Concert #821 - Rhythm Future Quartet at McCabe's Guitar Shop (March 11, 2018)

I'm not into jazz, but I do have a soft spot for the sub-genre known as "Gypsy Jazz". Moreover, I'm instantly attracted by concert offerings that make references to Django Reinhardt and that was definitely the case with the Rhythm Future Quartet, a band whose moniker is actually derived from a Django song.

As expected, it was an all-instrumental concert and, as hoped, it was quite entertaining. The four musicians who comprise the band were all superb. Their leader, the classically trained violinist Jason Anick, kept the crowd informed about their songs and yes, he can play with virtuosity. I was also thoroughly impressed with guitarist Olli Soikkeli, originally from Finland, and also with the band's second guitarist, Max O'Rourke. The interplay between Olli and Max, when they were left alone on the stage for a few minutes, was one of the highlights of the evening. Rounding up the band was bassist Greg Loughman, whose solos were well received by the crowd.

The set list included a few jazz numbers I did not know, a few original compositions - the one that stood out was "Olli's Bossa" - and, surprisingly, an outstanding rendition of "Come Together", the Beatles song.

All-in-all, I had a good time getting acquainted with this exceptionally likeable band and their music.

Rhythm Future Quartet at McCabe's

Olli Soikkeli (left) & Max O'Rourke at McCabe's

Jason Anick at McCabe's

The final bow

The set list

The stage

Concert #843 - Mike Watt & The Secondmen and Double Naught Spy Car at McCabe's Guitar Shop (September 7, 2018)

Punk rockers seldom take the stage at McCabe's and that is precisely what attracted me to attend this double-bill in the first place. In retrospect, it was not a good idea. Being unfamiliar with Mike's music did not help. Then there was the decibel level of his performance. In plain English, it was bloody loud.

Mike came out with two Secondmen, a singer/keyboardist and a drummer whose names I sadly do not know. Their energy level was commendable, but the music they unleashed was much too loud. Late in Mike's set, I started to feel some kind of a connection with his music, but then his set ended before I could really get into it. It was certainly an interesting experience, given my minimal prior exposure to punk rock.

After Mike Watt and his band removed all their gear from the stage, it was time for the members of Double Naught Spy Car to set up their respective "work stations" and I had fun observing their preparations.

After Mike Watt's set, I was craving for something more mainstream, but that wasn't in the cards. The band's own web site describes their music as surf noir, jazz on acid, spaghetti middle eastern, and "difficult", and I can confirm that, to these ears at least, it was difficult indeed. The musicians themselves were top-notch, no problem there, but their music did not resonate well with me.

Band line-up

Marcus Watkins - Guitar

Marc Doten - Bass

Paul Lacques - Lap-steel

Joe Berardi - Drums

Danny McGough - Keyboards
 

Mike Watt & The Secondmen at McCabe's

Mike Watt taking a bow at the end of his set

Mike Watt clearing the stage

Double Naught Spy Car - Setting up for the show

Marcus Watkins (left) & Marc Doten at McCabe's

Paul Lacques at McCabe's

Danny McGough at McCabe's

Joe Berardi at McCabe's

Hiroshi, a frequent McCabe's attendee, with DNSC's set list

The stage

Concert poster

Concert #844 - Marley's Ghost at the Claremont Folk Music Center (September 22, 2018)

I went to see Marley's Ghost with just a rough inkling of what the band could do. As it turned out, it took them no more than two songs to make a fan out of me. I was totally taken by the versatility of the band, as they hopped from genre to genre with the greatest of ease - they played bluegrass, country, folk, blues, gospel, a touch of reggae, and they did it with instrumental virtuosity and great vocal harmonies. And speaking of vocals: to these ears, they sounded the best when their voices joined together for the singing of gospel tunes - their renditions of "Shadrack" and "Run Come See Jerusalem" were delightfully good.

BAND LINE-UP
Dan Wheetman: Guitar, vocals

Mike Phelan: Guitars, vocals

Ed Littlefield Jr.: Pedal steel, vocals

Jon Wilcox: Guitar, vocals

Jerry Fletcher: Keyboards, vocals

Bob Nichols: Drums

The band's set list consisted of a mix of original music, as well as covers. I liked their delivery of "Ticket To Ride" and also the show-ending "One Love", the Bob Marley classic.

I must also mention their humor: I laughed out loud when Dan Wheetman invited the crowd to buy the band's albums and said that all those unhappy with the purchased CDs may bring them back in exchange for CDs that the band dislikes. By the way, Dan's baritone voice is something to behold.

All-in-all, I had a fabulous time discovering the many talents of this outstanding but little-known band and I know that I will catch them again.

