club D

Musicians Play Soulful Tribute to Honor Martin Luther King, Jr.

2011-08-27T19:59:00.009-04:00

The Message in the Music Concert

Washington Convention Center, DC, August 25

In Washington, the week of August 22^ndwas filled with tribute events to Dr. Martin Luther King, Jr. to celebrate the unveiling of the MLK Memorial, a beautiful and bold set of stone and carvings located at the Tidal Basin, next to the FDR Memorial.

On August 25, a concert called The Message in the Music featured music from the Civil Rights era. Each act performed two songs before a cheering, enthusiastic crowd, some of whom were dancing in the aisles. Some notable guests were in that crowd, in fact, including actor Cuba Gooding, Jr., athlete Jackie Joyner-Kersey, and Rev. Jesse Jackson.

Roy Chew and his band served as the backing band for the evening. The evening’s acts included Naturally 7, a talented a capella group from New York; gospel singer Anthony Hamilton with his backup Hamiltones; and two soul/doo-wop/R&B acts: the Impressions from Chicago and Eddie Levert of the Ojays.

But two ladies stole our hearts that evening. The lovely India Arie appeared with Israeli pianist Idan Raichel. They performed two songs from their forthcoming album, Open Door, the first of which she sang in Hebrew. The second song was a fitting one for the evening, with a message of peace and unity.

For the final act, Patti LaBelle entertained us with her powerful vocals and sassy personality. She concluded with “Over the Rainbow.”

It was a night of powerful music befitting a King.

A Steamy and Slow Night at Wolf Trap

2011-07-20T10:49:00.003-04:00

Lucinda Williams w/ Amos Lee,
Wolf Trap, Vienna, Virginia. July 19

Recommended beverage: Water.
It was too damn hot and humid
to drink much else.

One never knows what side of Lucinda Williams will emerge at her shows. Thankfully, last night, she was more bluesy than country. Unfortunately though, her much-too-short set was way too mellow and, given the extreme heat and humidity, I found myself unconscious for whole parts of it.

I expected Lucinda to headline with a long, raucous set. The show instead turned out to be a co-bill, with Lucinda and Amos each playing about 1:15.

On the one hand, Lucinda’s sultry voice laced with that southern drawl is always a joy. But she never really picked up the pace and rocked out. She opened with one of her best-loved and well-known songs, “Can’t Let Go,” on which her voice was strong but the song lacked its usual energy.

It was also surprising, given such a short set, that she performed nearly half of her new album. For that, I did not feel “blessed,” but rather thought, “unsuffer me.”

The hero of the night was Amos Lee, whose rich, gorgeous vocals and heartfelt lyrics resonated throughout the venue. He and Lucinda each played a song during each other’s set, which was refreshing.

I came ready to rock and roll and was a bit disappointed Lucinda never really brought it home.

Henry Butler Plays Annapolis MD, Reston VA

2011-06-15T13:51:00.008-04:00

Henry Butler & NONYF, Ramshead Tavern--Annapolis, MD

Henry Butler played two fantastic sets at the Ramshead last night to a small but enthusiastic crowd. It was the perfect, intimate setting for some storytelling and soul-enriching music. Butler, a New Orleans native who now lives in New York after Hurricane Katrina destroyed his 9^th ward home, brought a guitarist and drummer with him (the bassist was absent though Butler often played bass on keys with his left hand while piano rhythms flowed freely from his right). His Game Band still resides in New Orleans, so he often now tours with this band, called NONYF, for New Orleans- New York Funk.

The sets were full of funk and blues, with a healthy dose of New Orleans favorites tossed in, including Fess favorites Tipitina’s and Mardi Gras in New Orleans, as well as Iko Iko, to which the crowd sang and clapped along. A highlight was Butler’s performance of Old Man River, the gorgeous vocals & key combination visibly nearly brought the guitarist to tears. It brought me to tears.

Two days later, Henry played a free show at the Reston Co ncerts on the Town series in Virginia, mixing up the set some from the Annapolis show. Many of the staples he played at both can be found on his latest album, Pianola, a live album that captures his spectacular sound.

Paul Simon: Still Rockin' after All These Years

2011-05-28T09:41:00.005-04:00

Paul Simon, 9:30 Club, Washington

Those of us lucky enough to have been at Paul Simon’s 9:30 Club show last night were kvelling for the entire show. Simon packed his 2-hour set with lots of classics, a couple of new songs (which sounded great), and even a couple of covers. His voice still sounds beautiful and pure; his band is absolutely stellar, and their well-placed solos and occasional jams were spot on.

Simon had just played DC’s DAR Constitution Hall a few days ago to rave reviews. But the 9:30, which holds about 1,200 people, is one third the size of DAR. Seeing him in this intimate setting was quite an experience and the (over)sold-out crowd showed him much love throughout the night.

The set, when considered as a whole, really reminds us of the breadth of Simon’s musical influences. So many genres—rock, blues, funk, zydeco, African rhythms, jazz, and even some gospel—and he tackles each one with great skill.

So what does kvell mean? It’s a Yiddish word meaning ‘bursting with pride.’ We all were. This show was pure joy.

Setlist included: (encores are correct but missing a couple songs in the main set)

The Boy In The Bubble
Dazzling Blue (new)
50 Ways to Leave Your Lover
So Beautiful Or So What (new, title track)
Vietnam (Jimmy Cliff cover) / Mother And Child Reunion
That Was Your Mother
Hearts And Bones / Mystery Train (Junior Parker cover)
Slip Slidin´ Away
Rewrite (new)
Peace Like A River
The Obvious Child
The Only Living Boy In New York
Diamonds on the Soles of Her Shoes (w/ drum break at the end)
Gumboots

Encore 1:
The Sound Of Silence (solo acoustic)
Kodachrome / Gone At Last
Here Comes The Sun (Beatles cover)
Late In The Evening

Encore 2:
Still Crazy After All These Years
Crazy Love Part II

Highlights of Nawlins Jazz Fest

2011-05-22T20:29:00.012-04:00

New Orleans Jazz & Heritage Festival, first weekend, April 30-May 1

Whichever of the two weekends one attends Jazz Fest, the Fairgrounds and the clubs at night are guaranteed to be packed with incredible music of all kinds. There's zydeco and cajun music at the Fais Do Do stage; Mardi Gras Indians performing on the Heritage Stage (see Chief Monk Boudreaux, right); incredible music in the jazz, blues, and gospel tents; second line parades going through the Economy Hall tent; and then two main stages of music which this year featured the likes of Robert Plant & the Band of Joy, Dr. John, and John Mellencamp.

Daytime highlights at the Fairgrounds included: John Boutte singing in the jazz tent (this singer of the Treme theme song has a glorious voice; his cover of Hallelujah was breathtaking); Terrance Simien playing outstanding zydeco, including a medley of New Orleans classics that sent the crowd into a dancing frenzy (congrats on the Grammy!); and Trombone Shorty, who wasn't on the bill that weekend, but showed up all over the place, jamming with different bands, large and small.

For me, the most perplexing, and yet exhilarating, set came from Glen David Andrews in the blues tent. He was joined by very special guests Marcia Ball, a local boogie-woogie piano legend; violinist Amanda Shaw, and at the end his cousin Trombone Shorty for a fun jam. Glen crowd-surfed, incited the crowd to clap, cheer and dance, yet he barely sang a note (and never played a note on his trombone). When he does sing/play, he's generally fabulous! Rumor has it he played a stellar set that lit up the gospel tent second weekend.

And the night shows. Wow! Zigaboo Modaliste and friends did a round-robin drumming showcase that also featured Papa Mali and Eric Lindell at Howlin Wolf; Soul Rebels whipped up the crowd on Frenchman St at the Blue Nile for their Friday jam; and and Cyril Neville & Walter Wolfman Washington played back-to-back long sets at the newish club The Twelve Bar, in the CBD.

What a weekend it was!

captions:
1. Big Chief Monk Boudreaux
2. inside the gospel tent
3. Glen David Andrews w/ Amanda Shaw & Marcia Ball
4. Soul Rebels Brass
5. John Boutte
6. Terrance Simien & the Zydeco Experience
7. Cyril & Mrs. Neville

Highlights from March 2011

2011-04-04T17:24:00.008-04:00

The month of March was packed solid with concerts. Here are some highlights:

OMD, 9:30 Club, March 10

Every 80s kid remembers this British synthpop band who sang “If You Leave,” from the soundtrack of Pretty in Pink. At this show, the blokes belted out their memorable classics, including: If You Leave; So in Love; Dreaming; Enola Gay; Tesla Girls; and Live and Die. Singer Andy McLuskey bounced around the stage with the energy of a teenager, thoroughly engaging the crowd. This show exceeded my expectations.

Grace Potter & the Nocturnals, Theatre of the Living Arts, Philadelphia, March 11

Is there anything this chick can’t sing? The ever-versatile powerhouse that is Grace Potter brought down the house in Philly. Love her rockin’, bluesy sound. Her nearly two-hour set included three covers: Beyonce’s “Why Don’t You Love Me?”; Heart’s “Crazy on You”; and Bob Dylan’s “I Shall be Released,” sung with the opening band, Belle Brigade. This show was off the charts! Opener Belle Brigade, from LA, led by a sister-brother team, was a nice surprise—rolling out their six-part harmonies as they shared their debut album tunes with us.

Scythian, Shamrock Fest, RFK Stadium Parking Lot, Washington, March 12 (afternoon)

Led by the enormously talented Fedoryka brothers, Alex and Dan, Scythian always serves up a high-energy musical stew. They alternate among numerous genres: Celtic, gypsy, East European/Klezmer, and more. At this festival, trying to cater to a young, drunk crowd, they threw in some rock and rap too.

Note: Scythian will play a free show on August 27 at Reston Town Center. Come join the fun and hit the dance floor with us.

Emmet Swimming, Iota, Arlington VA, March 12 (evening)

Emmet Swimming broke out a few new songs at this show and, as a testament to their enduring greatness, the new stuff sounds as top-notch as their earlier stuff. I never tire of these guys. Also glad they continued the tradition of bringing up their buddy Dave Strickland for a couple songs, a slow one on accordion and one on keyboard. The setlist was missing “Listen to the River,” but Watts did a solo acoustic of his Billy Bragg cover, “Levi Stubbs’ Tears” that made up for it. Excellent, as ever.

Pete Yorn, 9:30 Club, March 14

Pete Yorn played a stellar set, opening with ClubD’s favorite Yorn song, “Murray,” and playing nine more songs from that debut album, Music for the Morning After, released a decade ago. The set included a handful of songs from his newest album, a self-titled one released last fall that was produced by Frank Black of the Pixies. The new songs he played are strong and catchy, particularly “Precious Stone,” and “Rock Crowd.” His set also included “Crystal Village” by request; “Burrito,” from that same album, performed solo acoustic and also by request; and the Junior Kimbrough cover, “I Feel Good Again.”

Ben Kweller was the perfect support act and had many fans of his own in the crowd.

Devotchka, 9:30 Club, March 22

Touring in support of their newest album, 100 Lovers, Devotchka puts on a great show. This Denver-based quartet rose to fame for doing the Little Miss Sunshine soundtrack and has an ever-growing following. Their indie rock sound, replete with East European influences, is complemented by Nick Urata’s velvety smooth vocals. Rich in instrumentation, Jeanie Schroder alternates between upright bass, tuba, and flute; Urata among piano, trumpet, and guitar; and Tom Hagerman among violin and accordion. Devotchka served up a fine worldbeat mix and they’re a fun spectacle to watch. The band brought along two female dancers who did aerials from the curtains during a few songs.

Opening act El Mariachi Bronx, from…er, Los Angeles, had a fantastic sound, a lively blend of mariachi and rock.

Black Joe Lewis & the Honeybears, Black Cat, Washington, March 24

While I haven’t tired of their debut album, Austin’s Black Joe Lewis & the Honeybears just released a new album, Scandalous. I thought the first album couldn’t be topped, but this one is also off-the-charts fantastic. Was shaking my booty all night at this show. Joe has all the soul of a young James Brown, accompanied by a kickin’ horn section. At this sold-out show, “Booty City” gave him a warm welcome.

The Joy Formidable, Black Cat, Washington, March 25

This new Welsh rock trio just released their first full-length album, The Big Roar, though they’ve reportedly already enjoyed lots of airplay on UK radio stations for many months. Quite a full sound comes out of these three. This ain’t your mama’s chick rock. Check ‘em out.

All Souls Jazz, All Souls Unitarian Church, Washington, March 27

The pews were packed with folks of different ages, religions, and races to hear some incredible New Orleans jazz on a Sunday afternoon. New Orleans Clarinetist Evan Christopher led a quartet that included pianist Allyn Johnson and drummer John Lamkin, accompanied by the All Souls Jubilee Singers from DC. From the opening “Basin Street Blues,” to the closing “Down by the Riverside,” this was an outstanding afternoon of jazz. All proceeds were donated to New Orleans charities, with a focus on rebuilding the lower ninth ward.

Bob Schneider, the Birchmere, Alexandria, VA, March 28

I first heard Bob Schneider on the Spectrum, a satellite station that often would play his “40 Dogs,” from his 2009 album. I’ve since learned this Austin singer-songwriter has been around for some time. Doing a solo show to support his forthcoming newest album, A Perfect Day, due out in mid-April, Schneider played a fantastic set, alternating between brooding, funny, and slightly insane. Gorgeous deep voice. Fantastic looping. Loved this show!

Sounds Around Town: February

2011-02-21T22:32:00.008-05:00

Robert Plant w/ the Band of Joy

February 1, Constitution Hall, Washington, DC

Taking his band name from the one he used pre-Led Zeppelin, this band is packed with heavy hitters who really bring it home: particularly blues singer/songwriter Patty Griffin and guitarist/singer-songwriter/arranger Buddy Miller.

Having seen his recent acoustic tour with Alison Krauss, I expected much of the same, particularly since the current self-titled album, and Raising Sand before it, are both so mellow. But what ensued was a rocking, bluesy, somewhat raucous set in which Plant put away the coy and let out the fire vocally. On the floor at Constitution Hall, we were all on our feet dancing the whole night. Outstanding.

Setlist:

Black Dog (Led Zep)
Down to the Sea
Angel Dance (Los Lobos cover on Plant’s latest disc)
Houses of the Holy
Satan Your Kingdom Must Come Down (Uncle Tupelo cover)
Move Up (Patty Griffin singing)
Cindy, I’ll Marry You Someday
12 Gates to the City/Wade in the Water/In My Time of Dying (Rev Gary Davis cover)
A Satisfied Mind (Porter Wagoner cover—Darrell Scott singing)
Tangerine (Led Zep)
Harm’s Swift Way (Townes Van Zandt cover)
House of Cards (Richard Thompson cover)
Somewhere Trouble Don’t Go (Buddy Miller cover-Buddy singing)
Monkey (Low cover)
You Can’t Buy My Love (Barbara Lynn cover)
Ramble On (Led Zep)
Tall Cool One
Gallows Pole (Led Zep)
Encore:
In the Mood
Rock & Roll (Led Zep)
And We Bid You Goodnight

********

Thao

February 8, Iota, Arlington VA

Thao Nguyen is a fireball of sound. Touring in support of her latest disc, Know Better, Learn Faster, the free-spirited, alt-indie rockin’ Thao let loose vocally and on guitar at Iota.

