Concert #641 - Rodney Crowell at McCabe's Guitar Shop (June 15, 2012)

Announced as "an evening of music, poetry, readings and storytelling", this show had the potential of becoming a real drag for those folks who, like me, are not into poetry and don't care for excessive "spoken word" delivered at the detriment of music. But things turned out just fine, as Rodney's music took center stage from the get go and it stayed there for the evening, with only minor and entirely enjoyable digressions of the non-musical kind.

The focus of the show was on "Kin", Rodney's just-released album, a collaboration with writer Mary Karr and featuring guest vocals by heavy hitters such as Lucinda Williams, Kris Kristofferson, Norah Jones, Vince Gill, Emmylou Harris and Rosanne Cash, Rodney's ex. We got to hear eight of the ten songs of the album and they were all of the highest quality. Songwriting this good is uncommon and I believe that Mary Karr deserves credit beyond her role as a lyricist - I'm pretty sure that her involvement had some catalytic effect on Rodney's creative juices when it came to crafting tunes.

The show started with Rodney solo - he played "Anything But Tame", which also happens to be the album's opening track. Following that, Rodney brought out guitarist Steuart Smith, who seated himself directly in front of me and I'm glad he did, as his playing was an absolute pleasure to observe. I'm still amazed by his intricate fingerwork and the beauty of the sounds he produced. No doubt, the Eagles knew what they were doing in 2001, when they picked Steuart to replace the fired Don Felder.

Rodney Crowell (right) and Steuart Smith at McCabe's

Soon they were joined by Mary Karr, who handled the poetry part of the show, although one may argue whether a poem that includes the F-word qualifies to be called poetry. For the storytelling part, Mary borrowed from her "Liar's Club" book and I must say that her control of the English language is stunningly good. Mary also soloed on one song, I think it was "If The Law Don't Want You", a song handled by Norah Jones on the studio version of "Kin".

Mary Karr delivering some "spoken word", with Rodney Crowell listening

Rodney was in great vocal form, he sang with precision and he did feel what he sang. The tone of his voice and his vocal inflections were Crowell-esque, in other words, he sounded just like I knew him from his recorded music. I also liked his on-stage demeanor - he gave Mary and Steuart the room they deserved and treated them as equals. Rodney spoke little, but said a lot - now that's an art that other performers should master as well.

Once again I must bring up the quality of Rodney's songwriting. Whether drawing from "Kin" or his older material, everything we heard last Friday was top-notch, essentially one highly listenable number after another. The sequencing of songs was great, too, and the end result was an exceptionally enjoyable show that could have gone on and on without anyone minding, certainly not me.

The set list

With songs as good as Rodney's, it's hard to pick a highlight, but if pressed, I'd go for "The Rock Of My Soul", "God, I'm Missing You" and "Sister Oh Sister". I also liked "I'm A Mess" and the faux-Hank Williams tune titled "Just Pleasing You".

Rodney Crowell acknowledging Steuart Smith at the end of the show

Rodney Crowell and Mary Karr receiving a standing ovation

All-in-all, Rodney Crowell's concert was yet another fabulous event, the kind you often see at McCabe's and probably nowhere else in the Los Angeles area. Where else can you attend a world-class event and be surrounded by a knowledgeable, well-behaved and respectful crowd, but at McCabe's?

Concert #640 - Val McCallum at McCabe's Guitar Shop (June 10, 2012)

This was Val McCallum's first-ever solo show, as far as I know. Come to think of it, it wasn't really a solo show. "Val McCallum & Friends" would have been a more appropriate description of  what took place at McCabe's last Sunday, as the only song performed by Val with no one else on the stage happened to be the very last song of the encore!

After my many previous encounters with Val, whether as a member of Jackshit or backing up performers such as Shelby Lynne, Freedy Johnston, Creed Bratton and Susanna Hoffs, I could safely say that I knew him better than most any other musician. But when it came to the concept of "Val solo", I just did not know what to expect.

Well, the verdict is in: Val and his friends put on an exceptionally good show, complete with a few high-caliber guests, some announced in advance, others not. It all started with Val singing four of his own compositions, with a young lady singer who goes by the name of Z Berg providing backup vocals. The songs were of the "kinder and gentler" variety, their quality was remarkably good. In two separate songs, Val sang lovingly about his daughter Stella and wife Shelli, the latter being the "Tokyo Girl" Val sang about in the song of the same title. Now that's quite a departure from Beau Shit, Val's alter ego, who often sings about young ladies being murdered (Pretty Polly, Rose Connelly and others).

Then Z Berg took over the lead singer role and what a pleasant surprise that was. She possesses a wonderful voice and a singing style that appealed to me very much. As far as I know, the four songs she sang lead on were her own compositions and they were all stunningly good, especially the one titled "Charades". Add her extremely relaxed and self-confident stage demeanor and what you get is a rare talent who, at least from my vantage point, came out of nowhere. I will now start looking for her work as a member of the Like, her earlier little-known band.

