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These elements seem fused together as we listen to a woman breathe in and breathe out of a blues harp, its reedy voice alternately sobbing, wailing and crying out in ecstasy.
Audience members taking first notice of Trinaa€™s big voice will be struck by her prodigious lung capacity and her talent for blowing blues harp better than any guy theya€™ve ever heard. Continuing an august tradition, Trina came east from the Minnesota north, echoing Bob Dylan. In junior high, she was part of a select group of students chosen to participate in an improvisational theater group, started by a speech teacher, Ert Jones-Hermerding. A series of formative experiences occurred when Trinaa€™s Improv group teacher encouraged her to audition for the Minnesota State Fair. After high school, she attended the prestigious Berklee School in Boston and received a degree in Professional Music. Around 1997, events swirled around her and the insecure and changing nature of the music business turned life into a winding hairpin-turn-laden path. Through her association with the managers of Sine, Trina became friends with Jody Klein, the son of Allen Klein (ABKCO, the Rolling Stones, the Beatles).
Then, Von Freeman, who did marketing and promotions for a top 40 station in Cinncinnati, Ohio, saw her play at Sidewalk and was impressed. In 2008 Trina collaborated on one track on Vicki Gelfana€™s album Uncovered, a€?Long Train Running,a€? that old Doobie Brothers chestnut.
Brixton Boogie, an album made in Germany, released in 2009, came about in a typical a€?Trina Hamlina€? manner. Ever the independent, Trina prides herself on not having a a€?Berklee stampa€? on her music.
To try to define Trinaa€™s style, just for fun, a friend who was in advertising did a marketing study on Trina, using fans whoa€™d known her since she was a child and those whoa€™d come to know her as an adult artist.
In between harp passages, her massive vocal instrument surges, the melody and beat strong and steady, accompanied only by her hand beating against a tambourine. While shea€™s too young to be the prototype for the a€?Girl from the North Country,a€? she could serve as its archetype. On her live album, One NightStand, Seattle, WA, for the first time, I heard her play some terrific boogie-woogie licks, some soaring ballad accompaniment, and as a jokey aside, a few bars of classical piano passage. So, shortly after winning the talent show, Trina started taking piano lessons, from a woman from Sri Lanka, who taught out of her house and used the Montessori method. A contest was held each year and the winner would play the following year with a 36-piece orchestra. The extent of her professional musicianship can get lost on the casual listener who might get immersed in her ability to belt out acoustic versions of southern rock and blues.
She sang classical as well as pop and learned sound engineering, which she enjoyed, and even did some classical conducting.
She moved to New York and sang with bands, providing mainly harmonica, accordion and tambourine accompaniment, still noodling around at home. Island Records brought her aboard and she made demos that found their way to producers of the TV show a€?Dawsona€™s Creeka€?.
She began working with ABKCO as a a€?development deal,a€? making demos and recording with people like Jimi Zhivago (Ollabelle) and Fernando Saunders (Jeff Beck, Lou Reed). He gave her his business card and later had Trina flown out to Ohio and featured her on a€?One Earth Partya€? radio-sponsored live shows where she performed with pop icons like Paula Cole, Duncan Sheik and the Goo Goo Dolls.
Shea€™d met drummer Bill Dobrow and bassist Jeff Hill at the club the Living Room (both of them later played with Rufus Wainwright).
In our August feature article on Susan Werner, we mentioned how much Trinaa€™s back-up harp work can raise the level of excitement in a song. That said, however, she admits, a€?I probably dona€™t realize how much I draw from my experience at college when Ia€™m in a musical situation. The overall opinion went beyond folk, blues, pop or acoustic rock (she certainly encompasses all of those).


