Flanfire

The EP is really just a CD with fewer songs than other CD’s — kinda like soup and salad without the entree, especially if the musical meal is tastefully delicious.  And so here we have it — some tasteful, tasty music that leaves you hungry for more.

CORRINA’S DREAMLAND BAND – Blue Moonbeams

Corrina Rachel (Kalish) is tall, blonde, and old-fashioned (at least in her musical taste) — I always think of her as a 1940′s pinup girl who might have graced the noses of many a fighter plane (can anyone say “Betty Grable”?).  Unlike most other Austin jazz singers, Corrina belts em outta the park as her “dreamland band” changes from gig to gig (or so it seems).  The lineup for this five-song EP is Trevor Labonte on lead guitar, Ryan Bowman on bass, Masumi Jones on percussion, and Ephraim Owens on trumpet.  Three of the songs here are originals — I really like “Answer,” a bouncy tune that nonetheless gives our gal ample room to show off her extensive vocal range … The Bert Kaempfert tune “L-O-V-E” is a great way to show off the musical talent she has assembled, nd “Blind in Love” continues the groove (thanks, Trevor).  Corrina’s voice here is its sultriest.  The disc opens with Corrina’s “Blue Moonbeams,” but it is the closer — Mel Torme’s “Born to be Blue” – written before Corrina’s FATHER was born, that steals the show here …. Here our gal puts her Texas twang to work and brings back the grit of Billie Holiday … sultry, swanky, and (you know the word).  Yeah, she is super sweet!

MARGO VALIANTE — I Can’t Pray

You look at Margo Valiante — tall, slender, even a little gawky sometimes — the girl next door.  UNTIL she opens her mouth to sing … where DID that voice come from?  And to be true — she is THE VOICE!  OMG this is the real thing — produced by Rich Brotherton with band members Etan Sekons (electric guitar), Kyle Clayton (the Austin woman’s favorite bass player), and Jordon Ellis on drums (when he is not playing with Ben Sollee).  Riley Osbourn adds keyboards and Brotherton throws in a little of his own guitar prowess .. all the songs are Margo’s.  West Virginia transplanted to Wyoming .. with a pause for college at Skidmore – and a dad who once sang in clubs in Washington, DC, and its suburbs.  All that, and where did these blues and gospel tunes come from?  Tracy Nelson (Mother Earth) meets Janny Grein (my favorite white gospel singer ever).  “Fake Flowers” opens this five-song EP — this is the blues with Osbourn’s organ grinding it out and Sekons’ guitar (what’s a New Yorker doing this down and low?) laying the backdrop for “The Voice” — man, I would never buy plastic after hearing this song!  Their love was not real and the only way he could show it was to give her fake flowers when he goes … and she is just now realizing what happened! 

Next up is the title song – This is a gospel lament of the highest order … in live shows, Margo sets the stage afire with frenzy … you just ACHE when songs like these are done.  “Holy Ghost is my bottle, He won’t tell me my sins, He’s got a mind to drive me crazy, everywhere I go, everywhere I’ve been…. I read the gospel when it needed me, but it’s the label that I seek,, well I’ve got nothing more to show before the demons that I do keep….”  The intensity is way down on
“Sing I Do,” a prayer for a husband and lover … “He’ll come to me with a gesture so grand, he’ll wipe away tears and put a ring on my hand ….”  Then it’s “First Born Son,” with acoustic guitar only and a brooding bass line … “far as the moon on a golden day, he left his seedy eyes behind and drove away.”   TURN UP THE VOLUME AGAIN for “Mama Don’t Know,” a song about whiskey and sin, maybe the best blues song I have heard since “St. James Infirmary.”  Five songs — and I am completely drained.  Be sure to take your blood pressure medicine before going to one of Margo’s live sets.  You will need it — i promise!

MOTHER FALCON — Still Life

OK this is NOT Polyphonic Spree.  The band is NOT wearing robes.  But it is maybe the largest collection of musicians on an Austin stage playing rock operettas since that Dallas-based phenomenon.  Multiple cellos (Italo Benevides, Nick Calvin, and of course founder Nick Gregg), multiple violins and violas (Rita Andrade, Clara Brill, Maurice Chammah, Yun Du, and Austin Harris) plus Tamar Kalifa on accordian and piano, Matt Krolick on trumpet, Gilman Lykken on bassoon, Claire Puckett (the essential one) on guitar and vocals, Matt Puckett on saxophone and vocals, Luke Stence on bass, and Isaac Winburne switching rapidly from sax to drums kit to piano and back.  Their EP release at Central Presbyterian Church was one of the Music Events of the Year .. and why not?  Mother Falcon, whose members average maybe 19 or younger, won this year’s Austin Music Award for “None of the Above” — one of the city’s best bands.  I well remember the first time I saw Mother Falcon – at Cafe Caffeine on Mary Street — Nick struggling to play his cello and sing at the same time (all fixed with better mike placement), an assemblage of players who were not quite sure if this would all work, but something just clicked.  The PASSION!  I am not even going to write about the individual songs, because I hear this EP as a five-movement, high energy symphony (or cacaphony?) … kind of like what Explosions in the Sky does without words.  The heart races along with the violins and cellos.  I am proud to say I talked (it did not take much talk) The Tiny Tin Hearts into doing some shows with Mother Falcon (memorably at The Parish for their own CD release!) — and each band fed off the other’s already considerable fan base. 

