Concert #653 - The Dustbowl Revival at McCabe's Guitar Shop (October 6, 2012)

Last night at McCabe's I got my money's worth just watching the entrance of the ten outstanding musicians who call themselves the Dustbowl Revival. McCabe's has a rather small stage and it was fun observing how quickly and efficiently everyone settled in. Then the real fun began.

I will now once again use a phrase borrowed from Chick Hearn, the legendary voice of the Los Angeles Lakers: I can't say that the Dustbowl Revival is the best act I have ever seen at McCabe's. But I can say that no one's better than the Dustbowl Revival. Now that's quite a statement, considering the musical giants I have seen there over the years. The revivalists may not have the name recognition of Chet Atkins, Richard Thompson or Tommy Emmanuel, but in terms of their ability to drive me crazy with their music, they are right up there with the very best.

Zach Lupetin, the leader of the band, deserves nothing but praise for having assembled such a likeable group of talented musicians. Every so often I see musicians who emanate boredom and aloofness, but in that respect, the revivalists are firmly at the other end of the spectrum, as they exude immense joy and total immersion into their art. I loved their inventive ways of inserting humor into their act and I enjoyed the variety of musical styles they threw at us. There was little stage banter, as everyone's focus was on music.

The Dustbowl Revival at McCabe's

I know the names of four of the band's instrumentalists: Connor Vance (fiddle), Dean Roubicek (sax, clarinet, flute), Ulf Bjorlin (trombone) and Daniel Mark (mandolin). If you, the reader, happen to know the names of the other musicians, please send them to me. (gabibo@gmail.com).

Most of the songs we heard last night were up-tempo and when they slowed down, they were still pretty fast. These guys don't seem to know how to slow down and that's just one of their clever ways of keeping you hooked.

Equal opportunity was the name of the game in last night's concert, as the musicians took turns at soloing. I can't pick a favorite, as they were all outstanding, but if pressed, I would mention the brass section, something we don't often see a McCabe's. Pianist Drew De Four joined the band for forty-five minutes or so, he was an excellent addition to an already remarkable gathering of musicians.

The brass section

The lead vocals were delivered by Caitlin Doyle and Zach Lupetin himself, with outstanding backup from everyone else. The show opener, a song titled "Western Passage", was an instant hit with me. The brass section worked extra-hard on "Dan's Jam", a song that made me scream. "Marching On", "Mayflower", "I'll Fly Away" and their own version of "Swing Low Sweet Chariot" were also great. 

After the show I bought the latest CD of the revivalists, "You Can't Go Back To The Garden Of Eden", on sale for only ten American bucks. Not bad. I also got to shake hands with Zach.

I had so much fun last night, it's hard to put it in words. The next time they play McCabe's, I'll be there with a larger group of friends. The Dustbowl Revival definitely deserve a much wider following.

Zach Lupetin (center), with Caitlin Doyle

Daniel Mark, Ray Bergstrom and Caitlin Doyle

Ray Bergstrom & Austin Nicholsen

Dustbowl Revival set list

The show was opened by the Los Angeles based Ladies Gun Club. I can't tell for sure whether they are a duo backed by a few instrumentalists or a bona-fide band of five. Either way, the key members are Sally Jaye and Sarah Roberts. They have dissimilar voices that sound good both separately and collectively. Their short set was quite good, definitely one of the better ones I heard at McCabe's in recent years. The songs that stood out for me were "Country Girl" and "Dublin".

Sally Jaye (left) and Sarah Roberts

Zach Lupetin at the merch table

Concert #652 - Fred Eaglesmith & Mary Gauthier at McCabe's Guitar Shop (September 30, 2012)

Fred Eaglesmith

Mary Gauthier

This concert was the final stop of a "train thing" known as the "Tin Can Caravan", "Roots On The Rails", "Traveling Steam Show" and who knows how many other names. Featuring Canadian singer-songwriter-jokester Fred Eaglesmith and following the historic Route 66, the train trip started eighteen days earlier in Chicago, with plenty of live music along the way. I bought my ticket only after Mary Gauthier, a part-time trip participant, was added to the line-up a few weeks after the initial concert announcement.

I showed up at McCabe's expecting to see two headliners, Fred and Mary, with the former possibly getting a little more stage time. It turned out there were not two, but six performers. I did not know any of the four unannounced musicians. They performed a grand total of thirteen songs, while Mary Gauthier sang only six. That was a bit disappointing.