Next in line was up-and-coming singer and guitarist Blake Mills, introduced in a highly complimentary manner by Val. Blake's guitar playing was superb and he can sing, too. His extended guitar jams with Val were a beauty - Neil Young's "Pocohantas" was a highlight. They received support from drummer Danielle Haims and a bassist whose name I cannot recall.

Val McCallum at McCabe's (June 2012)

Jackson Browne and drummer Steve Mugalian took the stage for the playing of "Jesus On The Mainline", which turned into a delightful extended jam, complete with crowd participation.

Jackson Browne stayed on to sing two songs of his own, namely "Miracle Mile" and "Rarebird". For many years, even decades, I did not count myself among Jackson's most ardent fans, but now, after having witnessed a few a his guest appearances at various venues, I am a lot more appreciative of what he does.

The set list, where JB stands for Jackson Browne

The stage got real crowded when Val and Jackson brought out Spanish guitarist Javier Mas and Moldavian violinist Alex Bublitchi, two musicians from Leonard Cohen's current touring band. Out of courtesy, Blake Mills sat on the stage floor after giving his chair to the more senior Javier. What followed was pure magic. Their rendition of Cohen's "A Thousand Kisses Deep", sung by Jackson with the full participation of all other musicians, ranks among the finest performances I have ever witnessed. Just imagine - the lead guitar role shifting seamlessly between the three devilishly great guitar players present on the stage - from Val to Blake to Javier and so on, it was divine, and so was Jackson's singing, and when the song ended, the crowd was on its feet to give the musicians a rarely seen mid-concert standing ovation. Funny thing - the best song of the evening does not appear on the set list.

The set ended with Z Berg coming out yet again for a couple of more songs which were as good as the first ones she sang. Val then came back all by himself for a one-song encore, his own "The End Of The Day", then it was all over. In my book, the concert was a "Perfect 10". 

Val McCallum remained on the stage for the entire duration of the show and acted as a gracious host who allowed his guests to shine. As a long-time follower of Jackshit, I was happy to see his non-Beau side and I liked what I saw.

I just hope that there will be many more such episodes of "Val & Friends".

Jackson Browne and Javier Mas tuning up

Val McCallum thanking the audience

The hugely talented Z Berg, after the concert

Val McCallum (left) chatting after the concert

Guitarist-extraordinaire Blake Mills (left) after the show

Drummer and McCabe's employee Steve Mugalian

The stage

Concert #639 - JD McPherson at McCabe's Guitar Shop (June 9, 2012)

I'm afraid I'll run out of superlatives before I finish this short write-up. Last night at McCabe's, JD McPherson came out of nowhere to deliver one of the best concerts I've ever seen there. I said "came out of nowhere" simply because JD is a late-bloomer with a strikingly short resume - although he's in his mid-thirties, he has only one album under his belt. But what an album it is!

Sometime in April, I bought my concert ticket on the strength of JD's "North Side Gal" video, which was an instant knock-out with me. I showed up at McCabe's with a heightened sense of curiosity and excitement, wondering whether JD's excellent debut album and catchy video could possibly be matched by his live show. And it wasn't only me - there was a buzz in the air last night at McCabe's, some sort of a tension one could almost touch.

About JD. He's exceptionally likeable. Great personality, without a trace of an attitude, and up there on the stage he was just "one of the guys". Plays with a lot of intensity and abandonment. Has a sense of humor. Great guitar player. An outstanding songwriter as well. Has a voice that's seemingly made for the kind of music he does, namely old-school rockabilly, country-flavored rock & roll, with a touch of ska and blues thrown in just for fun. A tireless performer. Gave the crowd a generous four-song encore.  Classy enough to acknowledge the Americans, the evening's opening act.

In certain ways, JD reminded me of Willie Nile, with whom he has a couple of things in common: a huge heart and boundless energy, all housed in a small body.

JD McPherson (left), drummer Jason Smay and bassist Jimmy Sutton

The music was loud and I would not have wanted it any other way - that's how rock & roll is supposed to sound. I liked the way JD mixed his own songs with a few old classic numbers, such as "Farmer John" and Chuck Berry's "Oh Carol". Exceptionally good was "Oil In My Lamp", an old religious tune recorded by the Ska Kings, among others.

We got to hear most of the songs from his debut album and they all sounded great. The uptempo "Fire Bug" and "Wolf Teeth" were particularly effective, but then so were the slower "A Gentle Awakening" and "Signs And Signifiers". "North Side Gal" was fabulous, even though there were a few slight deviations from the recorded version.