MR. BROWN — Invisible To You

Kris Brown is one of my oldest friends in Austin (time, not age) — and I confess I would rather hear him play lead guitar than bass, but then again, with his reggae band Mr. Brown it is the bass that carries the rhythm, and besides Kris has PJ Herrington to play guitar.  Johnny Radelat holds down the drums here, with Courtney Audain supplying additional percussion on the recording and Matt Jacobs playing keyboards.  Plus Deke Jones on additional vocals and the Fresh 2 Def horns — Joseph Serrato on tenor sax, Michael Ray on trumpet, and Javier Stuppard on trombone. 

The title cut shows that Kris can croon with the best of them — this is one classy cut!  Kris wrote “The Name of Love” with Deke Jones, and this is a classic reggae song … you gotta dance, but this is a song about the Almighty Father by many names.  “Wolves in Shepherd’s Clothing” — funny, earlier today I heard a friend describe himself as a sheep i wolves’ clothing (and of course I am friends with real wolves Winter and Luna) could just be Jamaican it is.  “This Love” features General Smiley, and “Wolves Version” features zydeco king Philipidon.)  Lastly, we have the dub version of the title track — groovin’ grooving music.

So I was at Momo’s Club tonight (Monday) and ran into my pal Ben Mallott, and he was telling me about his trip to Dallas to see the Longhorns beat North Carolina at the new Cowboys Stadium on Saturday and how after the game he was trekking about town and ran into Graham Wilkinson who was playing a show there.  And so I got the message that it was long past time for me to post comments about Graham’s (to date) masterpiece, “Yearbook,” which Graham had given me a copy of (late even then) at his Halloween party at the Ghost Room.

Truth be told, one reason I had not reviewed it was it has been in my car CD player ever since, and I normally put records (CD’s are records) there AFTER I have finished a review.  I flat-out LOVE the Underground Township, and Graham — dreads and all — is just about larger than life.  But then I know a little something about living with more than one spirit inside … Yeah, there’s enough reggae in this big blond white guy to attract the likes of P. J. Herrington, whom I know through Kris Brown and Mr. Brown, to play guitars.  Other official band members (the “senior class” on the record yearbook) include Matt Morris on drums, Wayne Dalchau on bass, Chris Stringer on keys, and Patrick Herzfeld on drums — but there are often horns, and here and there buddies of Graham (like Alejandro and Hayes Carll) who show up to sing or maybe rap on the furniture in time.  The M&M Horns (Margaret Whitt and Meg Kemp, also known for their work in Jabarvy), Nick Warrenchuk (trombone), Mark Wilson (saxes), and Leila Hanley (alto sax and flute) are on this collection of songs.  For the whole schoolfull, get the record!

Because this column is all about SONGS!  “Let It Go” encourages us to “laugh until life makes sense” when things around us threaten to swallow us whole (such as the death of a daughter or a brother).  “Boys and Girls” yearns for a simpler time, “before the false truths were written in stone.”  After all, what we face in real life today is “criminals as politicians,” and “all this pain in so many lives….”  But this record is all about the “Ragamuffin,” Graham’s brother Aaron, and on this powerful song Lloyd Maines lends his considerable skill on pedal steel.  Indeed, the whole record was inspired (Graham tells us) by a band trip to New York City to play a gig with some of his brother’s friends that turned into a month-long tour in the summer of ’08.

On the other hand, the record is also about Graham’s big loving heart – songs like “Star Blue – Spend All My Time with You” and “Our 1st Night,” tender love songs (okay, I just see some Red Skelton soft shoe on Star Blue).  Another one of my favorites is “Ghost,” one of many songs here where Graham talks about the discord in today’s world and wonders, “why don’t we love one another?”  The big guy with the big heart sings this great song, “Blame,” when you want to blame the mess on just about everybody else, but if you want to let love win the day you just let them blame it on you and get over it.  My decade in Baton Rouge (and eternity in Houston) makes me smile at “From Covington,” even though “sister Melody has got some felonies, thirteen class A, in all,” when the one I know best got busted mostly for walking to the Randall’s after curfew to get a soda.

“Blank Pages” is just Graham and a piano in that sepia-sounding effect singing, “scraping with worn fingertips and broken nails, I scream, ‘the living stay hungry, the dead they are not alone…..”  And so, after you listen to the 15-song set all the way through, you find yourself back at track 1, a rockin’ number, “Watertowers & Windmills,” a song about coming to grips with things you cannot understand when the world seems about to fall totally apart (the water tower is two days shy of running dry, and the old windmill has stiopped singing it’s song….”  And “Sunrise,” a toe-tapping, horn-happy ditty that must have been written on the bus on the way back from New York that ends with the sounds of real live Boys and Girls (and of course the intro to that reggae song).

I have to close out these comments by mentioning, “Personality Disorder,” a tap-dance number reminiscent of Richard Gere in Chicago — tap-dancing through the muck and mire of a world “so unbelievably full of idiotic super-natural-light-hearted wild turkey babble ….”  And I am brought back to Halloween, with Bobby Perkins playing bass wearing a grass skirt and me in my Zoot suit …

And that brings me back to why Ben and I were at Momo’s this Monday — but before that I gotta tell you Ben was the victim last Friday night of a flying skillet he had to catch with his bare left hand and all of a sudden unable to play his scheduled gig at Flipnotics.  So naturally, BettySoo and Mailman Dave came to the rescue, showing up on half an hour’s notice for unsuspecting folks like me who had been at Momo’s for an early set or two.  Oh, Ben did drop by, ostensibly to sing a duet (on a Tom Waits song) with Noelle Hampton and her band — and the guy, for some strange reason, grabbed Noelle’s guitar and painfully but poignantly gave his friends the treat of his version of “White Christmas” before yielding the floor to Will Sexton and Charlie Faye and later Jess Klein (all of whom Noelle graciously lent her stage to during the evening).

