and his wife Marjorie was dissolved Feb 7, Newell remained active in other business ventures until his death July 31, at the age of Newell was a member of the Victoria chapter of the Vintage Car Plimley trading options of Canada and owned several vintage cars. The first meeting of the Victoria chapter was actually held at Morrison Chev Olds. The car is in original condition except for addition of side pipes 15 years ago.

The owner prior to Paul car had the car for more than 20 plimley trading options. That long term owner bought the car from an acquaintance who had owned it for a decade or two which brings the owner trail back to the mid s. The incoming inventory log book at Morrison Chev Olds tabulated Corvettes in the same book as full plimley trading options Chevrolets. Paul's Corvette was Morrison stock number which indicated that it was the 52nd Chevy logged in that year and the first Corvette.

All 4 Corvettes that Morrison received that year appear to be convertibles. Paul is hoping that the original owner of the car may recall the car and fill in plimley trading options of the gaps in the history of the car. Please drop an email to This e-mail address is being protected from spambots. You need JavaScript enabled to view it. Paul's early production car packs the L79 plimley trading options, red vinyl trim and rally red paint. The convertible is a rare bird up here in Canada.

Paul's Vette was 1 of only Corvette convertibles shipped to Canada for the model year. Below is a photo of the last of the 4 convertible Corvettes shipped to Morrison for the model year.

This convertible was VIN S and one of the elite musclecars of the period. The production date was May 30, It was shipped from the St. Plimley trading options factory June 1, for delivery to Morrison Chev Olds. It was entered as stock number in a notebook at the dealership used to track incoming inventory.

This Corvette was the last of just four that are recorded as incoming inventory to Morrison for It is also near the end of the notebook since the production run for Chevy's was drawing to a close. The notebook entry for this particular car records the engine as TP, paint decodes as Milano Maroontrim decodes as Saddle. The first owner is recorded as Loiselle Motors which was a gas station in Duncan, BC located approximately at Trunk Road and plimley trading options highway.

Loiselle Motors may have sold some used cars but were not new car dealers. The Corvette was probably intended as plimley trading options personal driver for one of the Loiselle Motors family members.

In the late s or the early s the car wound plimley trading options for sale at the famous high performance dealership Mander Chev Olds in North Vancouver, BC. Ron Hall became the third owner of the Corvette and held onto it over all these years.

Brent Morrison kindly supplied the detailed records from the dealership regarding plimley trading options first owner after seeing this story. Juistino hopes that his luck continues in his quest and that someone associated with Loiselle Motors may be able to fill in some more of the blanks. Another of our readers has a car originally purchased new from Morrison. The Cutlass had been parked in the Jefferies' garage from to and was serving as a play house for 2 young daughters of the family.

The Cutlass was covered in gum and stickers. Dean brought it plimley trading options and got it cleaned up. The photo below was taken soon after Dean first purchased the car. Dean's Cutlass came with the following options: Dean knew he was never going to sell this car. The only alterations made to the car have been the replacement of rotted out rear quarters with factory original replacements.

The car was taken down to bare metal to do body work and restored plimley trading options original specs. Dean loved his Cutlass so much he later bought 2 Cutlass Supreme 2 door hardtops. One has buckets and console, the other has a split bench.

The 2 door cars were purchased from the original owners with full plimley trading options. To this day, Dean's 'first love' 4 door Cutlass Supreme remains a mystery. Dean would like to trace the early years of his Cutlass Supreme 4 door and is hoping one of our readers may remember his car. Anyone who recalls the car can drop a line to This e-mail address is being protected from spambots. Dean's Cutlass is model with VIN Like all Supremes it has the high compression Rocket cubic inch engine with 4 barrel carburetor.

Engine number is Paint is code 51 Trophy Blue with a White vinyl roof. The Supreme has a t wo tone blue cloth interior. GM Vintage Vehicles tells us that it was built in the Oshawa, Ontario final assembly plant on September 4, and shipped out to Victoria September 6, The Morrison Chev Olds dealership log book records the car as stock number which probably indicates that this was the first Cutlass logged into the dealership inventory.

This tallies with the very low VIN number.

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The Vancouver-based group has seriously eclectic, transcultural tastes. They are all masters of their respective plucked Chinese string instruments. Mei Han reflects on this process of cultural awareness: Gathering , their second album, exhibits influences of diverse musics discernable in the inclusion of instruments such as the tabla, djembe, dumbek and gong.

Multiethnic melodic layers are also in ample evidence. The latter range from the brittle high-trilled notes of the pipa to bass daruan tones. They each contributed scores, exploring this transcultural terrain, which were then skillfully articulated and extended by the musicians.

I was mightily impressed not only by the individual virtuosity of the musicians, but also by their tight ensemble and culturally inclusive repertoire. Until they grace a hall near you, this enjoyable record is the closest to a transnational musical Silk Road journey you can experience.