Born and raised in Falls Church, Virginia, she now calls San Francisco home, where she performs with her band the Get Down Stay Down. But at this show, fans were treated to a solo performance, accompanied only by her drummer Willis Thompson. The show was a Virginia homecoming of sorts (in fact, her mom was in the crowd). Thao played to old fans and made some new ones that night, including me.

Opener Andy Zipf played a fantastic opening set.

******

Blues at the Crossroads: Robert Johnson Centennial Concert

February 17, The Strathmore, Bethesda, MD

It was an enigma seeing the headliner listed for this show: Big Head Todd & the Monsters. After all, they’re a rock band. From Colorado. Could they do justice to the music of the Mississippi Delta? But when Todd Park Mohr started to play, strumming that Dobro, that boy could certainly channel the blues. He and his Monster cohorts did a fine job memorializing the music of the legendary Robert Johnson and even tossed in the music of other blues greats as well.

Also on the bill, and coming in and out to play with the Monsters, was drummer Cedric Burnside (bluesman RL Burnside’s grandson) and Lightnin’ Malcolm, a young blues talent from Missouri. But the night belonged to two legendary bluesmen, who took the stage for only a fraction of the two sets: Hubert Sumlin, Howlin’ Wolf’s guitarist and David “Honeyboy” Edwards, who played with Robert Johnson and many other blues greats. At 97 years old, he is one of the last original acoustic Delta blues players.

The two sets were electric…and the night ended with the boys taking a musical journey, from the Delta to Chicago, as the audience sprung to their feet to clap and sing to a rousing “Sweet Home Chicago.”

Where will ClubD Be in February?

2011-02-01T10:22:00.003-05:00

Feb 1: Robert Plant & Band of Joy w/ the North Mississippi All-Stars, Constitution Hall, D.C.

Feb. 8: Thao, Iota, Arlington, VA

Feb. 11: Satori Trova, Axum's Level X Lounge, D.C.

Feb. 17: Blues at the Crossroads (Big Head Todd & The Monsters; David “Honeyboy” Edwards; Hubert Sumlin; Cedric Burnside & Lightnin’ Malcolm), the Strathmore, Bethesda, MD

Local Artist to Watch: Jonny Grave

2011-01-19T10:59:00.003-05:00

Jonny Grave live at Ebenezer's on Capitol Hill, Washington DC
January 7
photo courtesy of Jason McCool

It's often said that white men can't really play the blues. Even more often it's said that young people can't play the blues because they lack the experience of the lifelong heartache that pours out of each song.

Somehow, a 22-year-old white boy in DC is taking the blues world by storm and the thing is: he's fantastic! Meet Jonny Grave, a guitarist and singer-songwriter who can belt out the blues. He alternates among 12-string and 6-string guitar and a fret-less banjo. His slide work is really impressive. According to his website, at age 15, he began learning slide guitar techniques from old blues records. Two years later, he was performing them live.

His influences include R. L. Burnside, Mississippi Fred McDowell, and Robert Johnson. He plays some originals and also puts a fresh spin on older blues songs. Two years ago, after performing as a solo act, he assembled a band that includes drummer Nate Oliver. Billed as Jonny Grave and the Tombstones, they are positively electric. Check them out at local clubs around DC and Maryland.

On January 7, they performed at Ebenezer's Coffeehouse to a packed crowd. There they released a new album, The Bluesmaker. This album goes from solo-acoustic to full band and also utilizes sounds that will propel you to an earlier time, when the blues sounded raw and gritty. Check this guy out. He's the real deal.

Check out a couple of Youtube videos of Jonny:

Beulah Land (music starts about a minute in)
Untitled 12 String (song starts at 2:38)

Trombone Shorty Funked It Up on New Year’s Day

2011-01-06T17:19:00.003-05:00

Trombone Shorty & Orleans Ave.
9:30 Club, Washington, DC
January 1, 2011

One guarantee at a Trombone Shorty show is it will always be a great time. Alternating between trombone and trumpet, singing, dancing around the stage, and at times conducting his band, Shorty (Troy Andrews) is immensely talented and he’s the ultimate showman. So it was no surprise that his New Year’s Day show at the 9:30 Club was a raucous, fun, jumping experience.

Shorty has been touring relentlessly in support of his latest CD called Backatown, which is the nickname given to the 6^th ward neighborhood in New Orleans where he resides. The Grammy-nominated disc, his first on a national label, is filled with funk-infused jazz that rocks. And much of his 2-hour set featured music from it.

But Shorty came up a little short on one thing: traditional New Orleans music. I think it’s the civic duty of any funk/brass band from New Orleans to be an ambassador of the city’s culture by playing such favorites as “When the Saints Go Marching In” or “Iko Iko.” Typically, Shorty plays that stuff, often in a medley but it was not to be that night. He did play his popular rendition of “Sunny Side of the Street,” which was outstanding, even though he did not incorporate his fantastic vocal impersonation of Louis Armstrong.

The show was exciting, high-energy fun with Shorty engaging the audience and hamming it up at every turn. In the end, I’m just glad Shorty is starting to get the national exposure he so richly deserves.

Nicknames:

Backatown, the album title, is the nickname of the Treme, his New Orleans neighborhood.

Shorty: Most folks notice he’s not short and wonder how he got that name. When Troy was 4 years old, his family teased him because his trombone was bigger than him. The nickname "Shorty" stuck and remains to this day.

Happy New Year from Club D: Dada in Philly

2011-01-02T14:06:00.005-05:00

12.31.10: Dada, North Star Bar, Philadelphia, PA

Dada, the dynamic California trio of Mike Gurley, Joie Calio, and Phil Leavitt who have been making music together for nearly two decades, played a rockin’ New Year’s Eve show at the North Star Bar in Philly. While it was not the 3-½ hour music marathon that occurred at that venue exactly two years ago, the 2-hour+ show was a crowd-pleaser. Much of the set came from their first three albums, with a heavy emphasis on their first album, Puzzle.

Unique to this show was a Beatles mini-set, which Joie opened on slide guitar after an instrumental Eleanor Rigby teaser. The sound guy then played audio from an intro Ed Sullivan had given the Beatles in 1964 and the trio broke into “Please Please Me” to a roaring crowd. And, as a treat for those in attendance, the entire show is available on download via secret code. If you beer me, I might share the code with you.

Dada played a handful of shows over the holiday—in Chicago, Philly, and Boston—and then will return to the studio to finish their newest album, reportedly due out later this year. Dada fans are waiting with baited breath for this, as the band hasn’t released a full-length studio album in nearly seven years.

Dada appeared on the music scene in 1992 when they hit the airwaves with the parody song Dizz Knee Land. Their staying power comes from a fiercely loyal longtime fan base. Most refreshing are their gorgeous harmonies and the fact that the boys have a solid friendship and respect for each other that permeates their music.

Set List

Posters
I Get High
Dim
Mercury Down*
72 Hours
(New Year toast / Auld Lang Syne)
S.F. Bar '63
Timothy
Ask The Dust
Just Along For The Ride

Beatles mini-set
Please, Please Me
No Reply (see the You Tube video)
Boys
All My Loving [reggae-style] (link to You Tube video)
Blue Jay Way

Bob The Drummer
8 Track Mind
California Dreamin'
Fleecing Of America
Here Today Gone Tomorrow
Baby Really Loves Me
Dizz Knee Land

Encore:
Moment In The Sun
Dorina

*new song to be released on forthcoming album

Sunny Days, Rockin' Music: Austin City Limits 2010

2010-12-23T13:20:00.011-05:00

[This is a tad late, but better late than never]
Austin City Limits, October 8 - 10, 2010 Zilker Park, Austin, Texas

This year’s Austin City Limits, October 8 – 10, took place under brilliant sunshine. And when the sun went down, headliners came out, and then we all rushed back for no shortage of fantastic aftershows.

In the midst of all the great music emanating from multiple stages, several bands over the weekend took the opportunity to deliver political messages to their large crowds. Both Gogol Bordello and Ozomatli touted their pro-immigration message to cheering fans. And the Dallas-based gospel-funk band The Relatives (pictured here) reflected on the difficulty of growing up black in the south and asked everyone to rejoice and sing in celebration of black-white unity.

Friday musical highlights: Spoon showed up with a full horn section and Brit sung his heart out. The Black Keys rocked but it was a mob scene at that stage. Seemingly, the entire festival crowd congregated there as they were virtually unopposed (no offense, Pat Green). Always a treat, Robert Randolph & the Family Band got their blues-rock jam going in the tent. Donovan Frankenreiter was a last-minute addition to the early-Friday schedule, and a welcome one, as Those Darlins hurt me ears. A nice surprise was the Swedish trio Miike Snow, who had a fun synth-pop thing going on.

As for Friday’s headliners, I hung around for some of Phish, out of curiosity and to get a contact buzz from all the smoke in the air. Good stuff! Also caught a bit of the Strokes on the way out and they sounded excellent, as ever.

Saturday was packed with non-stop good tunage. Grace Potter & the Nocturnals did a rockin’ bluesy set as her powerhouse vocals filled the field. Was unusual to see Zilker so crowded so early in the day but understandable given this lineup. Pete Yorn then came out on a nearby stage in a black cowboy hat and did an upbeat set that featured a few new songs but was packed with first-album goodness. (I think my scream deafened some young lad in front of me when Pete broke into “Murray.” Sorry dude).

Saturday afternoon, Gaslight Anthem was a bit too hard rockin’ for me, so I wandered over to Lucero, an alt-folk-rock band from Memphis, which was more my speed. Then, enjoyed the vocal harmonies of Atlanta’s Manchester Orchestra. Next up, Broken Bells, driven by super-duo Danger Mouse (Gnarls Barkley) and James Mercer (singer from the Shins), gave us an hour of their outstanding shoegazer pop. After that, I took a Temper Trap nap, while my friends left me for the XX, an excellent band as well.

But I had to stay put because next up was Gogol Bordello, those crazy Ukrainian Jews who now call New York home and who perform a wacky mix of klezmer, rock, reggae and whatever else they feel like…all bundled into a sound they call “gypsy punk.” My quick feet then raced over to catch the end of LA’s Ozomatli, who were as energetic and rockin’ as ever. Also caught a couple of Deadmau5 deejay tunes and loved their light show. British rock sensation Muse headlined and was outstanding.

Sunday presented a late-day conflict. Four things we wanted to see. So we stuck around for a bit of the National (can’t resist Matt Berninger’s gorgeous deep voice), wandered over to Cage the Elephant (ouch, not my thing!), enjoyed some Richard Thompson, and then caught the end of Norah Jones whose extra mellow songs got swallowed up on that huge stage, especially when the Eagles started early and drowned her out across the field. Not nice, Henley!

Sunday’s best for me was Trombone Shorty & Orleans Ave. in the tent. They belted out their New Orleans jazz and funk, complete with their full horn section. Shorty (aka Troy Andrews) closed with a medley that included his awesome Louis Armstrong impersonation as well as the theme song to the HBO series Tremé, which he has appeared on. Other good stuff earlier on Sunday included: Foals, Devendra Banhart, and Edward Sharpe and the Magnetic Zeros.

And then, when the sun went down:

Night Shows:

Thursday night: Austin faves Black Joe Lewis & the Honeybears rocked the socks off of the crowd at Antone’s. He sounds like Lil’ James Brown with an attitude to match and, of course, the honeybear horn section.

Friday night: We took a night off from tunes to spend several hours imbibing at Ginger Man.

Saturday night: Who knew the Continental Club on South Congress had a little upstairs room. In this tiny room was the Mike Flanigin Trio featuring none other than Jimmie Vaughan (pictured below with ClubD) . What a treat! After the set, we noticed familiar faces playing in the main bar. Black Joe Lewis & the Honeybears! They weren’t on the ACL schedule this year but they sure made up for it in aftershows.

Sunday night: Blues Traveler played the midnight show at La Zona Rosa with Martin Sexton opening the gig. Outstanding. Popper turned his back to the crowd every 6 minutes or so to take huge drags on his cigarettes. A highlight was his cover of “Imagine” in honor of what would have been John Lennon’s 70^th birthday that night.

Where Will ClubD Be in October?

2010-09-14T10:35:00.000-04:00

Taking it easy much of September but October is looking musically full. Shows to include:

Howie Day @ Jammin Java, Oct 1
Pete Yorn @ the Black Cat, Oct 6
Austin City Limits Music Fest: Oct 8-10
Belle & Sebastian @ Constitution Hall, Oct 14
BellX1 @ Jammin Java, Oct 17

Funk Fest: Dr. John Brings Us a Taste of Nawlins

2010-08-31T10:15:00.009-04:00

Dr. John & the Lower 911 w/ John Fohl
Birchmere, Alexandria, Virginia, August 30

Recommended beverage for this show:
Flying Dog IPA (careful, it’s 8.4% ABV)

The good doctor, in his purple suit and with gators on his socks, shuffled on stage aided by his walking stick. But when he sat down at the piano, the 69-year-old Malcolm Rebennack, known as Dr. John, was full of energy as he opened the show with “Save our Wetlands,” from his 2009 and latest release, City that Care Forgot. The whole album is a cry for help for his beloved native city, New Orleans, which is still riddled with problems and injustices five years after Katrina , in a state still reeling from the BP oil spill.

Backed by the Lower 911 band (bassist Dave Barard is from the 9^th ward), Dr. John alternated between piano, B-3, and guitar while singing in his deep, bluesy voice, which at times sounded eerily reminiscent of Van Morrison. Much of his set was upbeat, with folks swaying and clapping in their seats. Although the concert hall is seated, by mid set, Dr. John beckoned the crowd to stand and dance during one of his classics, “Right Place, Wrong Time,” and everyone complied.

Dr. John played a good bit from his latest album and tossed in a couple from his 2008 release “Tribal.” But he also went back a few decades with such songs as “Let the Good Times Roll” and “I Been Hoodoo’d.” And, what Dr. John show would be complete without some Professor Longhair thrown in? His third song was the infectious “Tipitina.”

Opening act John Fohl also hailed from Nawlins and warmed up the crowd with his rockabilly guitar and soulful vocals. One fun instrumental he included was an old Fess tune called “Rum and CocaCola.”

It was a great night of boogie-woogie-style blues and jazz.

Rodrigo y Gabriela Rock Out at Wolf Trap

2010-08-27T15:05:00.007-04:00

Rodrigo y Gabriela,
Wolf Trap-Filene Center, August 24

Recommended beverage: A nice bottle of rioja on the lawn,
or any nice wine (from a bottle, preferably)
photo courtesy of Jan Louis Argilagos

Rodrigo y Gabriela, fingers flying across their acoustic guitars, showed how two guitarists alone on stage, playing all instrumental, can captivate a crowd. Their music, mired in flamenco with an unmistakable rock / heavy metal influence, had fans clapping, cheering, and thoroughly engaged throughout their long set.

Rodrigo Sanchez and Gabriela Quinetro are two friends who met while playing in a heavy metal band in Mexico City. Now back in Mexico, they recently spent years living in Dublin, Ireland, perfecting their worldbeat sounds. There, they got discovered and hit the charts. Their repertoire includes originals inspired by their musical heroes, from Hendrix to Santana to Spanish guitarist Paco De Lucia—such as those found on their latest album, titled, 11:11. Their concerts also include a few cover tunes, from Pink Floyd to Metallica.