The very next night I was back at Flipnotics to catch a set from Margo Valiante after stopping by House Wine to hear some new songs from John and Kristen Nixin.  Wise birds got to Momo’s early on Monday to hear Jess Klein and Randy Weeks swap songs for an hour, whetting the appetite for the main event, one that I have a sense might one day be seen as historic.  Dustin Welch has done the string quartet show before — with violinist Trisha Keefer, bassist Joe Beckham, and cellist Brian Standefer, notably at a show I caught at Lambert’s what seems to be a lifetime ago.  This time though Dustin brought out James Duvall and Eli to record the second of two shows also featuring Phoebe Hunt and sister Savannah Welch — with dad Kevin (plus grandparents and little sister) shooting video and the rest of the family basking in the glow. 

And speaking of family week, last Wednesday I got to see Eleanor Whitmore and hubby Chris Masterson at the Scoot Inn and Vanessa and Jason Lively and full band on Vanessa Lively Day at Momo’s.  Just good stuff.  On the horizon — Christmas Night at Antone’s with Blues Mafia, Shelley King, and Carolyn Wonderland, and next Sunday at Threadgill’s North Lamar for Hank and Shadri Alrich (lunch) and then out to the iguana Grill to catch the beautiful Barbara Nesbitt.  Finally, KUDOS to Jazz Mills for collecting (and organizing into gift baskets) tons of stuff for Christmas presents for Austin’s homeless and hopeless.

“Scars can fill us up with pride .. Scars can also make us hide those wounds we got when a part of us died….  How many scars do you have?  Will you ever show your scars to anyone?” 

At the memorial service two Januarys ago for my darling wife Nancy, I found myself speaking words about scars — how sometimes people’s scars are invisible to the eye but painfully obvious to the touch, especially a touch that is just not gentle enough to bring healing and comfort.  I was talking about how we need to be aware of who we are conversing with, how not to put foot in mouth or down their throat — how to spread life and not the crush of death.

That’s why I don’t listen to Lucinda Williams any more — except of course at the annual Hank and Lucinda Williams Hoot at the Cactus Cafe, the brainchild of fellow Red Sox fan Jenny Reynolds.  You see, it’s not that she left Austin, not that the last time I saw her at ACL Festival she was (well) not all there on stage.  It’s just that song.  You know, the one BettySoo [shown here with Charlie Faye at the Saxon last Saturday] sang Tuesday night …. the one that breaks my heart every time I hear it — the one that every time I hear any song of Lucinda’s it breaks my heart because I cannot forget that song.  The one that tells me my Susan is never going to call me on the phone — or ask me to iron her shirt for work — or give me a long lecture about how I need to love people better — again.  [Well, on another plane, she does come to me over and over through the people I meet out on the streets of Austin.]

“See what you lost when you left this world, this sweet old world….”   You see, I can hear those words once a year (or any other Lucinda song) because July 27th is Susan’s birthday — and I have to celebrate her life every day but especially at this special time.  When it matters most.  And somehow (though a day after this year) the Williams Hoot always helps me (though this is just the third year) celebrate Susan’s wonderful life — the life she chose to sacrifice thinking it would be better for the rest of us.

The nights SHE would wander the streets of her beloved Houston to seek out her lost girlfriends and try to bring them home to safety.  The weekends she spent with her disabled friend, even going to New Orleans for Mardi Gras and still getting back for her American Humanics meeting.  The day she died, she went to her job interview and then to the graduation ceremonies at the elementary school she had volunteered at, teaching reading to immigrant first and second graders.  And then the love our family was shown by Austin’s music community (in which we were still fledglings at the time) that has driven the Flanfire ship for nearly six years now.  For me, of course, the song sounds like, “See what I lost when you left this world,” except that out of that loss we have had great gain.  As you all know, life is made better through celebration … and knowing that we are all dying and so should live life to the fullest every living breathing moment.  [I can never think of Susan and not see Snoopy dancing.]

Susan would have turned thirty on Monday.  And Monday night, where was I?  Out at House Wine with some of my dearest friends — B. Sterling Archer (whose B. Sterling Band will soon be releasing its debut CD) and Melanie Martinez of Tiny Tin Hearts (which likewise has a CD about ready for prime time) — and Abbi Sims, whose spirit reminds me so much of my daughter’s — adventurous, honest, forthright, caring, and sharing … and in Abbi’s case, a downrightr good singer and budding songwriter and outstanding Open Mike hostess at House Wine.  Also in the house (well, outside in the front lawn) were Craig Marshall and Jon Notarthomas and Will T. Massey and the lovely Valerie Fremin (more very dear friendds) — Drew de France and Kurt McMahan from the band Ouachita, which plays Friday at the Belmont — and one Donnie Jones (shown here surrounded by Kurt along with Abbi and her songwriter friend Anna who hails from just south of Brenham, Texas).  And, oh yeah, Donnie Jones (who is better known these days as a wine merchant and vineyard owner) is a songwriter — a man who counted among his friends Townes Van Zandt and Blaze Foley and John Prine too (and of course Guy Clark), and whose songs are of that same caliber.  Will T is working with Donnie to record a bunch of his songs — some brand new, others buried for maybe decades.  Monday, it turns out, was Jay Sims’ birthday too, but we were mostly there to celebrate Abbi’s birthday on July 29th (which SHE was celebrating at the Cathedral of Junk).