The evening kicked off with Gordie Tentrees, followed by Roger Marin and Bill Poss. They all played three-song sets that were decently good. I liked Roger and Bill the best. The latter's humorous "Give My Daddy A Call" is the only song of theirs that I can still recall. They all received support from the members of Fred's band, namely guitarist Matt Simpson, drummer Kori Heppner and bassist Justine Fisher, with Roger Marin pitching in on lap guitar. Throughout the evening, I enjoyed focusing on Matt's electric guitar and his outstanding solos.

Mary Gauthier's set, albeit short, was the highlight of the evening. She was quite relaxed and cheerful and, with a smile on her face, admitted that Justine's good looks were a bit of a distraction to her. Mary sounded just like on her records, with the very same phrasing and vocal inflections. I thoroughly enjoyed everything she did. With the band playing right behind her, I did not miss the sparse accompaniments of her earlier appearances at McCabe's and I think she also enjoyed the higher decibel level of her performance.

Somewhat surprisingly, Mary Gauthier's short set included not fewer than three songs that she did not write. Here's her set list:

I drink

Cigarette Machine (by Fred Eaglesmith)

Thought I Heard a Train (by Tom Mason)

Your Sister Cried (by Fred Eaglesmith)

Last Of The Hobo Kings 

Mercy Now

Mary Gauthier having fun at McCabe's

Mary Gauthier, with Roger Marin (left) and Matt Simpson

For the playing of "Mercy Now", Mary was joined by Vicky Randle on percussion and back-up vocals. Vicky is best known for her many years with the Tonight Show Band. I liked her understated ways of supporting Mary and the final result was a stunningly great rendition of a stunningly great song.

Vicky Randle

After an intermission, Texan singer Tif Ginn, yet another unannounced musician, delivered a well-received  set of four songs. In addition to singing, she played the guitar and accordion. After the show I learned that Tif and Bill Poss  are married to each other.

Bill Poss

Tif Ginn and Matt Simpson

Fred's set can best be described as "something else". One could not tell for sure whether we were watching a stand-up comedian who also sang or vice versa. I liked both his music and humor and even enjoyed his deliberately corny jokes. His unsparing use of the F-Word was a bit unusual for a clean folk music venue like McCabe's, but then again, there wasn't much folk music in Fred's set list at McCabe's. Backed by an electric band, Fred's music was far more rock than folk and who would expect otherwise from a self-proclaimed member of the Rock & Roll Party?

Fred Eaglesmith at McCabe's

Fred's set included "Stars", "Johnny Cash" and the title track from his current album, "6 Volts". He also sang "Freight Train", a song covered by Alan Jackson. His voice was strong and powerful.

Tif Ginn (left) & Justine Fischer

The arrival of the train people

The stage

My friend Steve handing guitar picks to Roger Marin

The merch table

Mary Gauthier greeting her fans, myself included

Fred and Mary arriving at McCabe's

Mary Gauthier memorabilia for your pet

Concert #651 - Val McCallum at McCabe's Guitar Shop (September 29, 2012)

Last night I attended another one of those concerts that keep bringing me back to McCabe's time and time again. Guitarist extraordinaire Val McCallum, accompanied by a few friends, put on a fabulous two-hour-long show that was filled with lots of musical joy and laughter.

Last night, Val's guests were two singers whose voices have been heard by millions around the world, namely Jackson Browne and Colin Hay of Men At Work fame. The appearance of the former was somewhat predictable, but everyone in the room was thoroughly surprised when Val brought out Colin Hay. I myself was unaware of any earlier connection between the two.

The evening coincided with the release of "At The End Of The Day", Val's debut album. The concert kicked-off with Val singing the title song, the very same number he picked to end his first-ever solo show three months ago. The first song of the evening was also the only time we saw Val unaccompanied on the stage. First, he was joined by the lovely Cindy Wasserman for the singing of five slower songs of a personal nature, all taken from the new album. "Digging For Gold" and "Tokyo Girl" were my favorites. Jackson Browne dropped in to sing backup vocals on "Tokyo Girl", a song written by Val for Shelli, his wife of many years. The pace picked up considerably when Val swapped his acoustic guitar for an electric one to sing and play one of the album's strongest songs, "Ghost Town".