Live, one is struck by the raw energy of Rodrigo y Gabriela’s music. Latin, Middle Eastern, and other world rhythms infuse their sound. And Gabriela’s percussive talents add to that energy. Such songs as “Buster Voodoo” from their latest album and “Diablo Rojo” show off Gabriela’s beats, as she taps the fret boards and guitar body while furiously strumming away.

Opening band Xavier Rudd was the perfect complement to this show. Hailing from South Wales, Australia, their music also ran the worldbeat gamut, incorporating blues, reggae, folk, and funk. It may have been the first time I have ever seen a didgeridoo successfully used in rock music. Touring to support their latest album, Koonyum Sun, Xavier Rudd is definitely a band to watch.

Sounds Around Town - DC

2010-08-21T13:54:00.006-04:00

Mingo Fishtrap at the Kennedy Center's Millennium Stage
August 16

For years, the Kennedy Center has brought free hour-long, weekday concerts to its Millennium Stage, exposing a growing number of [us poor] concert lovers to music from around the world.

On Monday, an American band was featured, one who admittedly felt a little overwhelmed by the chandeliers and overall grandeur of the great hall. The eight-piece band, called Mingo Fishtrap, hails from Austin. They blend soul and funk, with strong undertones of Motown. Bandleader Roger Blevins, Jr. got the crowd clapping and even singing along and a few folks were swing dancing in the aisles. There was unmistakable New Orleans influence in Mingo's music, perhaps partly because Blevin's dad, also the bass player, comes from there. The bluesy grooves and stellar horn section made for one great hour. And I'm craving more...

Shannon McNally & Hot Sauce
Jammin Java, Vienna, VA
August 17

There were two highlights that night: one was Nashville (via Australia) opening act Anne McCue (pictured, right). The other was Eric Deaton, McNally's guitarist, who played some fine Mississippi juke-joint blues. He got to showcase a tune from his new CD, Smile at Trouble, recorded with Kinney Kimbrough on drums. In fact, Deaton had studied under Kinney's father, Junior, and RL Burnside, and the Mississippi country blues just flowed right outta him.

McNally and band played a fine evening of blues, though McNally's vocals were not consistent. She livened up and seemed to gain some strength later in the set. She and her husband, who's also her drummer, Wallace Lester, have settled in Mississippi, since Hurricane Katrina precluded their return to New Orleans.

Cullum, Kelly Kick Off 56th Newport Jazz Festival

2010-08-20T14:23:00.006-04:00

International Tennis Hall of Fame, Newport, RI
Friday, August 6
photo courtesy of Jim Carty

To kick off the Newport Jazz Festival, British jazz sensation Jamie Cullum and Boston’s young and talented Grace Kelly played a Friday night gig at the International Tennis Hall of Fame in downtown Newport. Kelly, an 18-year-old saxophonist and vocalist, kept her set pretty tame and traditional, despite her untraditional attire (very short black leather skirt). Her quintet opened with “Summertime” followed by “101” that she wrote for her album, Mood Changes. She also gave the crowd a teaser of yet-to-be recorded material she has written.

The soft-spoken Kelly sang with a sweet voice, her set sticking mostly to the classics. Her quintet did a straightforward version of Ellington’s “Caravan” and Miles Davis’s “Round Midnight,” a nice homage to Davis whose album by that title was inspired by the earlier Newport fests in the 1950s. Kelly ended her set with a new composition she wrote called “Searching for Peace.” Later, she relaxed some and cut loose on a guest appearance during Jamie Cullum’s set.

Cullum emerged full of energy, waving a tennis racket in honor of the concert’s location, and played a nearly two-hour set. He opened with a jazz standard, Cole Porter’s “It’s Just One of Those Things,” which he covered on his latest album, his fourth, titled The Pursuit. He then played “Get Your Way,” a soulful, more pop tune that ended with him standing on, then jumping off, the piano. He assured any nervous folks in the crowd that he’s light as a feather and wasn’t damaging the piano.

His weekend performances in Newport were the last of his American tour and, he told the crowd, the band had to overcome some instrument issues that led to the borrowing of a bass and saxophonist playing keyboard because his horn was broken. But on they played, from the standards to Cullum’s originals, to some covers from other musical genres that he puts a jazzy spin on such as “Please Don’t Stop the Music” first popularized by Michael Jackson and Radiohead’s “High and Dry.”

Cullum thanked Newport Jazz Fest founder George Wein who first brought him to play at this fest in 2004 and whose clout also had gotten Cullum a gig at Carnegie Hall. He seemed quite at home among the jazz lovers in Newport. “I’m glad we can talk jazz,” he told the crowd. “Jazz people have the most open ears of any other music fans.”

He then introduced perhaps the most poignant song of the evening by lauding one of his inspirations. “Harry Connick, [Jr.] showed me you can be a rock star and a jazz star at the same time.” And with that he played, “Do You Know What It Means to Miss New Orleans,” which he said was the first tune he ever heard Connick play, a song Connick had recorded with another Nawlins legend, Dr. John.

Cullum did what he does best, helping a younger generation get in touch with jazz classics while showing his originality and talent. One highlight was a cover of Stephen Sondheim’s “Not While I’m Around,” which featured some particularly beautiful jazz piano. Cullum, as did Kelly before him, also played a version of “Caravan,” performing it with his band in the aisle.

Grace Kelly joined Cullum on stage during “These are the Days,” a lovely tune from Cullum's first album in which he played on a Wurlitzer while Kelly played sax riffs in a call-and-response. Interestingly, Cullum’s set that night and the next day at the Fest omitted his new single, “Wheels,” and another popular original he usually performs live, “Photograph.” But he did play an eclectic, crowd-pleasing set.

At the end, he worked the crowd into a frenzy, getting everyone to their feet dancing to “Mixtape” from his latest disc. He then slowed it down with his cover of Jimi Hendrix’s “Wind Cries Mary.” And the crowd was then sufficiently jazzed up for the two-day fest that would begin the next day.

Newport Jazz Fest 2010

2010-08-07T15:36:00.002-04:00

Carefusion Newport Jazz Festival Newport, Rhode Island August 7 and 8, 2010

Under picture-perfect skies in Newport, Rhode Island, thousands of jazz fans enjoyed a weekend of first-rate music performed by a mix of jazz veterans and rising stars. The festival took place at Ft. Adams Park, the largest coastal fortification in the country, as yachts, sailboats and even kayaks dotted the harbor filled with music lovers enjoying the main stage music.

For two days, music flowed from the main stage and the two side stages, nestled inside the old fort walls, as musicians collaborated on the classics and showcased new compositions. There were string quartets and horn sections and gorgeous solos across the park. Sunday was the more crowded day; it was also hotter and more humid.

On Saturday, a gentle breeze blew as fingers were flying across guitars, fiddle, and bass on the side stage where Mark O’Connor’s Hot Swing string quartet played. They closed their set with a fun, lively original composition, titled, “Pickles on the Elbow.” Then, sauntering over to the Quad Stage, jazz lovers were treated to George Wein’s Newport All-Stars, who included clarinetist Anat Cohen, guitarist Howard Alden, and trumpeter Randy Sandke. Wein, who founded the Newport Jazz Festival back in 1954, played piano and occasionally sang. Each of his All-Stars took turns at solos and duets that were mind-blowing. Their whole set was magical.

Then over to the main stage, Chick Corea and his Freedom Band played some bebopping jazz. Corea is no stranger to this fest nor is his drummer, the great Roy Haynes. A highlight of their set was a version of “Monk’s Dream” that would’ve made Thelonious proud.

Saturday’s main stage headliner was British jazz-pop star Jamie Cullum who finished up his U.S. tour that day. Much of his set echoed that of the night before though he switched it up a bit, tossing in a couple of gems toward the end, notably, “All at Sea,” a gorgeous ballad he wrote for his first album, and “Gran Torino.” He also played “If I Ruled the World,” a Tony Bennett song that he put his own spin on and calls "his grandma's favorite."

While Sunday’s main stage featured the likes of Herbie Hancock and Chris Botti, another major highlight hit that stage late afternoon: trumpeter Wynton Marsalis. For half of his set, he and his band were joined by the legendary pianist Dave Brubeck. Marsalis introduced him as “the very essence of American greatness,” someone “who brings his integrity with him.” He added when Brubeck emerged, “if my daddy knew I was in here with you, he’d want me to make you as comfortable as possible.” It was a treat to watch their interaction. Marsalis and Brubeck each seemed utterly humbled by the other’s presence.

Marsalis, Brubeck, and band proceeded to perform Brubeck’s “Blues for Newport” followed by a Marsalis-Brubeck duet of “These Foolish Things.” They and the band also played a swingin’ “Take the A Train.” Then, George Wein emerged and led the crowd in singing “happy birthday” to Brubeck, who turns 90 in December.

One outstanding feature of this Fest was how well the old complimented the new both in selections played and the musicians themselves. Sticking to the classics while adding fresh perspectives while paying homage to jazz veterans and highlighting up-and-coming artists really offered something for everyone of all ages.

Musicians Celebrate the Arts at Free Kennedy Center Concert

2010-07-21T15:19:00.005-04:00

An American Playlist, final concert of a three-day
musical celebration of the performing arts
The Kennedy Center, Washington, D.C.
July 20

photos of Robinson and Blackwell courtesy of Allison Perry

Music lovers usually flock to the Kennedy Center’s Millennium Stage for free concerts but, for the past few nights, thousands of people were fortunate to hear a variety of music for free in the concert hall. On July 20, the third day of the “American Playlist” series celebrating the performing arts, four notable American musicians from different musical genres performed for a packed house, accompanied by the National Symphony Orchestra.

The 80-minute concert, which began at the early hour of 6 p.m., featured R&B legend Smokey Robinson, pop singer John Mayer, opera soprano Harolyn Blackwell, and saxophonist Branford Marsalis. The NSO opened the show, with conductors Hugh Wolff and Sarah Hicks taking turns, and then each artist performed a couple of songs. One inspiring moment came when out came a choir, the NEWorks Tribute Singers—comprising high school and college vocalists from across D.C.—sang a song written by their director, Reverend Nolan Williams, titled, “Life’s Inspired by a Song.”

Blackwell sang “You’ll Never Walk Alone,” and then pulled out an aria from the country that does opera best: Italy. She sang “O Mio Babbino Caro” (Puccini) like an angel and brought tears to every eye in the house. Next up, Branford Marsalis played three jazz numbers on sax.

John Mayer at first took the stage to give a short speech about the importance of arts education. “In every generation, there are the same number of would-be legends born,” he said, adding that we just need to find them and help them uncover their talents. He then introduced Smokey Robinson, who amplified Mayer’s comment by singing “Don’t Know Why,” the Jesse Harris-penned song that Norah Jones made famous. He then closed with one of his own beloved songs, “Tracks of My Tears.”

Mayer then reappeared, to the relief of the many teenage girls sitting near me, and gave the orchestra a chuckle when he said he was honored to be around people who can actually read music. He then sang his “Waiting for the World to Change,” solo with just his guitar, followed by Bob Dylan’s “Don’t Think Twice, It’s All Right” with the orchestra.

While the music was spectacular, there were two missed opportunities here. One was the unfulfilled hope for a collaboration among these musicians who rarely share the stage together. Wouldn’t it have been grand to hear Smokey jam with Mayer or Marsalis accompany Blackwell? But each only appeared solo backed by the orchestra. Another missed opportunity was not compelling the crowd to take action. Should we call our senator and ask for more funding for arts in school? Perhaps tell us to go see a local youth orchestra or dance recital. We’re here in this beautiful, regal place watching this grand concert for free; empower us to help save the arts.

The orchestra concluded the show first with Michael Daugherty’s spiffy “Route 66” followed by Aaron Copeland’s “Hoedown.” And then several generations of music lovers streamed out, happy about getting even the briefest glimpse of the evening’s extraordinary talent.

Frankie Valli: Hanging on to What He's Got

2010-07-16T14:45:00.004-04:00

Frankie Valli and the Four Seasons, Wolf Trap-Filene Center, July 15

recommended beverage:
Water. Too damn hot for anything else.

76 is the answer to your first question. That’s Frankie Valli’s age; it also was, predictably, the median age of concert-goers at last night’s show at Wolf Trap.

Yes! This answers your next question: Can he still hit the high notes? Valli’s voice sounded fairly strong, his falsetto intact. Of course, he had a huge band behind him, including a five-piece horn section, and his Seasons to back him up. During some of his biggest hits, he deferred to the audience to sing the chorus. Valli also seemed in great spirits despite the stifling temperatures. A couple of times, he referred to the outdoor venue as “a big Jacuzzi.”

No, answers your next question: Were any of the original Four Seasons there? His backup boys looked about the same age as those in the cast of Jersey Boys. The four provided solid backing voices and the same kind of cheesy choreography that makes you wince and smile at the same time. It turns out that none of the original Seasons have played with Valli for at least three decades so it’s always a changing cast. One original Season, Nick Massi, died in 2000, a year after they were inducted into the Rock and Roll Hall of Fame.

Valli’s 90-minute set included several songs from an album he released a few years ago, titled, Romancing the ’60s, on which he covers the songs of other artists from that era. He introduced the medley by saying when approached to do another record, he listened to the radio for a few months but couldn’t find anything he liked so he went back to his roots and revisited some rock ‘n’ roll classics. If anyone wanted one, he said had about 400,000 copies with him for sale. He gave a copy to a lady in the front row, while failing to notice the woman in the fourth row feverishly waving her 33 LP of “Sherry.”

Folks in the pavilion clapped along and finally got to their feet midway through when the band erupted into “Oh What a Night.” The night included the requisite schmaltz, such as his 1975 solo hit, “My Eyes Adored You.” But much of the set stayed upbeat and he strung together a number of his most beloved to close the show, such as “Sherry,” “Walk Like a Man,” “Big Girls Don’t Cry,” and “Let’s Hang On.”

When the show ended, the 80-year-old gentleman seated next to me asked, “Is this the intermission?” Am still smiling about his enthusiasm. He seemed ready to keep rocking out. That feeling, of wanting more, is always a sign of a fine night of music.

ClubD in June

2010-06-11T10:30:00.001-04:00

June 6: The National, Constitution Hall

June 7: Broken Bells, 9:30 Club (report to come)

June 10: Toby Lightman, The Birchmere

June 12: Entrain at Reston Town Center (yay!!!) w/ special guest: Brian Alex

June 16: Marc Broussard w/ Julian Velard, Ramshead-Annapolis

June 18: Paul Cebar, Jammin' Java

Mumford & Sons: Absolutely Brilliant!

2010-05-21T11:25:00.004-04:00

Mumford & Sons @ the 9:30 Club, Washington, DC

May 20

A year ago, in my friend Jo’s flat in Leeds, UK, Jo played a couple of songs from her IPod of this new band I “had to hear.” The last time I saw Jo this excited about a band was in 1995 when she played me the new debut Oasis album in her dorm room. I trust Jo’s music taste implicitly so I listened to this new London band, Mumford & Sons.

Kept them in mind. Recently heard a couple songs I really liked on XM’s “The Spectrum.” But seeing them at the 9:30 Club last night, I got a whole new appreciation for these blokes. Mumford & Sons is undeniably lovable.