But back to Tuesday night at the Cactus — which opened with Eric Hisaw and Chrissy Flatt and then Kerry Polk and friends and then The Flyin’ A’s (Stuart and Hilary Adamson) before emcee Tom Pittman made his actual debut singing and playing guitar all by his lonesome on a public stage.  After 40 years!  An historic occasion!  And, despite his own protestations, he was good lookin’ – sang well too!

After the break, it was Jenny herself and then Seth Walker, BettySoo and finally Guy Forsyth.  So after the show I found the two world-renowned lads standing side by side and popped out the camera for this photo — and Guy says this may be the first photo ever of the two of them together.  Whatever – Guy had closed his set with a brand-new song he wrote in remembrance of fallen hero Stephen Bruton.  Later he was showing off dozens of photos of his pride and joy, his 2-year-old daughter who is just gorgeous!  I know a little something about being a proud papa — Guy admits it has changed his life.

A few more notes before I go — and I promise I WILL get to those CD reviews sometime soon.  First off, we have Margo Valiante flanked by Etan Sekons and three-string bassist Kyle Clayton at the Whip In, where I was eating some of the best Indian food ever to grace my lips AND enjoying one of that venue’s many nights of fine Austin music.  [Hats off for their support of Groundworks!]  That was on Saturday, and I left at intermission to run to the Saxon to catch a great set from porterdavis (sadly, no decent photos for you).  Just stunning!  Mike Meadows on vocals and his patented drum-percussion rig, birthday boy Simon Wallace on harmonica and vocals, and Daniel Barrett on slide guitar and vocals.  The band was taking orders for their own new CD, which will be available at their August 28th Saxon Pub show — if they make it back home from Nova Scotia.  Then, as noted, it was Bettysoo, who opened with “Do Right Woman,” a Dan Penn song made famous by the Flying Burrito Brothers (okay, theirs was by no means the first, or even the biggest hit version, but Earl Poole Ball played on that record — as did (duh!) Gram Parsons).  No wonder she’s opening for Joan Baez!

The little lady in the yellow dress is Akina Adderley (yes, Nat Adderley, Jr.’s baby girl) — and SHE was the opening act at Sunday’s very well attended Austin2Africa event that was raising money for an orphanage for South African children whose parents had died of AIDS.  [The $20,000 they need for the project is but a drop in the bucket of Oprah's budget for her posh girls' school.]

This was Akina’s fourth show with her Village Playboys in four days (Victory Grill, Antone’s, Marcus Cardwell‘s backyard!) and she had to run out the door to sing the national anthem at a RollerGirls throwdown.  Also on the bill were Kalu James, Tandoorifinger, Paul Banks (who will be back at Momo’s soon), and the amazing John Pointer (who broke a string on his very first song and never slowed down).

Susan would have loved this extended weekend — from Thursday through Tuesday, great music one night after another.  Her favorite, of course, was long-time Austinite Steve Ulrich, whom she used to see regularly at the Hole in the Wall during its glory days singnig in between Quatropaw sets.  I like to think she is hearing the music I hear in Austin from her special place in the clouds. 

July (which is far from over) has been an amazing month!  Highlights (some of which will be in my next post!) include Natalie Zoe-Fest (or whatever Sasha and friends called the benefit for her mother at Antone’s – where else?), the wonderful Songs for Laura event at the Wyldwood House Concert, and Dustin Welch’s new haircut.  [Shown below -- the OLD and NEW Dustin, sisters Savannah and Ada, and dad Kevin.]  OK — there was also the Ruby Jane television taping at the Saxon Pub, the amazing Austin to Africa Benefit at Momo’s on July 26th (more on that another day), and a whole lot more.  And, yes, I have a “passle” of new CD’s to review — from the likes of Steve Bernal, the B Sterling Band, Aly Tadros, the Will Evans Project, and more (but who’s counting?).

Here is a little sample of SOME of Austin’s newest music — Chris Jamison at Patsy’s Cowgirl Cafe and John and Kristin Nixin — who just moved here from Kansas City (John’s band was Abracadabra) — at House Wine during Abbi Sims’ Monday Night Open Mike there.  Then there’s “older” Austin music — Kat Edmonson at Lambert’s (this was an AMAZING show nearly stolen by drummer JJ Johnson), and Ian Stewart of the Fireants at Roadhouse Rags showing off a really cool shirt that he will be taking to San Francisco in early October to wear at the Hardly Strictly Bluegrass Festival in Golden Gate Park.  Oh, Ian was playing with Victor Ziokowski and Vic Gerard (Victor’s dad, who plays in Chapparal) with Zhenya Rock on guitar — a foursome to be reckoned with!

BULLETIN BULLETIN BULLETIN BULLETIN BULLETIN –

FLANFIRE FAVORITES FEST OCTOBER 10th at CENTRAL MARKET (4001 North Lamar) — from 4 pm till 9-ish …

And THAT leads me to the meat of this report.  The illustrious Sean Hopper (whom I only recently learned is a jazz bassman of some considerable note about town) was kind enough to grant Flanfire a day at the Market to celebrate the best of the new to Austin music we have heard this past year.  Now the fact is that there were WAAAAYYYY too many people we have first for the first time over the past 12 months to fit into one afternoon and early evening of music — so we had to improvise.