Andrew Timar Whole Note Magazine. Red Chamber is an all-female group specialized in Chinese musical instruments. The four musicians in Red Chamber are highly eclectic, open to wide-range of musical influences. On Gathering they deliver an outstanding set of original pieces and traditional compositions presented with exciting new arrangements. The musical influences on Gathering cross various boundaries. The opening piece sounds like a sort of Greek klezmer mix, while other times the ensemble digs deep into their Chinese roots as well as African and Celtic music.

Guests include Gord Grdina on oud; Liam MacDonald on jembe, riq, dumbek, daf, bass drum, rattles, qaraqib also known as karkabas ; Sunny Matharu on tabla; Randy Raine-Reusch on gongs, bells, shakers, saz; Michael Viens on 6-string and string guitars, bodhran. Red Chamber is an outstanding Chinese string music ensemble featuring four extremely talented musicians that certainly deserve more international attention.

Romero World Music Central. Both are rooted in tradition: Both are made up of instrumentalists who, individually, are of international repute. Both blend serious scholarship with the desire to please. And yet the Chieftains can get Mick Jagger to guest on their albums while Red Chamber scuffles on the college circuit.

Structurally and tonally, it bears some similarity to baroque music, Celtic music, and bluegrass: Arabic strings, Jewish melodies, and African rhythms all play a part, but what this lovely recording most resembles is an extended Silk Road journey anyone can enjoy at home. Their leader and zheng player, Mei Han, was a soloist in Beijing before emigrating and the other members are all graduates of Chinese conservatories. Such musicians are driving a new wave of Chinese music abroad, particularly as many of them appear keen to adapt their instruments to other influences and experiment.

One of the common threads of the several albums reviewed here of music with Chinese origins is their incorporation, to varying degrees and success, of external elements. And some of these do work. The zheng solo on Peng Baban is perhaps the best of the Chinese material. Zheng player Mei Han belongs to a rapidly expanding group of musicians raised in the tradition of Chinese classical music who have elected to explore the possibilities of free improvised music, among them pipa player Min Xiao-Fen a New York resident who has worked with John Zorn and Derek Bailey , and zheng player Xu Fengxia a Berlin resident who has recorded free improvisations with the bassists Joe Fonda and Peter Kowald.

The zheng is a long zither of twenty-one to twenty-five strings that resembles the Japanese koto. What makes this CD so distinctive and beautiful is the subtle gradations of difference and resemblance between an instrument essentially designed for playing non-harmonic music and one designed to facilitate playing chords.

Those gradations of pitch and overtone pattern, of exchange and concordance, create the poetry here - a symmetry that the two musicians even find in the echo of their nanes. Zheng master Mei Han gives none. The immediate results are a flash breeze of recognition between the distant string cousins, followed by their settlings into their more distinct voices jazz tinged piano, traditional zheng.

Mei Han has a comparable pedigree as a performer and a scholar of Chinese music. Thirteen short tracks are conceived say the players as music haikus. Their sequence, combined with their titles, cue both structural and poetic listening, a welcome compliment to improvised music. The title track is plumb center, in the divine number seven spot; before it are references to earth Terra Mova , to time and dance.

The titles after Ume all suggest departure from earthly things and airs, and float glimpses of their purplest blues from space, or mind, or both. The zheng is a long zither, dating from the first century B. Traditionally pentatonic, its modern incarnations have strings, thus a variety of possible scales tunings.

Still, even pitch-for-pitch dialogue with a modern chromatic piano evokes a meeting of the new and the old as much as one of contemporary kin sharing common ancestry.

Plimley flexes his bluesy-jazzy inflections, and Han stretches strings to bend her note, and we recall that the former gestures evoked in America to simulate the souls of the latter and its more archaic still singing voices. All that said, the real juice flows from the common ground both created and claimed here. The give-and-take is as masterful as the execution of ideas. While the improvisational approach and vocabulary is current and global, the influence of Asia on the piano, not least jazz piano, since Debussy and Ravel is recalled in every one of these tracks, as well as in the impressionistic lilt of the whole CD.

This combination of fleeting moment and network structure, of music and poetics, makes the listening a warm soak in a hot tub on a gentle rainy night in the great Northwest. The improvisations are so well crafted and balanced that it is as if each musician is instantaneously composing a part that fits perfectly with the other. This is true from the first track "Terra Mova" to the last track "Interval of the Avatar. The improvising in this track shifts back and forth between these styles.

At certain moments in the CD, the similarities in sound between the piano and the zheng are such that it is difficult to tell them apart.

These moments are countered by the bending of the zheng strings, which is done in such a way that the sound is often more like a blues guitar than a traditional Chinese instrument. Plimley maintains a reserved sound while Han dives into an uninhibited barrage of bending and vigorous strumming in "Echos of Bela", making you wish that the great banjo virtuoso would challenge his instrument in such a physical way. In "Blue Now", the melodic content is anything but blue.