There’s banjo; it rocks, there are gorgeous vocal harmonies and heartfelt lyrics. It’s rich; it's deep. The Celtic influence is ever present. At times, it’s got the energy of Gogol Bordello, without the gypsy-punk, and…without the Ukrainians.

The sold-out 9:30 Club gave the band such an enthusiastic reception, the blokes seemed in awe, repeatedly thanking the crowd who, in turn, were equally in awe of them. While the band said they heard great things about this club, the fans’ fervor exceeded their expectations. “And we’re so far from London!” exclaimed a band member [could not see who, as I was standing behind a few goliaths].

Much of the crowd sang along to “The Cave” and “Blank White Page,” the two Mumford songs getting airplay on satellite radio. And, for those unfamiliar, the chorus of “Little Lion Man” is so catchy, the whole crowd picked it up after one round and then sang every refrain loudly and proudly.

Mumford ended their set with “Dust Bowl Dance,” a ballad that transitions into an all-out rock jam. The profound chorus goes:

“Seal my heart and break my pride
I've nowhere to stand, now nowhere to hide
Align my heart, my body, my mind
To face what I've done and do my time”

The album is Sigh No More. It's filled with songs you can listen to again and again, songs of which you may never tire.

Joan Osborne Sings Her Bluesy Rock

2010-04-27T12:22:00.003-04:00

Joan Osborne sang her heart out at the Birchmere on April 8.

Setlist:

Bury Me
Hallelujah
Spiderweb
Brokedown
Rodeo
St. Teresa
Help Me
Please Don't Tell
Little Wild One
Who Divided
Next Sensation
Brokenhearted [cover]
One
Only You Know
Encore:
Light of This World

Ben Folds

2010-03-29T14:53:00.004-04:00

Ben Folds and a Piano
March 26, 9:30 Club, Washington, D.C.

Ben Folds unleashed his melodious rage on his grand piano before an oversold-out crowd at the 9:30 Club on Friday. His two hour-plus set rolled through a few Ben Folds Five oldies such as “Kate,” “Army,” and “Evaporated” but the bulk of the set focused on his solo career, launched in 2001 with the album, Rockin’ the Suburbs.

Folds is famous for his angst-laden lyrics and more than a smattering of profanity, the bulk of which came during the last song, a Dr. Dre cover that he performed with an amusing guy picked from the audience. The crowd was filled with die-hard fans gleefully singing along, and not only when prompted.

An old-school Folds fan, I was a little disappointed that he skipped over his first Ben Folds Five album, particularly after spotting a setlist from his Norfolk show a week earlier in which he played both "Philosophy" and "Best Imitation of Myself." That said, the show was excellent: high-energy, quirky, and great fun, as one always expects at a Folds show. And, solo with a piano, it was as intimate as a show can be.

Opener Zach Williams had a gorgeous, powerful voice as he sang several originals from his debut album Story Time. He also threw in an outstanding Patty Griffin cover, “When It Don’t Come Easy,” though most of the crowd had no idea who she is, and that’s a shame.

Ben Folds Setlist:

Free Coffee
Annie Waits
Sentimental Guy
Eddie Walker*
Effington
Jesusland
All U Can Eat
Gone
Levi Johnston's Blues
Picture Window
You Don't Know Me
Kate*
Bastard
The Secret Life of Morgan Davis
Still Fighting It
Dr. Yang
Landed
Zak and Sara
Emaline*
There's Always Someone Cooler Than You
Lullaby
Hiroshima
Army*
Evaporated*
The Ascent of Stan
Not the Same

Encore:

Narcolepsy
Bitches Ain't Shit (Dr. Dre cover)

* Ben Folds Five songs

Oh Henry! Gospel to my Ears

2010-03-19T08:33:00.003-04:00

Henry Butler

March 18, Madam’s Organ, Washington

Recommended beverage: Bourbon & Coke, for $4.75!

His hands just fly over the keys, his heart pouring out in every note. The spirit of the late Professor Longhair is in the room; the spirit of New Orleans envelops him.

Playing solo at Madam’s Organ for a fundraiser to support the New Orleans Jazz and Heritage Foundation, which supports culture, education, and economic development around New Orleans, Henry Butler pounded the keys as he shifted among styles: blues, jazz, gospel, and funk among them. The foundation could not have picked a more worthy musician for this event, as Butler has played every New Orleans Jazz Fest since its inception in 1970.

“Raise your hands for me if you’re planning to come to Jazz Fest this year,” joked Butler, blind since birth. He opened the first set with a tribute to James Booker and then launched into an array of originals and covers, including Otis Redding’s “Dock of the Bay” and a gorgeous “Old Man River,” both of which are on his latest disc, Pianola Live. The disc is an 11-song collection of his solo work, some recorded in recent years, others decades ago. Fortunately, when his Ninth Ward house was taken by Hurricane Katrina, he salvaged most of his tapes and recordings.

Butler performed six songs from that disc, including his original instrumental, “Orleans Inspiration,” which spans a range of New Orleans musical styles. Instead of playing Allen Touissaint’s “Mother in Law,” from this disc, he chose to cover what is perhaps Touissaint’s most widely recognized song, “Working in a Coal Mine,” performed with Butler’s bluesy spin.

And no Butler show is complete without at least one Professor Longhair song. He played two: “Tipitina” and the infections “Mardi Gras in New Orleans.”

Butler’s music overflows with soul and I found myself not alone in dancing through my tears. It was a spectacular night of music and those attending helped support an urgent cause, as New Orleans continues the arduous process of rebuilding and protecting its heritage.

All That Jazz: Jamie Cullum Embarks on U.S. Tour

2010-03-10T00:45:00.003-05:00

Jamie Cullum

Town Hall, New York, March 4

Celebrating the U.S. release of his latest album, The Pursuit, [which ClubD has had for a couple of months now; thank you, amazon.UK) Jamie Cullum opened his U.S. tour in New York. Much of the set featured songs from this album, which many critics are calling his best to date.

The Pursuit, like his two other studio albums, offers a mix of classic jazz covers, such as Cole Porter’s “Just One of Those Things,” and plenty of jazzy originals such as the single, “Wheels.” The 29-year-old jazzy Brit is so talented, one almost forgets where the covers end and the originals begin.

Full of energy and in top vocal form, Cullum put on a fantastic show. One highlight, and a testament to his originality, was his version of “These are the Days” from his first album, Twentysomething. Playing on the Hammond organ, he became infused with the spirit of Ray Charles and began singing “I Got a Woman,” then ended the song with a gospel chant, with the audience singing and clapping, “I feel fine.”

Part of Cullum’s charm, apart from being cheek-pinching adorable, is how well he connects with the audience. He was so in tune with his audience that, at one point, mid-song, without missing a beat, he said “bless you” to an audience member who had sneezed.

He’s chatty, yet unscripted, and utterly genuine. And it’s apparent he seeks your approval. Looking slightly wounded, he said he’d picked up a copy of Time Out-New York to see if the show was advertised. Instead, he found a writer had called him, “a little bit like the annoying aspects of Harry Connick, Jr. and Billy Joel.” The audience groaned in protest but Cullum good-naturedly said he was honored for the comparison, that his music is heavily influenced by both artists. He also cited his respect for Ben Folds, to audience applause.

Truth be told, the only thing Cullum has in common with Billy Joel is that both play piano. Calling Cullum a British Harry Connick, however, is certainly valid. He played “Do You Know What it Means to Miss New Orleans” in tribute to Connick, who covered the classic back in 1988, recording it with Dr. John.

Another magical moment at this show was Cullum’s descent into the audience with his band for an acoustic “Cry Me a River.” I was already crying myself a river from his lovely solo performance of Gran Torino so was near hysterics by this point. He then closed with a two-song encore from Twentysomething, including the outstanding Hendrix cover, “Wind Cries Mary.”

Opening act Imelda May from Dublin played some funky bluesy rock that complemented the show perfectly.

Jamie’s Set List:

Don’t Stop the Music
Just One of Those Things
Photograph
If I Ruled the World
Wheels
These are the Days
Do You Know What it Means to Miss New Orleans?
Love Ain’t Gonna Let You Down
I’m All Over It
You And Me Are Gone
Gran Torino (solo)
Cry Me A River (In Audience)
All at Sea
Wind Cries Mary

Muse Puts on Musically, Visually Stunning Show

2010-03-02T23:07:00.004-05:00

Muse
Patriot Center, March 1

DC Gets Down to Black Joe Lewis

2010-02-25T21:54:00.006-05:00

Black Joe Lewis & the Honeybears
Rock and Roll Hotel, Washington, D.C., February 23

The Rock and Roll Hotel had been a funeral home until the 1968 riots razed that neighborhood. It remained boarded up for decades until it re-opened as a music venue in 2006, and some staff claimed they have seen ghosts in there. It’s possible the ghost of James Brown was lurking around on February 23^rd when Austin’s Black Joe Lewis and the Honeybears were rocking out at this club.

Perhaps the ghosts of some old blues greats were also in the room. While Lewis is often compared to Brown in style, he also channels the sounds of old blues legends such as another one of his influences, Lightnin’ Hopkins, whose guitar he was playing that night. Showing off the guitar, he said, “If you don’t know who Lightnin’ Hopkins is, that’s your problem.”

Having seen Lewis in a large festival setting (Austin City Limits 2008 and 2009) and as an opener at the 9:30 Club, it was refreshing to see him play such an intimate venue, where the classic blues really shone through. But there was also plenty of that rough, yet soulful James Brown-style yelling in there too. The crowd went wild for all of it, but really got pumped midway through the set when he played his catchy single, “Sugarfoot,” accented by his excellent three-piece horn section.

Lewis has admitted he often writes songs on the fly, and one such example is “Big Booty City,” which he wrote on an earlier visit to DC while standing outside the 9:30 Club, admiring the ladies walking by. The debut album, Tell 'Em What Your Name Is, really is fantastic, with music that will make you dance around the room and a few lyrics that will make you laugh out loud.The opening act started the night off with some fine Delta Blues featuring Lightnin’ Malcolm with Cedric Burnside, who is one of 32 grandchildren of the late bluesman RL Burnside. What a smokin’ night of music it was.

Alberta Cross Rocks the Black Cat

2010-02-06T15:38:00.004-05:00

Alberta Cross w/ Hacienda
The Black Cat, DC, February 3

recommended beverage:
water. It was wicked hot packed in that little room.

Formed in London though now based in New York,the all-bloke band Alberta Cross played a soulful set at the Black Cat. Packed into the sold-out little Backbar, the crowd listened to a band playing their hearts out with the talent to fill an arena. Singer-guitarist Peter Ericson Stakee, looking a little like Kid Rock and decked out in a big black hat, filled the room with powerful, pure, gorgeous vocals. This ain’t imported Brit pop; this is a sound built on bluesy, folk-rock.

The band’s debut album, Broken Side of Time, is a gem. The folksy ballad, “Ghost of the City Life,” features slide guitar and evokes traces of Neil Young, one of their big influence. One of the catchier tunes from the album, “The Thief and the Heartbreaker,” is also the title of their 2007 EP.

Opening band, Hacienda, from San Antonio, Texas, three of whom are brothers, was a rocking surprise. Had seen them play acoustic opening for Los Lonely Boys at the Birchmere a few months ago but had no idea they could rock out with such aplomb. They were also out supporting their newest album, Big Red and Barbacoa, due out this spring.

Where Will ClubD Be?

2010-02-01T23:24:00.000-05:00

2/3: Alberta Cross @ Black Cat
2/12: Pinetop Perkins @ The State Theatre (OLD blues great)
2/14: Songwriters Circle tribute to the Beatles (love songs)--aww for V-Day, Jammin' Java (another great option is Tab Benoit at the State Theatre)
2/21: The Editors @ the 9:30 Club (thx Jan for grabbing me a ticket)
2/23: Black Joe Lewis & the Honeybears @ RocknRoll Hotel (the musical highlight of my month!)

3/1: Muse w/ Silversun Pickups @ Patriot Center
3/4: Jamie Cullum @ Town Hall, NYC (this jazzy young Brit rocks my world)

Recommended: ClubD recommends Trombone Shorty at the State Theatre in Falls Church on 2/25. Not sure I can hit this show but, if you have not seen this New Orleans great, it's quite the musical party. Go!

Cebar Is Still Brimming with Soul

2010-01-25T08:11:00.005-05:00

Paul Cebar & the Milwaukeeans
The Barns of Wolf Trap, Vienna, Virginia, January 22

A couple of years ago, the last time I saw Paul Cebar, he was walking solo into Rock ‘n’ Bowl in New Orleans, guitar in hand, ready to jam with whoever was on the bill that night. It’s appropriate to conjure up this image, that of a man who just soaks in different musical influences around him and infuses his music with them.

He’s been at it for decades. Feeling like some jump blues? Some reggae? Some Caribbean? Some New Orleans zydeco? Some Afro-Cuban funk? You get all of that in one Cebar show.

Cebar’s two sets at this sold-out Barns of Wolf Trap show were filled with his usual high-energy tunes, but what made this show especially fun was Cebar’s exceptionally good mood. He was really letting loose and having fun up there and both his band and the crowd responded.

Ever wonder if eclectic, free-spirited folks [who dance at live music shows] exist in this town? The room was filled with them, colorfully clad folks of all ages, forming conga lines, swing dancing, having a ball.

While Cebar fans will come to his shows regardless of when he last released new material, the Milwaukeeans do have a new album out that includes some prefiously unreleased songs he’s been playing for years at shows such as “Her New Church” and “I Got Trouble.” Some songs on the new venture, Tommorow [sic] Sound Now for Yes Music People, are co-written with such musical notables as zydeco great Terrance Simien and Cesar Rosas of Los Lobos fame. One song he played from the new album, is a beautiful tribute to guitarist Marv Tarplin, Smokey Robinson’s right-hand man for the last 40 years, called “Marv’s Fluttering Guitar.”

The show featured songs from Cebar’s entire catalogue. Longtime band member Bob Jennings put down his saxophone and picked up an accordion for the zydeco tune, “Twice Little Sixteen,” a gem from Cebar’s 1993 debut album, That Unihinged Thing. Cebar closed the show with a dedication to the late great Eddie Bo from New Orleans, a cover he’s been performing for years, “Check Your Bucket.”

From the swingin’ “Please Don’t Tell Me More About My Baby,” off of Upstroke for the Downfolk, to the gospel-tinged “Who Can Love Who and How,” from his newest album, Cebar and his band cranked out one danceable song after another to an elated crowd.

An Extraordinary Evening of Gospel and Jazz

2010-01-09T11:57:00.003-05:00

The Blind Boys of Alabama w/ the Preservation Hall Jazz Band

January 8, The Warner Theater, Washington, D.C.

In the presence of great New Orleans jazz, your body cannot sit still; when there’s great gospel, your soul is moving too. Such was the case last night at the Warner Theater, where an incredible double bill featured Preservation Hall Jazz Band with the Blind Boys of Alabama.

Preservation Hall played a peppy set of traditional New Orleans jazz, including a sultry “St. James Infirmary,” and concluded with a traditional second-line parade, with some of the crowd (me included) getting in line behind the band, marching up the aisle, and getting on stage to boogie to a rousing “When the Saints Go Marching In.”