Before we go a paragraph longer, I must point out that this day of music will be part of a larger campaign to raise money for the National Center on Domestic and Sexual Violence to fund the ancillary work needed to transfer the Center’s domestic violence library (created by the late Nancy Flanakin, otherwise known as Mrs. Flanfire) to the University of Texas’ Perry Castaneda Library — where the collection (which will also be able to grow if we are successful) will be of use to a much larger universe.

But back to the lineup — the first hour is dedicated to the song — and the songwriter.  So naturally I asked Ben Mallott (shown here with Andre Moran on electric guitar) to be the “big guy” on the show … he after all is a former defensive lineman.  I just HAD to ask Margo Valiante — this newcomer from Wyoming just has to be heard!  Jarrod Dickenson was another clear choice for me — this guy is 23 going on fifty (note the hat — Sinatra lover he is).  And then (far right) there was Charlie Faye — had to invite the woman whose FIRST CD I played ten times straight through while moving back into my old house last summer.  [But I could have about five to ten hours of great music from other songwriters I have met just this past year.   Some of them, of course, will be on the road in October.

The five o’clock hour will feature the four-part harmonies of Stonehoney — guys whom I helped move into their new “fraternity house” (as one of the guys has called it) and who have introduced me to so many of their fellow California refugees now in Austin (or wanting to be here).  Continuing the California refugee modus, Flanfire will proudly present Noelle Hampton (with Andre Moran and a full band) in the third hour of music — and maybe a special guest or two.   Closing the evening will be The Tiny Tin Hearts, whom my pal Ihor Gowda turned me onto one night at Lambert’s during a Suzanna Choffel show.  And, yes, I am getting an advance copy of their new CD very very soon — cain’t hardly wait!  Now it is my hope that Central Market breaks all records for music-related traffic on October 10th (or we could have a hurricane for all I know) — and that Sean will let us do this again sometime.  

So mark your calendars — and if you have an afternoon free and maybe have kids or friends and want to grab some grub, maybe a bottle of wine, and chill, then help Flanfire do for Central Market what Voices for a Grateful Nation is seeking to do on August 23rd at Luckenbach (that is, break a record — in their case the number of guitarists for a single recording).

This first shot is for the ladies — it’s bassist supreme Kyle Clayton, who on one late afternoon last month (and on many other occasions as well) provided the foundation for songwriters Margo Valiante (see bottom clip here, and that’s Etan Sekons on guitar) and Joanna Barbera (not shown here, but with the fabulous Julia Parmenter on operatic vocal harmonies).  Kyle and his band, About Blank, have a new record out of their own called RISE and I have thoroughly enjoyed listening to it several times already.  Now even though Kyle has a great (deep) voice, this is an instrumental record that also features bandmatws Danny Anderson on guitar, Dave Adams on drums, Kevin Gibbs on saxophones, Paul Luedke on trumpet, and guests Marcus Cardwell on baritone sax, Stephen Graf on trombone, DJ Stillness (uh, turntables), and Ian Varley on organ.  This record is 13 slices of pure “psycho-funky-jazz’ from one of my favorite groups anywhere in town.  The boys will be at the Elephant Room on July 26th and at the Lucky Lounge (for a CD release?) at the end of August.

At top right we have Charlie Terrell, who has un-retired after getting settled with the lovely Polly here in Austin and shaken off the cobwebs to just tear up Austin music stages, including the gorgeous outdoor stage at the Scoot Inn with bandmates Danny B. Harvey (off right now with the Bastard Sons of Johnny Cash), Brad Fordham (Jerry Jeff, anyone?), Tom Lewis (Heybale), and a cast of a thousand “Murdered Johns.”  Charlie is a throwback to those glory days of southern rock — and a show not to be missed.  Great gravelly voice and a real showman.

But if it is pure joy you want, then get out to Threadgills on July 17th when the Trishas open for Willis Alan Ramsey.  From left to right, Savannah Welch, Kelley Mickwee, Jamie Wilson (of the Gougers), Liz Foster, and violinist Trisha Keefer.  This is just the best all-girl vocal group ever — they even blow away the Boone Girls.  Now, Savannah is busy with her movie career, Kelly is at House Wine most Thursdays with Andrew Hardin, and yadda yadda, but Stonehoney and the Band of Heathens together cannot generate as much pure emotion and power in their harmony vocals.  [After all, they're guys!]

The girls describe their sound as what happens when “Texas dirt, Mississippi River water, City Lights and Apple Pie sit down together in a pickin’ circle at an Austin backyard party – which I presume means Liz, Kelley, Savannah and Jamie in that order (explanations falter).  But it is not just that they are all drop dead beautiful – there are a lot of pretty faces out there.  This truly IS music people sing in a circle around a campfire — old songs, new songs, soulful and blue.  And any band where I get to hear Jamie Wilson sing her amazing songs has got to be a real favorite!  And there is more good news — Jamie has a new EP about ready for prime time (details to follow).

The photo below shows three-fourths of Margo’s new band — yup, she debuted with her new drummer at Momo’s last week before heading home to Wyoming to sing at a couple of weddings and get out of the Texas heat.  Thank goodness she will be back soon — meanwhile, Etan is working with the handsome Geron Hoy in a new project that we shall soon hear more about.  [And I have to mention that the piano player/guitarist with the big smile, Josh Halverson, is back in town for a while — I met his dad the other night at Momo’s and though brother Jake (who also plays drums and sings) is the better known rodeo cowboy, pop says that Josh can rope a steer just as well. 