For years I had been fantasizing about seeing Colin Hay live at McCabe's, so I screamed with excitement when Val brought him out. Colin made us laugh with his unique sense of humor and his heavy Scottish accent only helped matters. Sadly, he only sang two songs, "Don't Wait Up", from his solo years, and "Overkill", the mega-hit from his days with Men At Work. Both songs were received very warmly by the crowd. Colin's easy-to-recognize voice was as strong as ever and his confident stage presence was a sight to see. Cecilia Noel, Colin's Peruvian wife, sang backup vocals on "Overkill".

Val McCallum with his guest Colin Hay at McCabe's

The arrival of drummer Fritz Lewak and bassist Tyler Chester brought another jolt of energy to the stage, so by the time Jackson Browne took the stage, the place was ready to rock. Jackson sat down behind his keyboards and went on to deliver a good size set of six songs, all taken from his vast back catalog. "Rock Me On The Water", "The Pretender" and especially "Doctor My Eyes" were out of this world, with the band working as a well-oiled machine, playing loud and rocking the house with power and precision. Val McCallum's solos on electric guitar were some of the best I've ever heard at McCabe's or anywhere else, for that matter.

Jackson Browne and Chavonne Stewart at McCabe's

Jackson Browne's set benefited tremendously from the presence of his recent backup vocalists, Alethea Mills and Chavonne Stewart. I enjoyed very much watching their moves and I certainly liked their voices.

Val McCallum, Alethea Mills & Chavonne Stewart

Val McCallum, Alethea Mills & Chavonne Stewart

The concert continued with Val and Cindy Wasserman. They performed Val's own "Rarebird" and a few great covers, such as Neil Young's "Pocahontas" and John Doe's "Burning House Of Love". Again, Val's electric guitar took center stage with a few blistering solos.

The set list

Another set list

For the encore, Val came out wearing a cowboy hat and talking pretty much like Beau Shit, his Cochtotan-based alter-ego. Together with Cindy and the band, he delivered a fast-paced version of "Wrecking Ball", a song I first heard with the Knitters a few years back.

Val McCallum as Beau Shit, with Cindy Wasserman

All-in-all, it was a wonderful concert that offered quite a variety of musical styles, from slow ballads to fast and loud rock & roll. With so many great musicians coming and going, the show was thoroughly entertaining. Special kudos go to Val McCallum, a musician I learned of only in 2005, but who since then has given me tons of musical pleasures.

Jackson Browne saying goodbye

Val McCallum signing autographs after the show

Shelli McCallum, aka the Tokyo Girl

Mikki Itzigsohn kicking off the proceedings

The stage before the show

Val McCallum's autograph on my new CD

 

Concerts #393, 418, 442 - Burt Bacharach at Various Venues (2006-2007)

I get the goosebumps just thinking about Burt Bacharach's music. I was a teenager in the sixties, and while listening to what everybody else was listening to, I developed a special affinity for Burt's songs, regardless of who the interpreter was. Decades later, I'm still in awe of the depth and breadth of Burt's oeuvre and, quite often, I find myself listening to his songs, which I own plenty of.

In 1987 and then in 1998 I caught Burt in concert with Dionne Warwick and Elvis Costello, respectively. Both those concerts were amazingly good and left me wanting for more. A few years later I got more. A whole lot more:

• Concert #393 - February 11, 2006 - Segerstrom Hall (Orange County Performing Arts Center)
• Concert #418 - August 27, 2006 - Cerritos Center For The Performing Arts
• Concert #442 - June 5, 2007 - Walt Disney Concert Hall

I lucked out big time in February 2006, when an unexpected chain of events brought me two front row seats for Burt's concert at Orange County's monumental Segerstrom Hall. Accompanied by the Pacific Symphony Pops under the direction of Richard Kaufman, Burt delivered a "greatest hits" show that will be impossible to forget. Just as unforgettable were Burt's three vocalists, namely Josie James, John Pagano and Donna Taylor. Josie's grand finale on "Anyone Who Had A Heart" was a stunning tour-de-force, if there ever was one and John's vocals were just as impressive.

From left: Josie James, John Pagano, Donna Taylor

I'm extremely proud to say that I got to shake Burt Bacharach's hand. It happened toward the end of the concert when, spontaneously, I got up and reached out my hand toward Burt. He noticed me and took my hand with his two hands. Being in a state of near-paralysis, all I could muster were the words "Thank You". Burt then reciprocated with the very same words. Any doubt as to what constituted the highlight of the evening?