Next up, the Blind Boys of Alabama took the stage and had the crowd clapping and swaying to their unparalleled gospel. They played several songs backed by Preservation Hall but mostly performed backed by organ, drums, guitar, and bass. The three singers (two of them second-generation members) harmonized, were funny and charming, and brimmed with soul.

And, as five-time Grammy winners, they played several songs from Grammy-winning albums, including Curtis Mayfield’s “People Get Ready” and “There Will Be a Light,” written by Ben Harper. In the last decade, the Blind Boys won a Grammy for best traditional gospel album four years in a row. Last year, they won one for their latest album, Down in New Orleans, a collaboration with Preservation Hall that also featured the legendary Allen Toussaint. Last year, they also were honored a Grammy Lifetime Achievement Award.

Both bands have had turnover throughout the years. In fact, three of the original singers of Blind Boys (founded in 1939 at the Alabama Institute for the Negro Blind) are deceased; Jimmy Carter still fronts the boys (along with Bishop Billy Bowers and Ben Moore). Another founder, Clarence Fountain, no longer tours due to health reasons. Preservation Hall also has seen quite a bit of turnover in its five decades though clarinetist Charlie Gabriel and trombonist Frank Demond have been with the band for decades. And tuba player Ben Jaffe, the guy with the wild hair, is the son of founding member Allan Jaffe.

One highlight was a soulful version of Amazing Grace set to the music of the folk-rock classic “The House of the Rising Sun.” The encore, amplified by Preservation Hall’s horns, was a spirited version of the gospel classic, “Down by the Riverside.” The crowd left light-hearted, with a sprightly step and a smile.

Emmet, Fans Ring in the New Year

2010-01-03T15:56:00.005-05:00

Emmet Swimming w/ No Second Troy
Iota, Arlington, Virginia
New Year's Eve

photo: Todd Watts (rt.) and Erik Wenberg

Emmet Swimming played two long sets to a crowd of longtime and newer fans at Iota to ring in the New Year. A small club with great acoustics, Iota provided the perfect intimate setting to enjoy this seminal Washington-area rock band.

The quartet sounded tight as usual as they rolled through several albums of original material and a couple of songs from their most recent release, the EP Bathing in the New Economy. “Please Don’t Call Her” from that EP showcases guitarist Erik Wenberg’s sweet vocals. And, in “The Dance,” lead singer Todd Watts enjoys emphasizing the line, “thanks Epic Records,” a jab at the record label that carried a couple of their later albums before splitting off due to creative differences.

One good piece of creative advice from the label was adding a piano part to the song, “Motorway.” Generally, that part is omitted live for lack of a keyboardist, but that night the part was ably played by the band’s friend David Strickland, who also sat in on a couple of other tunes on accordion.

Three of the boys are original members: Watts, Wenberg, and drummer Tamer Eid. Bassist Scotty Brotemarkle was a longtime band friend before finally joining them. He throws every emotion behind playing and singing backing vocals, and remains endlessly entertaining to watch.

Something did seem strangely absent from their set that night. It was most curious that they didn’t play a single song from their debut album, Dark When the Snow Falls, notably “Hey Jesse” which has been a staple at their shows. But I am eternally happy to hear my favorites from their second album, Wake, including “Listen to the River,” “When Morning Comes,” and “Expect Me,” the latter of which was the first song they played in the new year.

Ringing in the new year with Emmet—a band I have loved and gone to see in concert since they began in the early 90s when I arrived in the area to begin college at Maryland—seemed not just appropriate, but the perfect thing to do as I reflect on recent years and look forward toward what I hope will be an exciting decade.

Behind the Music: Travis Fans Get a Rare Personal Glimpse

2009-11-24T18:03:00.004-05:00

An Acoustic Evening with Fran Healy and Andy Dunlop of Travis
November 3, Jammin Java, Vienna Virginia

Fans of the Scottish rock band Travis recently got an incredible opportunity to hear the band's two leading men in an intimate setting. Singer/guitarist Fran Healy and guitarist Andy Dunlop have spent the past few months touring American venues with their nearly three-hour acoustic set that spans the Travis catalogue. The DC area venue? Jammin’ Java!

For us lucky fans who got tickets to this show, (the club's capacity is just under 200) it was a brilliant evening. Healy told sweet, charming, sometimes funny stories between every song, accented by a Power Point slide presentation that began with what else but …a map of Scotland.

Some stories got behind the sentiments of the lyrics but, Healy warned, don’t’ read too much into certain lyrics. He said when writing the band's breakout hit, “Why Does It Always Rain on Me?” it was simply raining for his entire vacation. There was no hidden gloomy message behind that chorus. He added, though, that the opening lyrics about not being able to sleep though everyone says everything is all right, were inspired by his manager telling him by phone everything was fine even though he knew, in reality, it wasn’t, that their debut album at the time was barely selling.

In describing his inspiration for another song, Healy managed to connect Noel Gallagher of Oasis with Franz Kafka and the band the Connells. He’d been reading Kafka, fiddling around with the chords from the Oasis song Wonderwall, and a Connells song, when it all came together in the gorgeous ballad, “Writing to Reach You.”

Throughout the night, Healy wore his sweet modesty on his sleeve. He is clearly a regular bloke who never adapted even an ounce of the arrogant rock star persona. His stories were refreshing and utterly humble. He tells of writing a song for a girl he was dating who had moved away. He poured his heart out, recorded it, sent it to her, and then she barely acknowledged it, and he was left brokenhearted. Then there’s the song “My Eyes” in which he showed a slide of his adorable toddler, imploring the crowd to not take photos to protect his son.

What an incredible night of music. Everyone in that little room shed a tear at some point. Healy and Dunlop came out to greet fans after the show but the line was long and it was late and a work night, so my friend and I left. But we left in a dreamy state, with Fran’s gorgeous voice echoing in our heads.

U2 360: Incredible Visuals and Sound

2009-11-17T22:54:00.000-05:00

Fed Ex Field, October 2009

If you haven’t yet seen U2 on this tour, no friend’s story, article, or even photo can prepare you for the massive claw set. It’s almost other-worldly and it’s no doubt utterly awesome. The 90,000 or so attendees all had a great view thanks to a massive 360-degree LCD screen, so big that it reportedly weighs 54 tons! It takes some 200 trucks to carry all the staging and crew.

The last time U2 attempted a stadium show (the last several tours utilized 20,000-seat arenas) was the somewhat disastrous PopMart tour. Even worse than the cheesy set were the horrendous acoustics. But this time, Bono had a vision and it worked. Somehow this claw helps funnel the sound and the acoustics were excellent.

Was surprised not to hear “Pride,” but apparently they’ve done quite a few shows this tour without it. This tour has leaned heavily on the new album though they played five new ones here at FedEx as opposed to the seven at many other shows. Also surprised that of the new ones, they neglected to play “Stand-Up Comedy,” which I think is among the best on the album.

And what’s a U2 show without a political message? During the show, Bono called for the release of Burmese activist Aung San Suu Kyi, a Nobel Peace Prize winner who has been under house arrest for more than 20 years. Her image appeared on the screens as Amnesty International activists lined the stage in unity. Later in the show, keeping with the human rights theme, the band played “Sunday Bloody Sunday” in honor of the brave souls protesting in Iran.

And another observation: It was a great two hours of music but these blokes have more than enough material that they should be going on sans opener and playing a solid three hours. That said, if you’re gonna have an opener, well, ya can’t do better than Muse. This rockin’ Brit band was the perfect complement to a great evening of music.

Set List:

Breathe, Magnificent, Get On Your Boots, Mysterious Ways, I Still Haven't Found What I'm Looking For / Stand By Me (snippet), Elevation, Your Blue Room, Beautiful Day / Blackbird (snippet), New Year's Day, Stuck In A Moment You Can't Get Out Of, The Unforgettable Fire, Mofo (snippet) / , City Of Blinding Lights, Vertigo, Let's Dance (snippet) / , I'll Go Crazy If I Don't Go Crazy Tonight / Don't Stop 'Til You Get Enough (snippet), Sunday Bloody Sunday, MLK, Walk On
encores: One / Amazing Grace (snippet), Where The Streets Have No Name, Ultra Violet (Light My Way), With Or Without You, Moment of Surrender

Austin City Limits By Night

2009-11-16T22:56:00.002-05:00

Caught three different evening concerts at Austin City Limits.
October 2009

John Dee Graham at Continental Club

John Dee Graham played Continental Club the Wednesday before ACL (on the one Wednesday night when James McMurtry, who usually takes the late slot, was not playing there. He ironically was playing the Birchmere in Northern Virginia, near where I live that very night).

The Austin folk-rock legend with the deep bass of a voice, crooned for a long set including songs from his most recent album, It’s Not As Bad as it Looks, newly released that month. Graham has performed with the likes of Alejandro Escovedo, Patty Griffin, and John Hiatt and remains a well-respected figure on the Austin music scene.

Them Crooked Vultures at Stubb’s

Stubb’s was packed that night and expectations were high. Little was known about this then new super group and, in fact, photos were prohibited that night as they still try to keep the mystery going. Three music icons front this group: Josh Homme, singer for hard rockers Queens of the Stone Age; David Grohl of Foo Fighters fame went back to his Nirvana roots and plays drums here; and Led Zeppelin guitarist John Paul Jones.

Admittedly not a Queens of the Stone age fan, even remotely, I arrived a bit nervous. It turns out, this Homme guy can really sing and the Vultures had rocking songs, some of them kinda melodious even. It was fantastic, and their simple little light show was mesmerizing.

Devotchka at La Zona Rosa

I just knew I would love Devotchka, and I was right. This Colorado-based band plays a fusion of gypsy, punk and rock, featuring a range of instrumentation from accordion to tuba to violin.

A blend of Slavic, Greek, and Bolero music, the quartet maintains a high-energy groove at their live show. Devotchka gained exposure for doing much of the soundtrack for the movie “Little Miss Sunshine” for which they earned a Grammy nomination. The band name is Russian for “young girl.” Their music is joyful and soulful fun.

Austin City Limits: Lots of Music and Mud

2009-11-15T22:32:00.009-05:00

Prelude: “Muddy Waters”

This year, Austin City Limits moved its date back a couple of weeks to October 2-4, and fest-goers were thrilled at the prospects of cooler temperatures. It was lovely out, not too hot at all. And the new sod in Zilker Park was lush and soft enough to be nap-worthy. That was Friday.

On Saturday, tropical storm Olaf pummeled through and fest folks got drenched despite their ponchos. By Sunday, after some 60,000+ people trekked on the wet sod, the entire park was a muddy mess. But this mud smelled really bad. Upon returning, I learned why: “Dillo Dirt.” Austin, big on recycling, has a program that recycles sewage and yard trimmings, bakes the stuff to (hopefully) remove pathogens, and then uses it as fertilizer. This stuff provided a thick layer under the new Zilker Park sod. The heavy rain and many footsteps brought up the muck, and we were ankle deep in it. So, yeah, we were walking through sewage. Some folks sat and rolled in it, even. At least the music was good…

The Music by Day:

Friday

The Avett Brothers were outstanding. Their alt-country sound was complemented by banjo, two upright basses, and great vocal harmonies. It turns out their hit “I And Love And You” is equally beautiful and haunting live.

Another great first-day act was Blitzen Trapper, a tight rock band who seem to have a strong Tom Petty influence.

Two Saras played great sets. Sarah Siskind from Nashville had a gorgeous voice. Her songs were soulful and pretty. One song she performed gained her some attention when it was re-recorded by Bon Iver. He was on the schedule later in the weekend. The other Sara, well known as the lead singer of Nickel Creek, played with special guest David Garza on guitar. This one, Sara Watkins, also sounded lovely, a bit more on the rocking side. Rumor has it, staying till the end of her set would’ve revealed another special guest: John Paul Jones.

It was eclectic day of music. Mishka performed some great reggae. New Orleans bluesman Walter Wolfman Washington tore it up in the Wildflower Center tent. Poi Dog Pondering, a Chicago band by way of Honolulu, let loose in that same tent with a sound that crosses every musical genre. Always fantastic is the quintessential Texas group Asleep at the Wheel who played earlier in the day. It’s bluegrass. It’s swing. One can’t help but two-step to these guys.

Folks voted in advance and Austin’s own The Bright Light Social Hour won the Sound & the Jury contest, gaining a spot at the fest (and a night playing Antone’s too). They were bluesy, folksy, rockin’, dance fun. One amazing act who got a little swallowed up in the large fest setting was Andrew Bird. He sings, whistles, plays a mean violin and is best appreciated in a club setting.

Sorry I missed: The Walkmen, Phoenix (the French band with a punk song that graces a Cadillac commercial).

Saturday

And then came the rain. Early in the day, two bands rocked my world and were among the best highlights of my weekend. !!! (“chk chk chk”) had me in a dancing frenzy as rain beat against my poncho. Only stayed for 20 minutes or so, bouncing around and beaming, but had to then hit a nearby stage to check out the new Irish rock band BellX1 (pictured here) who sound quite a bit like Talking Heads, particularly their breakout hit, “The Great Defector.”

Another band who got a bit swallowed up in the large fest setting (and the torrential downpour was in full swing at this point) was Grizzly Bear. Very mellow and lovely. Halway into their set, I escaped the rain to hear my New Orleans music love Henry Butler w/ the Game Band. It was jump blues at its finest.

Other great acts that day included The Decemberists (outstanding!) and the Felice Brothers, and the Levon Helm Band.

Sorry I missed: Alberta Cross (but I’ll get a chance when these Brit rockers come through DC in February), Papa Mali, Bon Iver, Flogging Molly.

Sunday

Austin’s Black Joe Lewis & the Honeybears started the day off with energy and soul. Lewis sounds like a young James Brown and together with his horn section had us all dancing in the mud. After them, the B-52s played a stellar set. I take back any past criticism. Live, they are musically tight, feisty, and wonderfully eccentric.

Here We Go Magic offered up some tight Brooklyn, New York indie-pop.

A couple of Brit bands rocked out that day. Arctic Monkeys were brilliant, though I still prefer their debut album material and they gave us a healthy sampling of it. And, although I only heard two songs by White Lies, they were incredible, evoking a sound reminiscent of classic post-punk bands. Why oh why didn’t I stay for their whole set? Loved this band.

One nice surprise that day was Dirty Projectors, a newish New York indie rock band. Excellent. Rebirth Brass Band from New Orleans sounded infectious as ever, and opened their set with “Don’t Stop Til Ya Get Enough” in tribute to Michael Jackson who had recently passed.

We stayed for half of Pearl Jam’s closing, unopposed, two-hour set. The new album was not quite out yet but sounded as good as the classics.

Sorry I missed: Brett Dennen (changed his schedule so he could fly out and do Letterman the next day); Preservation Hall Jazz (but I ran into one of them at the airport the next day and professed my undying love for them).

Please see next entry: ACL: Music of the Night.

Bruuuuuce!

2009-11-15T16:03:00.002-05:00

Bruce Springsteen & the E Street Band

November 3, Verizon Center, Washington, DC

(Finally updating my blog from November!)

Although I grew up in neighboring New York and have much love for that Jersey boy Springsteen, this was my first Springsteen concert! It was especially fun hitting this show with my good friend Mer, as attending a concert with a die-hard fan always heightens the experience. She knows every word to every song. [I’m this way with Billy Joel songs, so I can relate].