Sorry, no photos — the camera is on the fritz!  But soon!  Monday night very late (after Bukka Allen) at Momo’s a bunch of us were sitting out on the deck and this long-haired guy with a high voice (someone suggested Ray LaMontagne like) was up on stage singing and playing guitar to an empty room (inside).  We of course could hear quite well, and we knew right away this guy had something.  So on Tuesday I am down at Jovita’s for the Tiny Tin Hearts and there he is again — Chris Jamison, hair and all, and his guitar — and his songs.  Guy’s got a big smile as he steps off stage to introduce himself.  Hands me BOTH of his CD’s.  Hangs out all evening — and later I find out maybe why.

Turns out Chris is a native Texan with lots of family around here — but his folks moved up to Radford, Virginia, and he ended up going to the University of Virginia and becoming quite a songwriter.  Put a band together up there and made a record, “Into Surrender,” some of which was recorded at Woodworm Studios in Oxfordshire, all of it mixed there, and the whole shebang mastered at Abbey Road.  A year later he made his second record, “Strangers and Lovers,” mostly in Virginia but again taking it to Abbey Road for mastering.  Now he’s working on his third song collection, but here in Austin.

And what songs — powerful stuff like “Savage Nation” and “A Heart Unbroken” on the first record, and “Hollywood Cemetery,” “Holy Ghost” (absolutely stunning!), and “Wonderland Avenue” and “River of Tears” on the second — and he is closing his sets now with even newer material that is pure poetry.  Chris is out at Patsy’s Cowgirl Cafe on Friday — HIGHLY RECOMMENDED (as is the Sin City showcase at the Scoot Inn, featuring Stonehoney’s final set in central Texas until September 6 at Gruene Hall, and the Book People showcase featuring Tiny Tin Hearts at Momos).

Speaking of the Hearts, I simply cannot get enough of these guys and gals — new songs galore as they prepare to unveil their still in the final stages CD that George Reiff is producing.  But that’s nowhere near ALL the good music that has been popping up in town.  I already mentioned Bukka Allen, fresh from opening for the Flatlanders (and playing with them as well) out at the Boulder Theatre (I got a great report from my Devil in My Closet pal who saw the show!) with Robbie Gjersoe on guitar.  Freedy Johnston is also off on the road now, having played his final Monday night show at Momo’s for quite a while — though he will be back at the Continental Club in late July for a couple of shows.  Lots of folks are on tour for much of the late spring and summer — as it should be.  It’s getting hot here and the long winters of preparation have brought forth new flowers (for example, new CD’s from Charlie Faye, BettySoo, and a whole lot more) that need to be admired by a nation in great need of the real thing.

For this report, I will merely skim the highlights (memory and camera failing of late).  Let’s start with Ming’s, home to great jazz every Monday and tasty food every day (thanks, Fai Jow, for moving to Austin!).  Last week it was Gary Newcomb and his amazing skills on the pedal steel — so good that steel player John Leon showed up to take notes and get his picture taken with the master.  This week ringleaders Brad Houser and Eldridge Goins (now THERE’s a rhythm section for you) gathered together pianist extraordinaire Cole El-Saleh (Carolyn Wonderland, for starters) and Landis Armstrong (Paula Nelson, of late) with special guest Pat McCann (Troubadillos — but 25 years playing with Cole beginning in Shreveport and along with Landis one of the finest guitarists in town).  These guys are playing Autumn Leaves and Chopsticks and other standards (Moondance) — and Landis and Pat are trading off vocals as well as breathtaking guitar licks.  Did I mention the food – or the wine (BYO)?

Somewhere in between was a trip out to the Red Shed Tavern to see Shelley King and Floramay Holliday on their SASS tour — this place is flat out comfortable, and I had some tasty tamales from the Airstream diner on the premises.  [BTW, the Scoot now has its own semi-diner, too!]  Later that evening I stopped by House Wine (another great outdoor sitting venue) to visit with Margo Valiante, fresh from her successful showcase at the Wildflower Festival in Richardson (where she was one of three runners-up to the big kahuna winner and thus got to play again on Sunday).  There’s Margo through the rails with Etan Sekons — and the lovely smiling lady on the right is “Singer of the Year” Aria Hollingsworth, daughter of guitarist Kevin Hollingsworth, whom I ran into at Maria’s Taco X-press playing a set with Mandy Mercier (to whom I owe an apology for talking to Kevin while she was introing a song).  Aria, who will soon be at McCallum High, will tell you that it was “only” for her eighth grade class at school, but we know the girl is relentless and will have a good time on many stages in years to come. 

Then there was that WILD Thursday night (oh, wait!  That was right after seeing Aria!) when I ran back and forth between the Amsterdam Cafe and Momo’s because I first had to catch some o fJackie Bristow’s set, then hightail it outta there to fall in love over and over again with Molly Venter who for the first time in MY memory was playing with a full band (Bryan Austin on drums, Steve Zirkle on bass and keys, and the dashing Dave Madden on melodica?) — then back to the Amsterdam to catch a set from Noelle Hampton and Andre Moran (with Teal Collins and later though I missed it Josh Zee as well), and back to Momo’s for the David Newbould extravaganzabonanza whytheheckareyouleavingusforNashville celebration party where he both blew everyone awy on stage and handed out (for a small donation) hand-made copies of his brand-new CD.