The overall opinion went beyond folk, blues, pop or acoustic rock (she certainlyA  encompasses all of those). 20121 Kings 8:28 -- But please listen to my prayer and my request, because I am your servant. In the clatter of the train wheels, the chanting in the churches and the classrooms, the cadence of our footfalls as we run, the bellows of our breathing, the hammering of our heartbeats, we live our song.
Her words describe personal passion and doubt, but the undercurrent of musical expression seems primitive, reaching back to a time when drumbeats carried our messages on the wind.
Tallish, maybe 5 feet-9 or 10, shea€™s beautiful and has that magnificent instrument for a voice. Money was scarce and the family had no piano, but she saved her money, drew a piano keyboard to practice with, and took lessons anyway.
Trina would listen to what her brother was trying to play from a book, and walk over and play it by ear. The first thing they did was to sit on the floor and play games with flash cards and sticks to learn rhythm. She was the lead singer for the band Blue Leaves until around 1994, when the band broke up and she started to go solo.
She got some additional people on guitars and recorded the album at the home of producer Marilyn Da€™Amato who operated an a€?in-housea€? recording studio.
Although she broke a guitar string during her first song, she played harp until her friends backstage replaced the string and got the guitar back to her.
She describes the song, like many others, as one that came upon her by itself one morning and was finished by evening.
Her house concert in Seattle was changed to a beautiful old theater with a recording studio at the back of the hall. She asked when it was happening, and he said, a€?August.a€? This was not far off, and she needed to check her schedule to see if she could do it. The consensus centered on the phenomenon of Trinaa€™s musical ability to funnel emotions for her listeners. The relationship with Island ended.A  Trina had been performing as a solo act since the fall of 1994, and wanted to tour and develop.
It would make him furious, when Trina would effortlessly mimic what he was struggling to learn.
While she never felt that she wanted to be in theater, she a€?enjoyed the whole process of it.a€? a€?I guess I was on the path at an early age, of being some kind of an entertainer,a€? she states.
The first time, still in junior high, she played piano and sang one of her own songs a€¦and wasna€™t chosen. The words and music came together, and she played chords on that song that she didna€™t know she had in her.
Everyone in her audience makes contact with the particular emotions they need to feel when they listen to her. While she never felt that she wanted to be in theater, she a€?enjoyed the whole process of it.a€?A  a€?I guess I was on the path at an early age, of being some kind of an entertainer,a€? she states. Shea€™d bounced between three clubs in the East Village: Sine, The Sidewalk Cafe (where we first saw her) and CBGBa€™s Gallery (next to the original CBGBa€™s and catering to acoustic acts).
She finally bought a piano and tried taking lessons as an adult, but as it turned out, her love of music was not accompanied with a matching talent.
As it became apparent that her brother wasna€™t cut out for music, it was finally Trinaa€™s turn. A couple of years later, at the age of 16, she played and sang a combination of two covers, one fast and one slow.
There was one available in the house that she shared, but it took 2 years for her to pick it up and learn it. Trina describes her management experiences as a€?very free form,a€? people guiding her, but in an undirected sort of way.


It was a blast.a€? Because the album was not completed at the time her songs first appeared on Dawsona€™s Creek, she was unable to garner much publicity from the TV exposure. If you remember that song all too well and think you were burned out on its excessive presence on FM airwaves in the a€?70s, think again. And ita€™s this underlying understanding of whata€™s happening that I dona€™t always give myself credit for. Most were pass-the-bucket a€?tip houses,a€?A  where performers were not paid, and made their money from the collection at the end of each performance. She began with a fast song, a€?Ia€™ve Got the Music in Me,a€? segued into the slow one (a Kim Carnes song) and then finished up with the fast one, and she won. Additionally, she did a few gigs there, and was noticed by a man named Krisz Kreuzer who asked her to write words to some songs he was recording for an urban blues album. Part of that is because I always felt a little bit off-kilter as a kid because I could hear, but I didna€™t always know what I heard. She dedicated it to her Uncle Murray, who used to coax her to sing that song impromptu in some of the tonier restaurants in New York City. This is where she picked up the harmonica, purely by accident.A  Two college friends were in a blues band, a€?The One Eyed Jacks,a€? that shea€™d go to see after she got out of school.
She was asked to pick some songs, which were then arranged for her and she sang without playing piano (a€?weird for me,a€? she said). Using overdubs, Trina provided back-up harp throughout the entire song, as well as the harp solos that are in the forefront along with her lead vocal. Working with Susan [Werner] has been amazing because she talks in those terms a lot and I know that I understand it.a€? All that Trina has experienced prepared her well for her supporting role with Susan.
She was asked to pick some songs, which were then arranged for her and she sang without playing piano (a€?weird for me,a€? she said).A  She performed with the orchestra for 11 straight days in front of an audience of a€?about five thousand peoplea€? each time. She thinks that perhaps watching the leader play harp gave her some insight into playing it. Dionne Warwick was supposed to play at the final a€?Grandstanda€? show, but couldna€™t make it, so Trina filled in, along with Michael Johnson, a pop singer, the showa€™s opening act.
When another singer songwriter friend, for whom Trina sang backup vocals, asked Trina to play harp on a song, she demurred at first, but gave in. Although the Montessori method eventually leads its students to sight reading, Trina refused.
A couple of months later, the consultant got back and said that Susan needed a band during her Gospel Truth tour. The stage was bigger than anything shea€™d ever seen, and when the lights were turned on, she couldna€™t see the audience - just a a€?black wall.a€? These days, the audiences are a lot smaller in the clubs, and when she plays festivals, large audiences dona€™t faze her.
Her friend taught her how to a€?benda€? a note, it gave it more of a a€?voice.a€?A  Trina did it and liked it, then started a€?fooling arounda€? with harmonica. Finally, her teacher forced her to leave, saying she had to study with someone who would force her to read music. She listened to albums by harp players, but that didna€™t help, so she just kept experimenting on her own. She was fascinated by the rhythms she was getting - different than the ones she was singing. No matter what I throw at you, you land on your feet.a€? Given that Susan constantly needs to change things up to keep it interesting for herself, Trina is the perfect band mate for her.



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