Springsteen’s show was 2 ½ hours of rockin’ fun. It’s amazing that he still is bursting with energy, running all over the stage, smiling, singing his heart out, and pushing for more audience participation. He didn’t have to push very hard as this was a truly adoring audience. They danced, pumped their fists in the air, and sang along with such soul. Even the offbeat clappers seemed to fall in line.

Another amazing feat is that Springsteen has played with these same musicians for decades, and they’re among the best in the industry, including guitarists Nils Lofgren and Steven Van Zandt, saxophonist Clarence Clemons, and drummer Max Weinberg. Wife Patti was absent.

The 26-song set rocked and this was one of the shows in which they performed the entire Born to Run album. What a treat!

I had wanted to attend his show here earlier this year but the whole Ticketmaster debacle thwarted that plan. Glad I finally got to see them in action!

Setlist: [source: setlist.fm]

Outlaw Pete

Prove It All Night

Hungry Heart

Working On a Dream

Thunder Road

Tenth Avenue Freeze-Out

Night

Backstreets

Born to Run

She's The One

Meeting Across The River

Jungleland

Wating On A Sunny Day

Stand On It

Seven Nights to Rock

Growin' Up

Pink Cadillac

Lonesome Day

The Rising

Badlands

Encore:

Hardtimes

No Surrender

American Land

Dancing In The Dark

Rosalita (Come Out Tonight)

Higher and Higher [cover]

Austin City Limits Fest: Stay Tuned!

2009-09-24T12:22:00.002-04:00

ClubD will share her band notes following Austin City Limits, Oct 2 - 4.
Night shows planned:
John Dee Graham at Continental Club
Them Crooked Vultures at Stubb's
(hopefully) Devotchka at La Zona Rosa

& more!

Rusted Root Brings Utter Joy

2009-09-23T12:07:00.000-04:00

Rusted Root, the State Theatre, Falls Church, VA
September 25

The Pittsburgh-based Rusted Root always puts on a stellar, high-energy live show. With a heavy influence on percussion, the roots rock band draws sounds from world music, especially African rhythms, to create their infectious sound.

This spring, they released their first studio album in 7 years, titled, Stereo Rodeo. They interspersed a few tunes from this new effort at the show and threw in old favorites, as well as fantastic covers of Elvis Presley's "Suspicious Minds" and Neil Young's "Cinnamon Girl."

They closed the show with "Ecstasy," a song that feels so utterly good, it makes me jump around like a jellybean on crack. Rusted Root is music therapy. Left the show feeling light and joyful.

ZZ Top: Still Kickin' after 40 Years

2009-09-14T22:52:00.005-04:00

September 13

The bearded bad boys of blues-rock, ZZ Top rocked out on their first of two nights at the 9:30 Club. The Houston-based trio formed in 1969 and retain its original members--Billy Gibbons (guitar & vocals), Dusty Hill (bass & vocals), and Frank Beard (the drummer, and only one not actually sporting a beard).

Why, you may ask, would ZZ play a smallish venue such as the 9:30, which generally maxes out around 1,400. Local ZZ Top fans have Steven Tyler to thank. The lead singer of Aerosmith fell off the stage about a month ago, breaking his shoulder and thus cancelling the remainder of their tour. ZZ had been Aerosmith's opening act. The ZZ three were already revved up to tour, so they carried on in smaller venues, though at an elevated price. Tickets went for $75 + service fees.

From older bikers to young preppies, the crowd rocked out to all the classics, in a high-energy set that included "Cheap Sunglasses," "Sharped Dressed Man," "Legs," "Tush," and "Gimme All Your Loving." Gibbons had two rules for the crowd: he said there'd be no drinking during their gospel songs, and rule 2: there wouldn't be any gospel songs. The crowd roared. The club's acoustics were particularly good that night, and opening act, local blues-rockers Justin Jones & the Driving Rain, were the perfect complement to this rocking evening.

Long-Awaited Living Colour Show Does Not Disappoint

2009-09-13T13:28:00.004-04:00

Living Colour, the Birchmere, September 1

It’s been six years since Living Colour’s last tour. They are back with a new disc, The Chair in the Doorway, and opened the tour on September 1 at the Birchmere. The nearly two-hour set showcased the stellar musicianship of these four New York lads. Three of the four are original members while bassist Doug came on board back in ’94.

Drummer Will Calhoun* had told me, “Bring earplugs, girl. It’s gonna be loud.” And he was right. But it was good loud. Living Colour’s sound fuses hard rock and metal, with funk, punk, and a bit of hip hop, ably led by Cory Glover’s talented vocals.

When they first hit the music scene in 1983, there was nothing quite like it. They were the first African American hard rock band and inspired the sound of other similar bands to come. The quartet burst into the public eye in 1988 with their radio hit, “Cult of Personality.” And they’re still touring and making new music. Of the songs they played from their new release, which wasn’t out yet at the time of this show, they complement their earlier sound well, with hard-driving beats and insightful lyrics.

*ClubD wishes to thank drummer Will Calhoun for putting her & ClubDave on the list for this show. We met barely two weeks earlier when he arrived in Reston, VA as the drummer for the Stanley Jordan trio. Meeting him: with his down-to-earth, goodhearted nature and spectacular smile, has been nothing short of a joy.

Virgin Mobile Fest Was Franz-Tastic

2009-09-02T18:19:00.002-04:00

Recommended beverage: Starr Hill Wheat

(by far the best beer option there)

This year, a few distinct features set Virgin Mobile Fest apart from ones in recent years. First, it was free, absent even of those dreaded service fees, apparently a gift to us from the Virgin and Ticketbastard folks for years of loyalty. And, it took place at Merriweather Post Pavilion in Columbia, MD, as opposed to Pimlico Racetrack in Baltimore. Third, it was a single day instead of a whole weekend.

This was the first Virgin Fest that cooperated with my schedule, and so I spent the late afternoon and evening there. As with any free, and surprisingly well organized, event, the place was mobbed, though any potential troublemakers were already passed out on the lawn, no doubt from a Miller Lite/nicotine overdose. There were two stages: the main pavilion stage, snaked by two massive and unmoving lines on either end of people hoping to get into the pavilion, and a west stage, set up on the site of what’s usually a parking lot. Plus a dance tent seemed to be hopping, but noise levels exceeded what's acceptable for my old ears so I steered clear.

The bands I primarily came to see both performed at the west stage, but I did lounge on the lawn a bit too to catch a couple of main stage acts. Arrived just in time for Australian rockers Jet. Don’t let their preppy, clean-cut appearances deceive you. These guys rock hard. If you close your eyes, in your mind they'd have long hair and massive tattoos. The blokes alluded to their last appearance there, opening for Oasis a couple years ago. Sounded fantastic and their new stuff sounds equally intriguing.

Weezer was a ton of fun too. There’s something special about geeky guys rocking out with all their hearts, and doing it well. Their set showcased their ever-changing styles: from mellow to hard, pop to indie. The crowd sang loud and lovingly to such radio hits as “Island in the Sun” and “Buddy Holly,” and frat boys emerged from their drunken slumber for “Beverly Hills.”

One act I sampled for the first time was The Bravery. The music was solid rock, and the lead vocalist sounded uncannily like the Cure’s Robert Smith. It was a fantastic sound and I will keep an eye on those guys. Then, Blink-182 proved to me, in less than a minute, why I just don’t like them. Grossly off-key vocals, however, seemed to excite some folks there. But off I roamed to the west stage.

The National played the west stage with a set that was emotive and well-done. They're from Brooklyn but sound as though they could have easily come straight from any British club. There’s a touch of Joy Division in their sound, accented by a couple of horns. Excellent and creative stuff.

The highlight, as I just knew it would be, was the Glasgow quartet Franz Ferdinand. They played a 70-minute set of danceable goodies from their three albums, including a healthy sampling from their first album. They’re tight, blending dance and rock. Alt-indie at its finest. “Take Me Out” naturally got the biggest response, though the crowd seemed transfixed by the rest of the set, which undoubtedly generated a few thousand new fans. Was thrilled to hear "Darts of Pleasure" which they skipped when I saw them back in May at New York's Roseland Ballroom.

The catch to the “Free Fest” was charitable giving. Donations were encouraged toward a group that works to combat youth homelessness. Folks left with their ears ringing from good music, and a satisfied feeling that their presence helped the larger community.

Henry Butler: Good for the Heart and Soul

2009-08-21T12:03:00.003-04:00

Henry Butler

Blues Alley, Washington, August 20: first of two sets

[photo of me with Henry taken at Wolf Trap in 2007]

In 2005, New Orleans musician Henry Butler lost his home to Hurricane Katrina and left his demolished Ninth Ward neighborhood for Denver. This year, he packed up and headed east, and is now based in Brooklyn, New York. So it was an easy jaunt to head down to Washington and play two shows at Blues Alley last night.

But this night had a special mission. Butler, blind since birth and no stranger to overcoming obstacles of his own, donated half the proceeds from last night’s shows to help fellow New Orleans musician Marva Wright, who is recovering from a massive stroke.

Butler has various incarnations of his act: a jazz trio, a larger blues band, member of New Orleans Social Club, and sitting in with the best phat cats out there. He can hold his own solo too, as he did last night. Butler’s 85-minute set (he confessed to leaving his watch in his hotel room and just kept on going, since nobody really wanted him to stop) was a soulful mix jazz, blues, and ragtime—with a large dose of charm.

On the Yamaha grand, he opened with several instrumentals: “Orleans Inspiration,” from his latest disc, Pianola Live; a cover of “Elanor Rigby,” and a spirited version of Scott Joplin’s “The Entertainer.” Then the singing began with the lively, “Somethin’ You Got;” the timeless Otis classic, “Dock of the Bay,” and Allen Toussaint’s “Workin’ in a Coal Mine.” Soon he had the crowd clapping and singing the chorus to “I’ve Got My Eyes on You,” from his Blues After Sunset disc.

Watching his hands fly over the keys and hearing the raw emotion of his singing, it’s hard not to be moved to tears during a Butler show. My tear ducts full, I was glad he slipped in his cover of Professor Longhair’s “Tipitina,” a personal favorite. He closed the show with his Stevie Wonder cover, “Will it Go Round in Circles,” followed by the sound of thunderous applause.

Glen David Andrews Plays Reston

2009-08-11T08:32:00.003-04:00

New Orleans trombonist and singer Glen David Andrews performs two energetic sets at Reston Town Center in Reston, Virginia. In each set, he led a second-line parade up the aisles, much like they still do in his hometown of Treme, in the sixth ward of New Orleans.

He and his band added some local flavor to the show, accompanied by three fantastic gospel singers from the Howard University Gospel Choir. His set included a little gospel and a lot of traditional New Orleans funk and jazz, including "When the Saints Go Marching In," "Basin Street Blues," "St. James Infirmary," and "Iko Iko."

He would not take no for an answer when it came to crowd participation. Perhaps the most heartwarming moment came when he broke into "You Are My Sunshine" and invited a couple dozen young children on stage, who sang the chorus with him into the mic. Folks were cheering, clapping, and dancing all night.

Where will ClubD be in August?!

2009-08-05T10:32:00.005-04:00

August is sizzling with good music here.

August 13: Trashcan Sinatras, Rock and Roll Hotel, DC
August 20: Henry Butler-solo, Blues Alley, DC
August 23: Alexa Ray Joel, Jammin Java, Vienna VA
August 30: Virgin Fest, Merriweather Post Pavilion, Columbia, MD

Also in August, find me at the Saturday night series I coordinate at Reston Town Center:
August 8: Glen David Andrews Band (funk, jazz & gospel. They're from New Orleans and will be accompanied by members of Howard University's Gospel Choir)
August 15: Chopteeth (local Afro-funk big band)
August 22: Stanley Jordan Trio (yes, THE Stanley Jordan, the jazz guitarist legend)

Billy and Elton Play Nats Park

2009-07-12T18:10:00.006-04:00

Set List included:
Your Song (duet)
Just the Way Your Are (duet)

Billy's Solo Set included
Angry Young Man
Movin' Out
Allentown
Zanzibar
Don't Ask Me Why
She's Always a Woman
Scenes from an Italian Restaurant
River of Dreams
We Didn't Start the Fire
It's Still Rock n Roll To Me
Only the Good Die Young

Elton's Solo Set included:
Funeral For a Friend/Love Lies Bleeding
Saturday Night's Alright (for Fighting)
Burn Down The Mission
Madman Across The Water
Tiny Dancer
Goodbye Yellow Brick Road
Daniel
Rocket Man
I'm Still Standing
Crocodile Rock

Closing Duet Set included:
Don't Let The Sun Go Down On Me
I Guess That's Why They Call It the Blues
The Bitch is Back
You May Be Right
My Life
Bennie and the Jets
Candle in the Wind
Piano Man

Wilco Plays Wolf Trap

2009-07-12T17:57:00.004-04:00

Wilco played a two-hour set, and probably would've kept going if not for the venue's curfew. Conor Oberst (frontman of Bright Eyes) & the Mystic Valley Band opened with an energetic alt-country set.

left: Jeff Tweedy of Wilco
right: Conor Oberst

Huey Still Has It

2009-06-21T13:23:00.004-04:00

Huey Lewis, June 18, Wolf Trap-Filene Center, Vienna, Virginia

Ladies screamed; people danced; some had their young kids in tow to share their childhood music with them. Such was the scene Thursday night at Wolf Trap, where Huey Lewis played a 90-minute set packed with his 80s hits. These songs seem to remain timeless, probably because they're steeped in jazz and blues. In recent years, he has played quite a bit of blues, and he threw a couple of those songs into this set.

He opened with "Heart of Rock and Roll," but the crowd didn't really get to their feet until a few songs in, when he played the Back to the Future classic, "The Power of Love." The band featured a four-piece horn section and included several original members of "The News" as well as a young, guitarist heartthrob.

Lewis rocked out with high energy and charm, playing the classic versions of his hits, including: "I Want a New Drug," "Hip to Be Square," "If This is It," "Jacob's Ladder," "Workin' for a Living," and "Doin' It All for My Baby." It was a fun musical journey "Back in Time."

Marsalis Family Jams at the Kennedy Center

2009-06-16T23:41:00.011-04:00

The first family of jazz played a rare show all together for a special occasion. The four musical Marsalis sons--Wynton, Branford, Jason, and Delfeayo--and their non-musical brother Ellis, Jr. gave their daddy Ellis, 74, a lifetime achievement award and honored him through song and poetry.

Ellis Sr. was part of the band, who played songs dear to Ellis from throughout his career, starting with Louis Jordan's "Choo Choo Cha Boogie." Other musical highlights included "Sweet Georgia Brown," which I affectionately call the Harlem Globetrotters song, and "Monkey Puzzle," the title track from a 1963 album of the same name.

Ellis Jr. came out midway through to read a beautiful poem he'd written paying homage to his father's grace. The boys also honored their mom, Delores, who sat in the first balcony. Ellis Sr. beamed and chuckled as his sons each shared memories of their parents, many of them heartwarming and humorous. During the evening, among the tidbits we learned: Jason demonstrated he is a prolific whistler with perfect pitch; Mama Delores taught her boys the importance of respect and literacy; Ellis recalled first meeting Harry Connick, Jr. when he was an 11-year-old precocious kid but was immediately impressed by his talent; Wynton let a then 18-year old Harry stay at his New York apartment for a bit, as Harry panicked if he might ever get a gig; Ellis Sr. took pride in fulfiling every commitment and even played gigs where only one or two people showed up, even if, Branford recounted, both attendees were sleeping.