Segerstrom Hall

The power of a full symphony orchestra and Burt's own band and vocalists combined to amazing results. The sound of so many beloved tunes brought tears to my eyes a couple of times during the show. Burt dedicated about twenty minutes to his newer songs from his then-current album titled "At This Time". I liked his new material, especially "Where Did It Go".

In addition to playing the grand piano and doing some conducting, Burt also sang the lead vocal on a couple of songs, among them "Alfie". Though weakened a bit by age, his voice was instantly recognizable to all those who heard his recordings from the sixties and seventies.

In a welcome effort to play as many of his hits as possible, Burt packaged most songs in a few medleys and those were absolutely wonderful, as the musicians were sliding seamlessly from one great song to another.

PARTIAL SET LIST

What The World Needs Now

Don't Make Me Over

Walk On By

This Guy's In Love With You

I Say A Little Prayer

Trains, Boats And Planes

Wishin' And Hopin'

Always Something There To Remind Me

I'll Never Fall In Love Again

Only Love Can Break A Heart

Do You Know The Way To San Jose

Anyone Who Had A Heart

Make It Easy On Yourself

The Look Of Love

Arthur's Theme
The April Fools

What's New Pussycat

Raindrops Keep Fallin' On My Head

The Man Who Shot Liberty Valance
Wives And Lovers

Alfie
The Windows Of The World

That's What Friends Are For

Any Day Now
A House Is Not A Home
Go Ask Shakespeare
Where Did it Go?
Who Are These People?

Everything about the concert exuded class, from the majestic venue to the quality of the performance. My Better Half and I went home absolutely elated so no wonder that six months later I was once again in the audience to catch the master, this time at the Cerritos Center For The Performing Arts.

The Center For The Performing Arts in Cerritos

Except for the absence of a full symphony orchestra, the concert was nearly identical to the one at the Segerstrom Hall. I once again managed to shake Burt Bacharach's hand, in spite of my not having a front row seat. During the encore, while playing what I knew would be the closing song, I got up from my seat, made my way to the center aisle, walked up unchallenged to the stage for my second hand shake with Burt. What a fabulous moment!

Experiences like these had to be relived. In June 2007, my Better Half and I went to the Walt Disney Concert Hall in Downtown Los Angeles to catch essentially the same show in a world-class venue. This was our first time to attend a concert at the famed venue. Our seats weren't the best - we sat in a balcony on the right side of the stage, but not far from the stage. As far as our view was concerned, no complaints, but the sound was a different matter. I was dying to once again hear Josie James' thundering rendition of "Anyone Who Had A Heart", but the volume and power just weren't there. I went home a bit disappointed.

At the Disney Concert Hall, Burt was accompanied by his core band, the same fabulous vocalists (Josie, John & Donna) and a string section. Everyone had fun on the stage, Burt included.

The Walt Disney Concert Hall

The Walt Disney Concert Hall

And now, here's what another concert goer, Andre B, wrote about the very same concert. The quoted text comes from http://www.bacharachonline.com/phpBB3/viewtopic.php?f=1&t=2314&start=0

<< I had never been to a concert in Disney Hall. It's a beautiful venue. There really isn't a bad seat in the house, and the acoustics are just about perfect. My seats were in Orchestra West, a balcony section with a good view of the stage.

After the medley, Josie Jones just about knocked the roof off with Anyone Who Had a Heart -- I've seen her perform this song maybe three or four times now, but this was something special. And I'm sure it wasn't just the amazing acoustics of the hall!  >>

Here's another quote, written by "heartlight" and posted also at www.bacharachonline.com:

<< I was in the Orchestra View behind the stage and at times I could not totally understand the dialogue, so thanks for repeating it...especially with regard to the new number. Josie was dynamic. >>

So here you have three folks who all agree that Josie's performance was one of the high points of Burt's concerts. It is also clear that it makes a difference where you sit at the Disney Concert Hall, as in terms of the sound, some of us had diametrically opposed experiences. On the plus side, now I know where not to sit the next time I'm there.

In summary, Burt's concerts were some of the best I've ever attended and it's a blessing that I could catch the Master multiple times. His music is timeless and will stay with me for the rest of my days.