David, who has after all given Austin seven pretty wonderful years (hosting the open mike at the Hideout, for example), nonetheless has been coming into his own as a kickass performer.  On this memorable occasion (with Cindy Cashdollar, Warren Hood, the unable to perform Redd Voelkart, Wendy Colonna, and Lord knows who all else — I DID miss a couple or three songs — plus the lovely new mom Megan Melara on vocals along with GOOD GOLLY MISS MOLLY!  And, yes, David closed his smashing set with a tribute to his opening act — which is just the type of dude he is!  And why Flanfire hopes to get to know this guy better on his occasional visits in the near and distant future.  Good GRIEF!  He is moving to Nashvegas! to become a BIG STAR!  Heck, he already IS a big star!

Finally, I have to mention yet another visit to the Amsterdam — to see Leeann Atherton and the wonderful Sunny Coleman.  Now while we were there in walked a vision of loveliness wearing a mask — a mystery woman, to be sure (who just happens to be a dynamic singer who was born in Wyoming).  And so we will leave you with the unsolved along with yet another photo of Molly Venter “posing” with Aimee Bobruk (that’s two of my favorite women in the world who just happen to write topnotch songs).

I will always remember the first time I met Jess Klein — at Momo’s, of course — Charlie Faye introduced us.  So a couple of weeks ago, Jess introduces me to her old friend Jessie Torrisi — who, like Jess, escaped from New York (a la Kurt Russell?), another in the never ending parade of wonderful people who were wise enough to come to Paradise where the streets are paved with golded songs and our pockets are lined with lint and sweat.

I will also never forget the first time I heard Jess Klein sing — last January at Flipnotices, and thank God the window was open, because her songs heated up the room.  Last Saturday I got to hear Jess again at Flipnotics, first solo (with her hair down), then with Jud Newcomb (who has just buried his close friend and fellow Resentment, Stephen Bruton, a man whom I admired and loved but nowhere near as much as Scrappy and the guys who knew him best). 

Like Suzanna Choffel, Jess appears the mild-mannered woman off stage but as soon as her guitar gets some action, she is pure dynamite.  I was just sitting there in awe and all of a sudden it hit me — Jess’s songwriting reminds me of the young Bruce Springsteen (and, by inference, Tom Waits at any age) in the way she weaves her stories from the vignettes of life she captures in her soul as she goes through everyday life.  Austin is so very blessed to have her here and yet Jess says that Austin has been a life saver for her as well – and folks, this new record she did with Scrappy and also with Mark Addison is like a seven course meal followed by another one — and dessert and brandy and coffee.  [Which is to say there's a lot of meat, plenty of spice, a touch of sugar but a pound of honey, and vegetables like great-grandma used to make.   [But for us here in Paradise, we get that kind of cookin' so often we may forget to kiss the cook even when it's finger lickin' good!]

Earlier in the evening, I got to see Jessie Torrisi (whose mom told me that Jess has had concerts in her living room), who had dragged me out to see Elvis Perkins in Dearland earlier in the week (a rare event for Flanfire checking out a non-Austin band, but what a wonderful experience that I will tell you about for hours if you just ask (but not here, though DO check out the photo of the young man whose father was Norman Bates and whose mother was Marisa Berenson’s sister).  [The photo is of Elvis to the right of the trombone player from Stillwater (OK) band Other Lives, who opened the show -- the Dearland guys, like Elvis, are Brown graduates.

Now, Jessie is really from Philadelphia but did go to Columbia and lived in NYC for a decade -- so she knows her bagels and her cheesesteak and STILL came to Austin for the music and the life.  And she is a drummer and percussionist and a very good one, as friends have told me.  At Ego's on Saturday, though, she brought out an acoustic and an electric guitar and her friend Alissa Schram to play cello -- and Carl Ryals on drums, Raul Vallejo on trombone and a brand new father Josef Butts on upright bass.  The thing with Ms. Torrisi is that she just gets you before she even sings a note -- maybe it's the time she spent learning Brazilian beats, maybe it's just her natural gift of gab, maybe it's just her devilish smile -- but she filled up the room with fans (some all the way from Manhattan) and with smiles of joy.

Later in the evening, I went over to Momo's to catch Goldcure in their final set before a Southeast tour -- now they are covering the Who, Bowie, and the Beatles and yet their originals are what blow people away.  Even their closest friends are amazed at how these guys have gotten so much better since arriving maybe two years ago from Fort Lauderdale (well, Adam, Craig and Gavin - bassist Marcus is their best Austin find other than producer (and great guitarist and songwriter) Stephen Doster (shown here with birthday boy Gavin Inverso -- and yeah it was also Will Evans' birthday too!)  The big surprise of the evening, though, was Ryan Harkrider and his band -- wish I had gotten the name of that pretty law school student who sang harmonies and leads with Ryan all night long.  Ryan, BTW, won the Austin song contest -- just gotta love the emerging talent this town produces (yup, he's a native!).

Friday was sort of a makeup day for Wednesday, when to accommidate a late-booked private party, Scholz's Biergarten moved the Fireants and Blues Mafia show to the choirlike Sangerrunde Hall, which does not handle electric instruments well and which did not attract anywhere near the normal crowd you get outside at the venue.  Plus, it was a chance to check out Tim's Porch at the Old Backyard -- just a fabulous place to sit outside and listen to great music.  And folks, Malford Milligan is back in town to do a show there on May 30th!