As if the stage wasn't already overflowing with greatness, two special guests came out during the second set to perform: Billy Taylor on piano and Harry Connick, Jr. on piano and vocals. It was an exquisite evening of music.

(from top) Wynton marches up the aisle during the New Orleans second line parade that ended an incredible evening of music; Ellis at the Steinway; Branford and Wynton jam.

SET LIST (courtesy of Delfeayo)
choo choo cha boogie
donna lee
monkey puzzle
over in the gloryland
syndrome

body & soul (piano duet, Ellis w/ Dr. Billy Taylor)
sweet georgia brown (piano duet, Ellis w/ Harry Connick, Jr.)
stardust (Ellis on piano, Harry Connick, Jr. on vocals)
Ode to E - poem
teo
at the house, in da pocket
2nd line

Elvis Costello: Sugarcane is Sweet!

2009-06-13T12:56:00.003-04:00

Elvis Costello, Wolf Trap's Filene Center, June 11

Recommended Beverage: Bring yer 'own. I think I paid $9 for my snobby Affligem.

I’d seen numerous incarnations of Elvis Costello live: solo, he and keyboardist, with the Impostors, with the Attractions, with Allen Toussaint and the Crescent City Horns. But I’d never seen him up close, and was proud to sit in the second row at Wolf Trap to experience Costello’s newest musical exploration—his foray into bluegrass.

Costello just released a 13-song bluegrass album, a spectacular effort produced by T-Bone Burnett, titled, Secret, Profane, & Sugarcane. And he is touring on it with his new band, the Sugarcanes, a six-piece band complete with mandolin, accordion, fiddle, and upright bass. Of note are bluegrass legends Jim Lauderdale, a singer-songwriter-guitarist from Nashville, and dobro player Jerry Douglas.

The 2 ½+ hour set featured most tracks from the new album and a few classics, all of which fit effortlessly into the new format: “Delivery Man,” “Alison,” “Red Shoes,” and “Peace, Love, & Understanding,” among them. For good measure, he also threw in a cover, a great rendition of the Grateful Dead’s “Friend of the Devil.”

Costello was in good spirits and sounded in top form, though at one point he apologized for his voice sounding scratchy, which be blamed on New York’s air quality. From my perspective, the view from the pit sure was sweet!

Emmet Rocks a Now Smoke-Free Iota

2009-05-17T10:39:00.006-04:00

The Virginia four, Todd, Erik, Scottie, and Tamer, rocked a packed Iota on Friday night. The boys of Emmet Swimming opened their two-hour set with "Arlington," appropriate given the 'burb they were playing in, and later played "Boston," the final song on that same album that rounds out their journey.

Back in the day, they frequently toured clubs along the northeast corridor but have now settled into other lives, occasionally playing a local club or festival when the mood hits. This time, the boys surprised us with...a new song! It was called "Cab," and fit right in with their sound.

Emmet Swimming played a good sampling of songs from their studio albums and last EP, including a fantastic retooled version of "Expect Me," from [ClubD's favorite Emmet album] Wake. Their encore included one cover, a gem from their live album: Billy Bragg's "Levi Stubb's Tears."

The club was packed with old school fans singing along, reliving old Emmet memories, and some of their friends discovering this great band for the first time.

Past ClubD Emmet reviews: State Theatre, Brew Fest

For Love of the Franz

2009-05-11T00:32:00.005-04:00

Franz Ferdinand, Roseland Ballroom
New York City
May 7, 2009

Set List:
Bite Hard
The Dark of the Matinee
No You Girls
Tell Her Tonight
The Fallen
Michael
Turn it On
Walk Away
Twilight Omens
Do You Want To
Take Me Out
What She Came For
40′
Outsiders

Encore:
Ulysses
Lucid Dreams
This Fire

Eric Hutchinson is a Breath of Fresh Air

2009-05-07T09:59:00.002-04:00

Eric Hutchinson, May 6
9:30 Club, Washington, D.C.

recommended beverage: Abita Restoration Ale
(still on a New Orleans kick)

"If you wanna rock, you rock; if you wanna roll, you roll." Pretty good advice from the 29-year-old singer-songwriter Eric Hutchinson, who played a solid set at the 9:30 Club last night. Most of his set featured songs from his debut album, Sounds Like This, and the packed house also seemed receptive to the couple of new songs he unveiled.

One such song, possibly written on the spot, was an ode to the 9:30 Club. Hutchinson was born in Washington, D.C. and lived in Montgomery County, Maryland through high school, so he had seen quite a few shows at the venue, and in this ditty he rattled off some bands he'd seen there, from Ben Folds Five and James Brown (nice) to, err, Backstreet Boys.

What's so refreshing about Hutchinson is his fearlessness in blending musical genres. He's somewhat of a cross between Gavin DeGraw and Jason Mraz,vocally, and much like those singers, he integrates other music styles. You'll get some funk, blues, reggae, and a hint of jazz. Two of the catchiest tunes on his disc, "You Don't Have to Believe Me" and "Rock n Roll" are perfect examples of this.

Check this guy out!

The Good Times Rolled at Jazz Fest

2009-04-29T23:32:00.007-04:00

Jazz & Heritage Festival
New Orleans, Louisiana
Story coming soon.

photos:
1. parade
2. Henry Butler at Snug Harbor
3. Walter Wolfman Washington at Preservation Hall

Barrage Dazzles the Crowd at Wolf Trap

2009-04-19T20:23:00.006-04:00

Barrage, The Barns at Wolf Trap, April 17

The fiddling sensation Barrage came to the Barns at Wolf Trap for two nights last week to dazzle audiences with their music and dance. Five violinists accompanied by a three-piece rhythm section played two full sets in support of their latest disc, High Strung.

The high-energy musical fusion the band plays is extraordinary. They covered an impressive array of genres: Celtic, Cajun, bluegrass, klezmer, pop, disco, swing, and traditional songs from France and Ukraine. The sold-out crowd could barely sit still through "Sing, Sing, Sing," and that’s fine because band members asked for the audience to let loose and many clapped and cheered.

From interpretations of Ravel’s "Bolero" to the Beatles "Elanor Rigby," the band showed off their original arrangements. The vocals were a bit muffled in the mix but the bulk of the show was instrumental and it never detracted from the show.

Band members came from Canada, Germany, and the United States. The band originated in Calgary, Canada and the cast rotates during the year based on an intensive competition. This configuration of Barrage thoroughly entertained.

ACL Wish List

2009-04-06T14:28:00.003-04:00

Updated April 29

The best bits of music festivals are usually the smaller acts speckled throughout the day but it's still nice to be excited about a headliner or two.

This is why my heart sank at rumors of the Austin City Limits fest, October 2 - 4, this year:
Pearl Jam, Kings of Leon, Dave Matthews Band and Ghostland Observatory. Should these be the headliners, (other than Kings of Leon who have become a pretty decent rock band), I will either
1. Take an evening swim in Barton Springs.
2. Be the happy Jew dancing around the gospel tent.
3. Leave early for a nap, shower, and some ribs.

Only one act on the below wish list came true: Arctic Monkeys. I am quite happy about two headliners: John Legend and Levon Helm. And there are quite a few fantastic daytime acts, including a good representation of New Orleans stuff:
Henry Butler (pictured here); Preservation Hall; Walter Wolfman Washington; Papa Mali; Marva Wright; Rebirth Brass.

And among the other confirmed acts I'm excited about:

Andrew Bird

Lily Allen

Flogging Molly

Decemberists

Black Joe Lewis

!!! ("chk chk chk")
Brett Dennen
David Garza
Medeski, Martin & Wood
Devotchka

The ClubD ACL Wish List (written before the lineup was announced):

Los Lonely Boys (aren't the Garza brothers from Texas?)
Pete Yorn (new album coming out, opening for Coldplay some dates this summer)
Jason Mraz (he's a ball o' joyful fun)
The National (American bands who sound British get high marks in my book)
Gogol Bordello (bring 'em back!)
Ray Lamontagne (a voice that pierces the soul)
Springsteen (how much fun would that be?!)
Bela Fleck (still have not seen him but hear great things)
Neko Case (bring her back!)

and on the UK and Ireland front:
Franz Ferdinand: These Scottish boys create a veritable dancing frenzy at their shows.
Muse (they're opening for U2 this spring. Anything is possible)
Arctic Monkeys (the lead singer kid is pretty damn awesome)
U2 (doubtful--as they are around VA and PA then)
Keane: the new stuff is really good.
Bloc Party (Just missed 'em here so that'd be a nice treat)

Gomez and Black Joe Lewis at the 9:30

2009-03-30T00:31:00.006-04:00

Gomez headlines but opening act Black Joe Lewis steals the show.

Sometimes front row center is not a blessing. Such was the case at the 9:30 C lub last night. When UK rockers Gomez took the stage, the technical gods cursed those of us in the front center as all three vocal mics were muted. It may have been an issue with lead guitarist Ben Ottewell’s amp turned up too high. Whatever the reason, the strength of Gomez lies with its three lead vocalists and I (and friends) could not hear their vocals at all.

Speaking of vocals, Ben Ottewell, in my opinion, is one of the greatest voices in rock and he should be singing harmony at all times when not singing lead. He was a bit underutilized last night.

By the fourth song, I left my prime spot, moved back quite a bit, and voilá! Vocals—loud, clear, and well mixed. As an older Gomez fan, the highlight for me was “Tijuana Lady” from their debut album, the only song they performed from it. Gomez tours the States infrequently enough that “Whippin Picadilly” from that same album should be a staple at their shows and wasn’t played this time, but I digress.

Another highlight for older Gomez fans was “Shot Shot” from their second album, In Our Gun, which opened the show (and during which I rocked out despite no vocals). Another gem they played from that album was “Detroit Swing 66.”

The new album, A New Tide, which comes out tomorrow, sounds pretty good and in line with their usual sound. The single, “Airstream Driver,” is catchy and fun, and Ian Ball does a great job on lead vocals.

But the opening band’s tight 45-minute set stole the show. Black Joe Lewis and the Honeybears, a blues/funk/soul band from Austin, with a funky—and quite multicultural—horn section, positively rocked the place. I’d caught part of their set at Austin City Limits last fall and knew what this seven-piece powerhouse was capable of doing. Joe entertained with “Big Booty Woman,” a song inspired by his observations during a visit to DC. Perhaps most poignant was his song, “Bitch, I Love You.”

As they rolled through much of their debut album, Tell ’Em What Your Name Is, one could easily detect the James Brown and Lightnin’ Hopkins in his influences. During “Gunpowder,” I was transported back to college marching band as the horn riff was pulled from “Soul Finger.” The set was a booty-shakin’ and enlightening experience.

Stanley Jordan at Blues Alley

2009-03-26T23:55:00.003-04:00

Stanley Jordan, Blues Alley, Washington, DC

March 26

Recommended Beverage:

Brother Thelonious Belgian-Style Abbey Ale

Jazz guitar legend Stanley Jordan opened the first of two sets of a four-day run at Blues Alley with an eclectic, heartfelt mix. Throwing his entire soul behind every note, Jordan displayed his unique guitar style, the touch technique, which sounds like multiple guitars. Watching his fingers fly across the frets is stunning every time.

Jordan played several songs from his latest disc, State of Nature. On two of them, he played piano and guitar simultaneously because he didn’t have his cellist in tow. Each song on the disc represents man’s relationship to the environment, particularly our responsibility to take care of it. On one song, he created the mood by removing the sixth note of the C major scale. Another song symbolizes man’s unintentional damage to the earth. Yet another, a Mozart concerto as you’ve never heard Mozart, represents each person’s uniqueness.

Jordan’s set included a cover of Simon & Garfunkel’s “Sound of Silence.” And he ended the show with his signature cover, a variation on a variation of “Elanor Rigby.”

See the Stanley Jordan Trio free this summer at Reston Town Center: August 22.

Where Will ClubD Be?

2009-03-25T12:26:00.002-04:00

March 29: Gomez w/ Black Joe Lewis, 9:30 Club
April 4: R&B Revue, State Theatre

more to come...

Legendary R&B Revue Kicks Off in Florida

2009-03-24T21:55:00.010-04:00

City Limits,
Delray Beach, Florida March 20, 2009

The Legendary Rhythm & Blues Revue began its latest tour in Delray Beach, Florida and is making its way up the East coast. The high-energy, jump blues show features Tommy Castro and his band, along with three other blues all-stars: DC native Deanna Bogart; Chicago's Ronnie Baker Brooks, and J. Geils Band harp player Magic Dick. The idea was born out of the annual Legendary R&B Cruise. The four had jammed together late-night during the first cruise and decided they would take the gig on the road as an annual tour.

Each blues legend plays a short set and then they all come together after the break for an all-star jam where anything goes. Local Florida act JP Soars and the Red Hots, with saxophonist Terry Hanck, opened the show and jammed with them in their second set. Noteworthy was a homemade guitar Soars played, made out of a cigar box and two strings. He plugged it in and let it rip, and the sound was outstanding.

The Legendary R&B Revue comes to the State Theatre in Falls Church, VA on April 4.

Photos: (left) Magic Dick; (right) Deanna Bogart with Tommy Castro; Ronnie Baker Brooks

Catch ClubD on the Road this Spring

2009-03-09T16:46:00.004-04:00

March 20: Legendary Blues Revue, City Limits, Del Ray Beach, Florida
(Tommy Castro, Ronnie Baker Brooks, Magic Dick, Deanna Bogart)

April 24-27: Jazz Fest in New Orleans

May 7: Franz Ferdinand, Roseland Ballroom, NYC
late May: Music venue review: Whistle Binkies, Edinburgh UK

Lucinda Williams Rocks the 9:30 Club

2009-03-06T00:49:00.004-05:00

Lucinda Williams, March 4, 9:30 Club, Washington, DC

It was as if Lucinda Williams telepathically heard my appeal for a blues show. The southern belle played a high-energy two-hour-plus set at the 9:30 Club Wednesday night. Other than a handful of songs from her newest album, Little Honey, and a couple of other songs, her second show of two nights was entirely different from the previous night. This one focused heavily on blues, rather than country, and was reportedly more up tempo. She did not, however, neglect her country side. One of many treats was “Passionate Kisses,” a song later recorded by Mary Chapin Carpenter, which earned Williams her first Grammy in 1994 for Best Country Song. The song that followed, “Greenville,” Williams boasted, was one later recorded by Emmylou Harris.

Williams has been making music for three decades, hopping among genres: blues, country, folk, rock, and it's refreshing that she pulls from her entire catalog and changes up her shows so frequently. There were undoubtedly fans at both shows this week and they essentially experienced two different sides of her.

This was my first Lucinda show and I cannot be happier about it. I came close to seeing her at New Orleans Jazz Fest a few years ago but the headliner competition was stiff and I wound up instead checking out Van Morrison. On the way out, I did hear her final song, “Get Right with God,” and eagerly awaited getting to hear a full set. It was worth the wait.