Mike Phelan (left) & Dan Wheetman at the Folk Music Center

Dan Wheetman (left) & Ed Littlefield at the Folk Music Center

Mike Phelan (right) & Jerry Fletcher at the Folk Music Center

Set list - Sheet 1

Set list - Sheet 2

Concert organizer Jerry O'Sullivan introducing the band

Intermission at the Folk Music Center

The stage

Concert #840 - James Intveld at McCabe's Guitar Shop (August 11, 2018)

This was my third time to see James Intveld in concert and the verdict is in: he is getting  better with age. I loved everything about his performance, from the quality of his voice, to his singing technique, to his well-balanced set list. And he's a good guitarist as well. Why he isn't better known in the musical world remains a mystery to me.

James opened his set with "Have Faith" and wrapped up the evening with "A Sinner's Prayer", two gorgeous numbers that bookended many other equally great songs that just kept coming and coming: "Perfect World" "Cryin' Over You", "All The Way From Memphis", "Somewhere Down The Road", "Your Lovin'", "Stringin' Me On", "Let's Get Started", "Walk With Me" and a few others, all of which are his compositions, I think.

Spotted in the audience was famed movie director Peter Bogdanovich, apparently a James Intveld fan. I'm sure he went home totally happy, just like everybody else who attended the show.

Brian Whelan, the evening's opening act, delivered a set that had moments, but sounded a bit monotonous to these ears - come to think of it, that is often the case when I see singer-songwriters for the first time.

James Intveld at McCabe's

James Intveld at McCabe's

James Intveld's set list

Peter Bogdanovich chatting with friends after the show

Brian Whelan at McCabe's

Brian Whelan's set list

The stage

Concert poster

Concert #851 - The Salty Suites and Phil Salazar & The Kin Folk at McCabe's Guitar Shop (November 16, 2018)

Friday night's concert at McCabe's was a double-header that introduced me to two highly entertaining acts.

The evening opened with a seventy-minute set by Phil Salazar & The Kin Folk, a quintet of graying gentlemen whose musical skills and energy level brought us to our feet. Covering various genres - from traditional bluegrass to western swing to cajun music - their set was very well received by the crowd. With three vocalists and a couple of multi-instrumentalists in the lineup, Phil's band kept things rolling at a high pace, with lots of humorous moments between songs. The band members had plenty of opportunities to strut their stuff via engaging instrumental solos that generated frequent applause.

Band lineup

Phil Salazar - Fiddle, vocals

Tom Corbett - Mandolin, guitar, vocals

Bill Knopf - Banjo, vocals

Bill Flores - Dobro, guitar, accordion

Rick Borella - Bass

Phil Salazar & The Kin Folk at McCabe's

Even at first blush, their original compositions sounded good - the one that stood out was Tom Corbett's "Fish To Bite". Their set also included a few covers: Ralph Stanley's "Little Maggie", the classic "St. James Infirmary" and "Swing To Bop", the band's one-song encore.

Phil Salazar & Bill Flores at McCabe's

Tom Corbett & Rick Borella at McCabe's

Phil Salazar's set list

The evening's second set was delivered by the Salty Suites, a genre-bending trio consisting of Chelsea Wiliams (vocals, guitar), Scott Gates (vocals, mandolin) and Chuck Hailes (vocals, upright bass). They are young, talented and energetic. Chelsea knocked my socks off with her vocals, she is something special. Her singing on "I'll Be Fine", a song written by Chelsea herself, was one of the highlights of the evening. Knowing that Chelsea has a solo career, in addition to being one-third of the Salty Suites, I thought that Scott and Chuck were there only to provide instrumental support. Boy, was I wrong.

With his idiosyncratic singing style, great voice and outstanding mandolin playing, Scott Gates was a key contributor to the success of the evening. I loved his rendition of "The Parting Glass", which was the first of the trio's two-song encore. Chuck is a good singer as well, I really liked the way he delivered "Chocolate On My Tongue". The band's entire set, about eighty-minutes in all, was exceptionally entertaining and the crowd responded accordingly.

The Salty Suites at McCabe's

After his outstanding first set, Phil Salazar came back and played with the Salty Suites for half-an-hour or so. His dynamic interplay with Scott was exceptionally good, especially on "Swing To Bop", a song we also heard during Phil Salazar's opening set and we all had a good laugh when Phil picked his violin like a mandolin, while Scott was using Phil's violin bow on his mandolin.

By the way, the show was either a sellout or very close to being one.

The Salty Suites & Phil Salazar at McCabe's

Scott Gates & Phil Salazar challenging each other at McCabe's

The Salty Suites, with Elaine Gregson on accordion

Chelsea Williams at McCabe's

The Salty Suite's set list

The end of the show

Chelsea, Chuck & Phil mingling with fans after the show

Chelsea Williams meeting fans after the show

The stage is ready for the Salty Suites

Stage ready for Phil Salazar & The Kin Folk

The merch table

Concert announcer Brian Rodriguez showing the crowd what to turn off