Both players are bursting with energy. The slower, contemplative "Matter into Waves" explores a more western classical sound, though there are occasionally jazz elements such as descending chords in the piano echoed by the zheng.

The final track "Interval of the Avatar," continues in the classical vein with elements of jazz noticeable in the arpeggios played by either instrument. While this recording demonstrates a more pitch-oriented approach to improvising, the ideas are so unique and inventive that an exploration of timbre is not missed, and in this case could even be considered an attribute. All in all, UME is a beautiful collection of improvisations made by two excellent musicians --well worth having in your collection.

More often than not, there are collisions, near misses and misfires that are interesting as such, but should in no way be heard as a synthesis, the articulation of a median between the two traditions. If their traditions are steeped in improvisation to any discernable degree, the musicians have to negotiate their respective practices to arrive at this halfway point.

Musicians from traditions that do not include improvisation must dive in headfirst into the deep of spontaneous music making, sometimes proving themselves to be innately gifted improvisers. At their best, these cross-cultural exchanges reveal idiom not to be a limitation or a barrier, but a conduit to collaborative music.

Their fluid rapport keeps all options open, leaving the listener with the idea that the music can go anywhere at any moment.

Here come two surprises, the first really ugly, this one being that the Italian Postal dis Service had decided to make me fork out five euros, due to? For a review copy, which I had never asked for? So I'm lucky that not too many labels send me promos! The nice part of the story being that, upon opening the package, I immediately saw that one of the musicians involved was pianist Paul Plimley.

But who was the lady at his side, and what was that strange instrument she was shown playing? I think Plimley is a well-known pianist, thanks also to his collaborations such as the ones with bass players Barry Guy and Lisle Ellis, and to his work with the NOW Orchestra, the line-up of which he is a co-founder. This is the first time that I have had the pleasure to listen to Mei Han the booklet immediately told me what I needed to know about her CV and to the ancient and noble instrument called Zheng that she plays: Hans Reichel , or a harpsichord, or the right hand on a piano playing "stride".

Thirteen tracks in fifty minutes tell of a concentrated, careful breathing. The cover writes about "improvisations", and there is no reason to doubt this, even if sometimes the opening theme in Terra Mova, which would be appropriate accompanying the opening credits of a film noir; the incredibly precise closing moments of Emptied Diligence; some overlapping melodic phrases on Matter Into Waves it all sounds almost too incredible.

This is the type of improvisation that has deliberately chosen to work within a defined set of parameters, which in my opinion makes this album a lot more "entertaining" and destined to be played fairly often than it's usually the case with a lot of CDs of improvised music where quite often one thinks something like "I should have been there".

Ears that are wide open, interchangeable roles, the players showing a sympathetic approach that appears to testify of a long musical relationship. Quite often the tracks inhabit slow, meditative atmospheres, where sometimes the notes from the upper part of the keyboard reminded me of the meditative side of Muhal Richard Abrams, but there are also very fast moments.

Ume is an album, which possesses both depth and relatively speaking user-friendliness. It could work quite well as an "intelligent background", but it would be a pity to leave it in the background, right? She studied the instrument in her native China, and had a career there as a practising musician before moving to Canada, where she collaborates, with composer and Asian music specialist Randy Raine-Reusch.

It is on his label that her CD Outside the Wall has now been released. It is a showcase of her skills as a musician of both traditional and contemporary repertoire. Two of the compositions on the album can be traced back to ancient times, while others were written recently. Except for the last two pieces, in which the instrument is paired with a string quartet and electroacoustic sounds on tape respectively, the music on this album is for zheng solo. The selection and order of the pieces has been well thought out.

In the first half of the album two old Chinese compositions are separated by Minoru Miki's The Greening, written for twenty-string koto in , and are followed by Raine-Reusch's Outside the Wall.

Even though these pieces are stylistically quite different, there is still a strong sense of continuity from one to the next. The main difference between these four pieces seems to be in the way they approach tonality, the harmonic setting out of which the melodies grow.

Harmony, an implicit chordal structure, is far more apparent in the contemporary pieces than in the older ones. This gives the former a gravitational pull, a sense of anticipated direction, that is considerably weaker in the latter.

However rigid these may be in their formal structure, they sound as if they were painted or drawn on a sparser canvas. What they all have in common is a deep sensitivity for the sounds that capable hands can entice from a zheng.

That sound is by turns soothing, contemplative, vigorous, plaintive, and blatantly sweet and romantic. The glissandi, overtones, slight differences in timbre and the slow decay have been captured in full detail.

These aspects are also present in the final pieces of the CD, both of them a departure from what came before. The greatest surprise, in a way, is the first of these, for zheng and string quartet. I would think that it is much more difficult to bring these together in a meaningful way, than when building a scenery using electronics, in which timbres can easily be suited to that of the Chinese instrument, as in Bamboo, Silk and Stone.

The combination of the plucked and the bowed strings is often quite effective, especially when the quartet takes a step back to follow in glissandi and bent tones where the zheng leads it.