The House Blend

When you consider coffeehouse musicians, that soul-bearing breed of modern-day troubadours, your head just might fill with strains of “Smelly Cat.”

To sit through a performance of Lisa Kudrow’s art-damaged Phoebe, a stereotype based on reality if there ever was one--you’d need a cup of joe just to keep from nodding off. But this being Los Angeles, a city absolutely not created equal, the level of talent and diversity within the java joints is nothing to snore at. In fact, this quietly burgeoning scene is gaining so much steam, the latte business is looking mighty smart these days.

“Coffeehouses give you a chance to hear yourself,” said Wendie Colter, a singer-songwriter who performs regularly in L.A. coffeehouses. “I’ll take the clatter of an espresso machine over people yakking in the back of a rock club any day.”

At the heart of this sturm is Highland Grounds, a Hollywood coffeehouse that showcases the best of L.A.’s emerging talent. Unlike such singer-songwriter havens as Largo, a Fairfax District cabaret that features such professional talents as Jon Brion and Aimee Mann, Highland Grounds is an equal-opportunity employer.

Whether it’s a kid’s first whack at an open mike or a “name” artist getting all stripped down, Highland Grounds is all ears.

Other popular performance venues on the Southland coffee circuit are Lulu’s Beehive, a hub of art-house activity in Studio City with a strong musical lineup; the equally steamy Hot House Cafe, a North Hollywood hot spot that showcases Chuck E. Weiss and his band each Friday; Sacred Grounds, a San Pedro-based supporter of the singer-songwriter scene; and Exile Books & Music, a new Sherman Oaks alternative art center, which opened its doors three weeks ago with a night of performances highlighted by punk-poet Exene Cervenkova and Tracy Thielen of Tracy & the Hindenburg Ground Crew.

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Few would argue, however, that in L.A., ground zero starts at Highland Grounds.

“Everything begins with our open mike,” said Richard Brenner, a Chicago native who opened Highland Grounds with his wife, Leslie, nine years ago. Taking place every Wednesday, “Open Mind” night, as it’s called, begins at 7. It’s where Brenner culls performers for regular gigs. “I rarely listen to tapes. I want to hear what they got to give live. If they have promise, we’ll give them a monthly gig.”

On a recent Saturday, a large word-of-mouth crowd had gathered at the spacious cafe to hear Big Man, a red-faced bluesy performer just a hair shorter than the abominable snowman and possibly a distant relative. You could see the attraction: no fussy guest list, a $2 cover (the same price the club’s been charging since its inception) and a night of interesting music.

“I’ve done the whole rock club scene,” said Sean Flannery, a 36-year-old Burbank resident who frequents coffeehouses. “As I’ve gotten older, I like going to coffeehouses because it’s not a one-night-stand vibe, you can actually talk to people, the music’s more intimate, and it’s just cool.”

In addition, ever since pop’s diamond diva was discovered in a San Diego java house, the ante’s been upped on coffee-slinging venues.

“For me in particular, lyrics are important,” says Jenny Price, vice president of artists and repertoire for Mercury Records, who discovered Jewel Kilcher while working for Atlantic Records. “When music is acoustic or mellow, the focus becomes the lyrics--what the artist is saying, rather than what they’re playing. It’s perhaps more clear in [a coffeehouse] forum, whether the artist is a good songwriter and has an interesting point of view.”

Maybe not everyone is going to yodel into a multimillion-dollar career as Jewel has done, but Highland Grounds gave Lisa Loeb her first gig and continues to support female artists in a way that’s uncommon in the rock ‘n’ roll world.

“Currently, we’re seeing the strongest female scene yet,” said Brenner, who, with partner Bill Carlton, launched a record label six months ago called Highland Sounds. In March, they plan to release a compilation of 12 female performers titled “Women and Their Power Tools,” named after a popular Highland Grounds weekly showcase.

Probably the brightest spot on the coffeehouse map is hosted by Wendie Colter, whose Highland Grounds promotion “Third Thursday” takes place at the cafe the third Thursday of every month and fills the venue to capacity. Averaging six groups a night, “Third Thursday” offers a chance for young and established pop bands to play acoustic.

“The night is dedicated to classic songwriting,” said Colter, who often performs with members of her pop group, Box the Walls. “People get a chance to really show off their material.” Since its inception in June, such established artists as Kim Fox (who has a label deal with DreamWorks), Susan James and Cindy Lee Berryhill have showcased their abilities. Newcomer Jen McClung, an 18-year-old songstress loaded with talent, has also had a chance to be heard. In addition, such male artists as Dramarama’s John Easdale, the Wondermints, Baby Lemonade and Peter Plath have had powerful Thursday night shows.

“Everywhere else you play, there’s always this pressure to bring people in,” said Plath, a potent solo artist who also plays guitar in Gus, which has a debut album coming out this month on Almo Sounds (the label home of Ozomatli). “You get tired of calling your friends and family and begging them to come see you. Coffeehouses have a built-in scene.”

It’s a scene that continues to shift as pop music expands. Recently, San Pedro’s Sacred Grounds added a new monthly promotion called “Sound,” which mixes visual images with layers of musical sounds. One featured artist, Solid Eye, used toys, saws, turntables and synthesizers to create a unique wall of sound.

“Sound” contains an added bonus for the performers too.

“For these Sunday shows, we decided to turn off the espresso machines for half-hour intervals,” said Sacred Grounds booker Liz McConnachie.

In the whirring world of most coffeehouses, however, silence isn’t golden. It’s the hot brown stuff that keeps them in business, and to Thielen, that’s just fine.

“As a performer, you’ve got two choices,” said Thielen, whose irony- and humor-filled songs make him one of the most popular performers on the underground circuit. “You can either play to a room full of drunks or you can play over a cappuccino machine. At least you have options.”