JD's set list

A great musician deserves a great band, and that's what JD had - a great band. Jimmy Sutton is possibly the best upright-bass player I have ever seen. Hearing him play was a joy and it'll be hard to forget his intense facial expressions and body language. Moreover, as a special bonus for me, he was wearing the same "Bethlehem Steel" T-shirt I noticed and liked in the "North Side Gal" video. And he can sing, too. Bo Didley's "You Don't Love Me, You Don't Care", featuring Jimmy on vocals, was one of the best moments of the evening. By the way, Jimmy Sutton is the producer of JD's only album.

Jimmy Sutton during the soundcheck

Everyone else in the band was great - drummer Jason Smay, keyboardist Ray (last name?) and a saxophonist whose name I did not catch. The latter's contribution deserves a special mention, as it helped preserve the overall sound of the album.

JD McPherson thanking the crowd

The stage

Producer and bassist-extraordinaire Jimmy Sutton, after the show

The McPherson Express, parked in front of the venue

Concert poster

The show was opened by the Americans, a local band that seems to get better and better every time I see them. Their power-rockabilly style was a perfect match for JD's music.

Concert #638 - The Holmes Brothers at McCabe's Guitar Shop (May 20, 2012)

I was raised on classic soul and rhythm & blues, among other genres, and that is why my DNA contains substantial doses of Otis Redding, Booker T. Jones, Joe Tex, the Staple Singers, Solomon Burke and many others. In today's day and age, though, you'd be hard pressed to find a live concert featuring the old-school black music that's so dear to me. The Holmes Brothers may not have the name recognition of Aretha Franklin or Wilson Pickett, but in terms of giving me the thrill of the good old days, they certainly fit the bill.

One doesn't ofter hear gospel, R&B and electric blues at McCabe's Guitar Shop, but that's what the Holmes Brothers played there two weeks ago in front of a near-sell-out crowd. Well, whoever elected to stay home missed out on an evening of "the real thing", delivered with joy and intensity by brothers Wen­dell and Sher­man Holmes and brother-in-spirit Popsy Dixon, collectively known as the Holmes Brothers:

• Wendell Holmes - Vocals, Guitar, Piano
• Sherman Holmes - Vocals, Bass
• Popsy Dixon - Vocals, Drums

The proceedings kicked off with "Amazing Grace"and "Will The Circle Be Unbroken", played by the Holmes Brothers without the slightest attempt to imitate anyone. What followed was a dynamic mix of original songs interspersed with an intriguing choice of covers, some of which did not sound great to these ears, as they departed much too far from the "original intent". Two cases in point: "I'll Be Back", the Lennon-McCartney tune, and Jim Reeves' "He'll Have To Go".

But there were plenty of other songs that sounded absolutely great to my ears, particularly the classic blues numbers featuring Wendell on vocals and electric guitar. The two songs that worked the best for me were Jimmy Reed's "Big Boss Man" and Elmore James' "It Hurts Me Too". Other notable highlights were "You're The Kind Of Trouble", Ray Charles' "Come Back Baby" and "Close The Door", an original written by Sherman Holmes.

The Holmes Brothers at McCabe's

Vocal duties were shared by the three musicians, with Wendell and Popsy carrying most of the load. At times, Popsy's falsettos reminded me of the late Eddie Kendricks of the Temptations. I would have liked to hear more of the baritone voice of bassist Sherman Holmes, I really liked his singing.

The set ended with a rousing rendition of their "Had A Good Time Tonight", complete with plugs to purchase their latest album for "twenty Yankee dollars", as they humorously put it. In response to the crowd's standing ovation, the Holmes Brothers came back for a one-song encore, "Precious Lord", delivered by Popsy Dixon from the edge of the stage, away from his drum set.

The smile of cancer survivor Wendell Holmes

Sherman Holmes on stage at McCabe's

Selling and autographing merchandise after the show

The Holmes Brothers must be in their seventies, yet they are still capable of putting on entertaining shows filled with raw energy and lots of good music. If they ever come back to McCabe's, I'll be there.

Concert #637 - Julie Christensen at McCabe's Guitar Shop (May 13, 2012)

This was my fourth encounter with Julie Christensen, yet only the first time to see her in a headlining role. I first heard of Julie in 1992, when she opened for Luka Bloom at the Variety Theater in Downtown Los Angeles. Twenty years later, I have no recollection at all about her set, nor do I remember what her contribution was to the otherwise unforgettable "Shock and Awe" mega-concert dedicated to Randy Newman's music that took place in 2004 at UCLA's Royce Hall. In sharp contrast with these memory slip-ups, I will never ever forget her monumental rendition of Leonard Cohen's "Anthem", which she sang with Perla Batalla in 2007, also at UCLA. That night I made a huge mental note to catch Julie again sometime in the future and last Sunday at McCabe's I finally had my chance. Sitting in the front row, I was wondering whether she would impact me once again as forcefully as she did in 2007.