Her backing band Buick 6 opened the show.

Set List: (courtesy of Dave)
I Just Want to See You So Bad
Happy Woman Blues
I Lost It
Circles and X’s
Can’t Let Go
Right in Time
Passionate Kisses (solo acoustic)
Greenville
Jackson
Fruits of My Labor
Tears of Joy
Real Love
Out of Touch
Little Rock Star
Real Live Bleeding Fingers and Broken Guitar Strings
Unsuffer Me
Atonement
Honey Bee
Righteously

Encore:
Disgusted
The Things I Used to Do
Joy
Long Way to the Top (AC/DC)

Steve Poltz Is....he just is.

2009-03-02T15:16:00.007-05:00

Steve Poltz played two eclectic sets at Lou and Rain's house in East Windsor, NJ on Sunday. One never knows what one will get at a Poltz show. It ranges from somber to quirky, speckled with the unexpected and the outrageous. You will be moved; you will laugh; you will sit there at times in utter disbelief. He is a little nutz and, if you tell him that, he is honored to hear it.

During the break, I introduced myself and told him a little story that wound up making it, in a slightly altered version, into his next set as a dedication. I told him that my boyfriend's ex wasn't into live music and so when Dave and I started dating, we went to see Poltz at Iota, and Dave got sentimental during "You Remind Me Who I Am." Now he can enjoy concerts again, with someone who shares that passion and, in that regard, it's become our song. Thanks, Mr. Poltz, for playing it for us.

Set list: (courtesy of Rob Hanning)
Set 1
Going Up the Country (Canned Heat cover)
Music Box
California Krikor's Waltz
This Rice Looks Like a Butterfly
Special Heshial
Everybody Needs Rain (improv)
WWGD
Moon River
Medical Career
The Hargrove Situation
Dahmer's Song
Freebasin' Celery
Sugar Boogers
Super Taco Dilemma
Dreams #2
Things You Should Know About Me
Killing Myself To Be With You

Set 2:
You Remind Me Who I Am (dedicated to me and Dave!)
If It Feels Right (this and the above he co-wrote with Anya Marina)
You Were Meant for Me (song he co-wrote with his ex-girlfriend, Jewel)
A Million Miles Away
Look to the East / Good Morning
Murder Isn't Funny
Space in Steve's Head
Salt Suit
Watching the Elephants Dance
Spider & Bumblebee
Medicine
I Faked My Life
Dick's Automotive

Joie Calio Plays Two-Hour Show at NJ House Concert

2009-03-02T14:33:00.015-05:00

Joie Calio, a Seattle-based singer-songwriter-guitarist, performed a two-hour solo acoustic set at a house concert in Medford, New Jersey on Saturday night. It was a fantastic night filled with soulful, gorgeous music, and complemented by a bass-shaped cake.

Dada fans know Calio as that band’s longtime bassist. Calio confirmed that night, in fact, that Dada is working on a new album and plan to tour on it later this year. But he also has a side project called X Levitation Cult and continues to write and record solo material. Much of Saturday’s show was devoted to XLC’s debut CD, Happiness in Hell, which is filled with bittersweet lyrics, sweetly sung. And Calio, the co-lead singer of Dada, ably threw in a few Dada songs too, notably “Dorina,” “Agent's Got No Secret,” and "Rise."

The long set included several songs from his 2004 solo album, Complications of Glitter, including “About Monkeys and God,” “You’re Not My Sunshine,” and the title track. He also played a few covers, notably “Strawberry Fields Forever,” and “Rockin in the Free World.”

The crowd of about 40 also got treated to a new song he’d written just a few days earlier following his car accident while driving in the snow. The song, “Roundabout” is his most bluesy one yet and featured slick slide guitar. It was extra appropriate that night as one of his biggest fans there found herself getting into a car accident on the way to the show. She made it though, dedicated fan she is.

Our evening’s hosts, Michelle and Tim, had made a chocolate cake modeled after Calio’s red bass (see photo). It was both a work of art and delicious and it enthralled Calio who seemed to be thinking about it throughout the show.

Calio was very friendly and mingled with the crowd after the show. He learned that my boyfriend and I were the mystery couple hanging in the band’s room after the New Year’s Eve Dada show in Philly. (At the time, we were ensconced in a long conversation with Phil, the drummer). And, we learned how the band derived its name, a cool, but not brief, story.

According to Calio, at a party one night, he was showing some intoxicated folks the levitation trick, one involving a few people using just their fingertips to lift someone. Guests were awed and he wound up getting requests at future parties to do the trick. Soon, he found himself at the doctor with a bone chip on his knuckle. When he told the doctor how it happened, the doc prescribed this advice: “No more levitation!” So the “levitation cult” idea was born from all of the requests, but he wanted a third word in his band name. Unsure what it would be, he kept writing “x” before “levitation cult” as he pondered a cool first word. Finally, one day, his producer said he liked the “x” so that stuck.

The Old Ceremony at Iota

2009-02-27T10:50:00.003-05:00

The Old Ceremony,
Iota, Arlington, Virginia
Feb. 26

On their first date of a northbound tour to promote their newest album, Walk on Thin Air, The Old Ceremony played a masterful set at Iota. These guys represent what is funky and fresh about rock: they're a tight quintet with a dynamic vocalist, complemented by violin and keyboard/xylophone.

Incorporating elements of jazz and punk into their versatile sound, the Raleigh, NC-based band went through such catchy songs as "Papers in Order" and "Get to Love" from their previous album. And they played a handful of their sweet and sultry ballads, such as the jazzy "Reservations," from that same album. The new songs are a continuation of this same sound.

I must thank bassist Matt for spilling a beer on me at Zaytinya last year. Had it not been for that incident, I might never have discovered these guys. The band was running late to their gig at Rock and Roll Hotel, and I was running late to interview the manager of that club for a spotlight story for On Tap. Realizing we were going to the same place, they gave me a ride to the club. Due to the interview, I missed their set that night and finally got to seem them live last night. It was an outstanding show!

Summer Preview: A Ballpark Hit

2009-02-25T11:40:00.002-05:00

Billy Joel and Elton John, July 11
at Nationals Park, Washington, D.C.

It’s official: Nationals Park will play host to its first concert this summer. On July 11, piano rockers Billy Joel and Elton John will share the field for a co-bill. The two musical buddies started touring together back in 1994 and have repeatedly performed together over the years.

I missed that first tour in 1994, as I had spent that summer studying in Russia. But I caught them some eight years later at what was then the MCI Center in Washington. The Rocket Man and Piano Man each performed a set, each sang a couple of the other’s songs, and they did a couple of duets. I remember Joel joking how Elton John had looked through his concert wardrobe and saw nothing but black suits, so John took one of his own brightly colored ties, cut it in half, and stuck it on Joel’s lapel. “We need to give you a splash of color,” John had told Joel.

Joel’s and John’s mutual respect and friendship bring out memorable performances and some levity, but don’t expect too many surprises. I’d love to be proven wrong here. Their joint show tends to be an evening of greatest hits with a couple of duets mixed in. For me, I’m quite happy with John’s greatest hits. Bring on the “Crocodile Rock.” But for Joel, I thrive on the rarities.

Joel’s solo shows in recent years have followed a standard set list with one or two rare gems thrown in. I’ve attended numerous Joel shows in recent years hoping for the unexpected, and I’ve been happily surprised several times. He tossed in “Sleeping With the Television On,” and “Stiletto” in Boston a few years back; and “Everybody Loves You Now” from Cold Spring Harbor has become a live standard of late. And my friend called earlier this month from a recent show in Florida to say Joel pulled out “Travelin’ Prayer.” That’s about as deep a track as a longtime fan could hope for.

The July 11 show is reported to follow a similar format to their previous tours together. It’s definitely a don’t-miss show. Longtime Billy and Elton fans will enjoy singing along to their hits and watching their interaction, and perhaps a surprise or two will work its way into this show.

Jason Mraz, Ben Folds Play GW's Smith Center

2009-02-14T12:57:00.008-05:00

Two talented singer-songwriters played full sets on a co-bill at the George Washington University on Friday night. Ben Folds and Jason Mraz rocked the small arena, both focusing on newer material.

Unfortunate for Ben Folds, the crowd was chatty and quite impatient as he rolled through much of his newest material, and he admitted late in the set he realized many folks there probably never heard of him before.

But two new songs fully captured the crowd’s attention: one was a fictitious rollicking song about a Republican lawyer whose liberal date got coked up at a Christmas party and ruined his chance of making partner, called “Bitch Went Nuts." The other song, which can also be found on his 2008 album, and third solo effort, Way to Normal, was “Free Coffee,” in which Folds places two Altoids cans inside the piano, on the strings, and uses a distortion pedal to create a synthesizer-harpsichord sound. About midway through the set, the crowd was rapt and gave him the respect he deserves.

Whatever Folds performs, he does it with such gusto, singing his sardonic lyrics and unleashing his anguish on the piano. Still, longtime fans want to hear the old stuff, including songs from his former trio known as Ben Folds Five. Surprisingly, he didn’t play anything from his debut Five album. No “Underground.” No “Philosophy.” But he gave fans a few familiar tunes, including “Landed,” and “Rockin’ The Suburbs” as well as a couple from “the Five,” notably “Army” and perhaps his best-known ballad, the heart-wrenching “Brick.”

Next up, Jason Mraz and his band emerged to thunderous applause and screams. The crowd was continually energized by Mraz repeatedly referencing and thanking GW for hosting him, though much less enthused whenever he brought up it being the eve of Valentine’s Day. He told the guys who groaned not to worry about buying anything, that the girl is just happy if you show up.

Backed by a tight band that includes the dynamic percussionist Toca and ahorn section that did choreographed sways and individually showed their chops during a couple of solos, Mraz puts on an engaging show. Blending rock, reggae, funk, and jazz, this fusion is complemented by his sweet vocals that at times soar beautifully into the uppermost range.

Mraz wasted no time launching into his debut album hit “Remedy,” the second song of his set, and the crowd was up and hopping. During the final chorus, he had the ladies singing the chorus, “I won’t worry my life away, ay ay…” and had the guys simultaneously singing the chorus to Oasis “Wonderwall.” It worked well.

Mraz’s biggest ovation came during his latest hit, “I’m Yours” from his latest album, We Sing, We Dance, We Steal Things. When he emerged for the encore, Mraz cleverly said, “Today is Friday the 13^th, and Jason is back.”

Jayhawks Frontmen Play the Birchmere

2009-02-10T23:59:00.003-05:00

Gary Louris and Mark Olson, the Birchmere, Alexandria Virginia
February 12

Jayhawks frontmen Gary Louris and Mark Olson are still making music together. It's a natural fit. Their vocal harmonies are flawless, a little reminiscent of Simon and Garfunkel. The folk-rock duo got a fantastic reception at their Birchmere show, as they played songs from their latest cd, Ready for the Flood, and a host of Jayhawks songs.

Hello Dolly!

2009-02-10T23:43:00.011-05:00

February 11

As spunky as ever, country music star and philanthropist Dolly Parton speaks at the National Press Club about her music career, her Imagination Library, her connection with Great Smoky Mountains National Park, and the Broadway musical 9 to 5 set to open this spring.

Responding to a question about her favorite artists, Dolly admitted she doesn’t have much time to listen to others’ music because she is so busy. Dolly, the musician, had been busy working on her latest mainstream country album, Backwoods Barbie, released last year. And, her hit movie “9 to 5” has become the inspiration for a Broadway musical set to open this spring. She said the script is witty and holds true to its time period, the 80s, as do the costumes.

Speaking of wardrobe, she joked about getting chided, sometimes even called “trashy,” over the years for her glitzy wardrobe. “It’s a country girl’s idea of glam,” she said, also a line from the title track of that album.

Yet another musical project, Dolly also is set to release an eight-song album, Sha-Kon-O-Hey, Land of Blue Smoke, celebrating the heritage and people of the Great Smoky Mountain National Park. Dolly has been named spokeswoman for the park as it celebrates its 75^th anniversary. In honor of this milestone, she's donating all proceeds of this album’s sales for the first year to benefit the park.

“The Smokies are a part of my DNA,” Dolly said, having grown up by the foothills of the park. It’s still free, she said, and in this day and age, “free is good, isn’t it?” Great Smoky happens to be the most visited U.S. national park, she boasted, with some 10 million visitors per year. Sha-Kon-O-Hey is also about to become a musical, to be performed at her Dollywood theme park in Nashville beginning this spring.

Dolly, the philanthropist, has also been busy being “The Book Lady,” a title in which she takes great pride. A small project she started in Tennessee, the Imagination Library, which sends one book a month to kids from birth until age 5, has expanded to 1,000 communities in three countries. The program has mailed some 20 million books to date.

Dolly grew up one of 12 children. Her dad could not read or write but had a strong work ethic, and her mom endowed her with creativity. Dolly, the author, has a children’s book coming out in June, titled, I Am a Rainbow.

While Dolly has written thousands of songs throughout her career, she admitted her favorite is one called, “Coat of Many Colors.” The lyrics tell of a raggedy coat her mother had made. Little Dolly would come home upset that kids had made fun of the coat and that she was poor. Her mother then told her the biblical story of Joseph and the colorful coat to give her pride. Dolly said her mother told her they had love; kindness, and understanding, things that money can’t buy. “That song represents family, my own philosophy, and will always be dearest to my heart,” she said. Asked if her songwriting has evolved over the years, she said, “I always write my songs from the same place,” staying true to her roots.

She spoke at length about getting her start on the Porter Wagoner show in the mid-60s. Dolly told him she’d stay for five years or so and then had plans to go off on her own. Although they wound up lifelong friends, Wagoner sued her at the time for leaving the show. She then sat down and wrote, in just a couple hours, a song based on caring deeply for him but having to leave. That song was “I Will Always Love You,” her first hit, and one much later popularized by Whitney Houston. When she sang it to him, he told her she could leave provided he could produce that song.

When asked her most surprising hit, she cited “Here You Come Again,” released in 1977, coming off the heels of her leaving Wagoner’s show. “Everybody said it was a big mistake to leave the show, but then [the song] sold a million copies right away.”

Dolly said she would like to be remembered as someone who did what she wanted to do, followed her dreams, and that she didn’t keep it all for herself. “I’ve enjoyed giving back and I want people to think of me as someone who did care and did try.”

The first book her Imagination Library gives to kids is The Little Engine that Could, a book she fondly remembers for its positive message that if we believe in ourselves, we can accomplish anything. She is living proof of that. She said, “I’m the little engine that did!”

Brett Dennen Charms the Sold-Out Crowd at the State Theatre

2009-02-07T00:50:00.006-05:00

Brett Dennen
State Theatre, Falls Church, VA
Feb 6

This up-and-coming singer-songwriter impressed the sold-out crowd at State Theatre with his smoky-smooth vocals, a cross between Paolo Nutini and Teitur. Some have drawn comparisons to a young Bob Dylan. This California boy has a bright career ahead. He's touring to support his chart-topping album, Hope for the Hopeless. His single "Make You Crazy" is an infectious ditty that features Afrobeat musician Femi Kuti.

Much of his repertoire is mellow, blending alt-indie rock and jazz. He stepped up toward the encore with a beat that had the crowd clapping and dancing all over the room.

Definitely one to watch...