Julie did not disappoint. She was in excellent vocal form and the songs were great, too, so I enjoyed her show from start to finish. The set list was based primarily on her newly-released album titled "Weeds Like Us", which I promptly bought after the show.

One of the two set lists placed on the stage floor

Another set list (note the slightly different song sequence)

The crowd was definitely thin, but that was to be expected on a Mother's Day Sunday night. Well, whoever wasn't there missed a great show that featured not only a classy vocalist, but also a top-notch band. Multi-multi-multi-instrumentalist Jeff Turmes played four different stringed instruments (banjo, electric bass, acoustic and electric guitars) and I had a lot of fun following his intricate bass lines. Rick Shea's electric guitar accompaniment was exceptionally good and so was Steve Mugalian's gentle drumming. There were no flashy solos, as Jeff, Rick and Steve played together like a true band whose sole mission was to support Julie's songs and voice.

The only song I knew the whole night also happened to be one of the finest songs of the entire concert. I'm talking about "Weeds Like Us", a number written by Jeff Turmes and previously recorded by Janiva Magness, Jeff's ex-wife. Attending a concert with mostly new songs could be a drag, but that wasn't the case at all last Sunday. The songs I liked the most were "Restless", "Slot Machine"and "Slow Motion Trouble".

The album I bought after the show

Throughout the show, Julie appeared to be happy to be performing for us. Her stage banter was not excessive and her warm and friendly demeanor gave the whole show a very intimate feel. And the sound was stellar, as usual.

Julie Christensen at McCabe's

Jeff Turmes chatting with a fan

The show was opened by Cindy Lee Berryhill. Her set consisted of nothing but her own compositions, there were a few good ones among them, but the show would have benefited from a cover song or two. Cindy Lee came out with Renata Bratt on cello and Randy Hoffman on glockenspiel and percussion - they sounded well together. The song I liked the best was "The Adventurist".

Cindy Lee Berryhill at McCabe's

Cindy Lee Berryhill's set list

Julie Christensen fan Peter Case (right)

Julie Christensen and Jeff Turmes reporting to work

 After last Sunday's concert, Julie remains solidly on my "Must See Again" list and until I see her again, I'll keep dreaming about an encore performance of "Anthem", with guest artist Perla Batalla, who else?

Concert #636 - Lambchop at McCabe's Guitar Shop (May 5, 2012)

Last night's Lambchop concert at McCabe's was one of the most polarizing musical events I have ever witnessed. I was there with a few friends. One of them left midway through the show, later telling me that he had attended livelier funerals in his life. Another friend was so mesmerized by the beauty of the music that he decided to catch the late show as well. One concert, two diametrically opposed responses. Go figure. Where do I stand on this? In the middle, that's where.

Indeed, the music was beautiful. It was also well sung and well played. But the concert lacked two important elements: variety and energy. Yes, the songs were good, but most of them were of the same style and same slow tempo, so I could understand someone losing interest after a while. The show could have benefited from a few moments of musical levity, but there weren't any. It would have probably helped if I knew the songs, but that wasn't the case - I had managed to give "Mr. M", Lambchop's latest album, only one good listen, while driving to the venue. At no time during the concert did I feel like leaving, but after a few songs I was craving for something louder and faster, that's for sure.

As far as I could tell, they played only two songs not written by Kurt Wagner, Lambchop's unmistakeable leader: a Billy Joe Shaver tune (title?) and Bob Dylan's "I Threw It All Away". The other songs came from "Mr. M" and I must say it again: most of the songs, individually taken, were good - it was the totality of them that turned some folks off.

The set list

Band line-up

Kurt Wagner: Vocals, acoustic guitar

Tony Crow: Piano

Scott Martin: Drums

Ryan Norris: Keyboards, electric guitar

Matt Swanson: Bass

I enjoyed keeping an eye on the members of the band and what struck me was the absence of any eye contact between them. None of them were in a chatty mood, they just  played and played, and what came out sounded great. I liked Scott's drumming - he certainly had the hardware to make a huge racket, but instead, played gently, in an understated way. Tony Crow's piano playing was very good, too.

Kurt wasn't in a talkative mood himself. He addressed the crowd only toward the end of the show, when he introduced the band. I'm a huge fan of McCabe's, so it felt good hearing Kurt referring to the venue as a "sweet room".

Kurt Wagner introducing the band (Tony Crow in the background)

Kurt Wagner leaving the stage

I went home not overly happy, nor unhappy. I will most likely not catch them again live, but I will continue checking them out on YouTube, in search of something more lively, something more energetic.

Lambchop's rhythm section

For sale at McCabe's: Lambchop CDs and $25 vinyl