The Fireants were missing Rebecca Pledger (bass) and Steven Campbell (keys) but then again that put Danny Levin on fiddle, cello, and keys and Jon Blondell on bass for quite a show.  Carson Brock even sat in on a song or two -- after telling me he was a little ill and "glad he was not playing." But of course he is a featured member of the Lake Travis Fiddlers (playing guitar) as is my old friend Richard Parke's lovely daughter Catherine.  I really enjoyed this ensemble, which is directed by Anna Macias who has been such a developer of young talent for so long in this town.  And yet -- the best show of the night may just have been the very informal jam sessions with Carson Brock (he of the weak-kneed feeling earlier), Victor ZIolkowski, Zeke Jarmon, and Danny Levin -- sometimes with Zeke or Carson sitting in on drums).

Later on Friday, I stopped by Ginny's Little Longhorn for a set from Jenny and the Corn Ponies (which includes my pal Missy Beth on fiddle and vocals) -- and Vaughan and Sly from the Shake-Em-Ups showed up, Mr. Barrack on his brand-new motorcycle!

 NOTE - I am reserving an entire post just for the Ricky Stein CD release and family fun fest at the Continental Club last Thursday.  Earlier that evening, the lovely Jackie Bristow (with Mark Punch and Mark Hays) put on an amazing show at the Amsterdam despite the ongoing renovations at the venue that its owners hope will turn the former diner into one of the city's top intimate music venues.  ANd I even had been to Momo's for Happy Hour thanks to Aimee Bobruk who had told me not to miss her friend from south Georgia via Noo Yawk City (there's that place again!), Mary Bragg.  ANd boy she was RIGHT!  Lovely woman (with her husband on bass), gorgeous songs.

Despite the last-minute relocation, there was much good to say about the Fireants and Blues Mafia at Scholz's -- first, I had never been to Sangerrunde Hall, but now I see why acoustic groups love to play there during SXSW or at any time.  Second, I got to go see and hear Stefanie Fix with Mark Williams on bass and cello down at Botticellis.  [Which makes me wonder just how good "the Marks brothers" would be -- Mark Williams on bass/cello, Mark Hays on drums/percussion, Mark Addison on keyboards and some guitar, and Mark Punch on lead guitar, all from this post. 

 Gotta throw in a few kudos for Slaid Cleaves, out with his brand-new CD (I caught part of his Waterloo show, which was phenomenal -- and have to note he sings a duet with Jess Klein on her new CD.]  And then there’s that great new project for George DeVore (he gets to wear his overalls), the Twalls, which also features Matt Powell — and Curley Sue Twall on bass.  The garralous Douglas Jay Boyd made his Saxon Pub debut last week (he’s also singing with Dertybird of late) — and the always fun Nathan Hubble delivered as promised with Miss Brennen Leigh on electric, rock and roll mandolin at Momo’s.  [I might also mention Jackie Bristow’s warmup show at Flipnotics and my late-night taste of Warren Hood with Ruby Jane Smith at Momo’s on Sunday — after the Kris Brown Taurus birthday party — his mom and girlfriend are also Taureans, and it was a great party at Happiness Nursery which I heretofore had not even known about but which was such a cool little place tudked away off South First Street.

Finally, I have to give kudos to Blues Mafia (and to the Greyhounds and to Stephen Marcus of San Antonio’s blues rock band The 46, who also played) for helping raise nearly a thousand dollars for hte Leukemia and Lymphoma Society last weekend at Jovita’s.  Stephen’s drummer was in bed recovering from a tonsillectomy so he just came solo but ended up in another of those famous Austin jams with Patrick Mertens, Chris Copeland and Kai Roach of Blues Mafia and later Syd Sanchez on guitar.  The Mafia then put on a show that brought out the dancers (young and older, got a saxophonist up on stage for a song or two, and unveiled another new song that totally blew me away.  Later that evening I stopped by Botticellis to see Margo Valiante, dropped in at the Continental to catch two songs from LZ Love, and then went over to the Saxon and watched in total awe as New Orleans’ Theresa Andersson (who lived in Austin after Katrina) just mesmerized a packed house with her one-woman, five voices band show — violin, guitar, drum kit, various other percussion, and of course her loop machine that enables her to dance around barefoot pushing pedals and harmonizing with herself in four octaves. 

And after she sang a joyful tribute song  in the Nawlins tradition to Poodie Locke (it really WAS a hard week for Austin music, losing two of its finest who were both born in 1948), Theresa got a note telling her that Stephen Bruton, too, had died.  She paused for just a moment, then announced she was doing one more song — and proceeded to sing “Find the Cost of Freedom,” that great anthem from CSNY, with just her voice (looped for effect) — and as we cried our bitter tears we were slowly transfigured by the power of her soul as Bruton’s spirit entered the room and calmed all of our hearts.  My boys from Stonehoney closed out the night, but even their sweet four-part harmonies could not touch what we all had just seen and heard.

Jack Valen, “What Do I Have To Do (to get into your town)” – at his CD release party at Momos Club, with Kris Brown on guitar, Rubin on harmonica, Ed Miles on drums, and CD producer Randall Squires on bass.  Two great soloists who are longtime friends and favorites of Flanfire — and the new kid in town!

Margo Valiante — Lay Me Down — with Etan Sekons and Kyle Clayton at Flipnotics.  This gal can wail!

 Now be patient.  I am saving the best for last — Jack Valen has a new CD.  Who is this Jack Valen?  Again, be patient (but he IS the guy with the hat just below). 

But I will start with Sunday and work backwards .. and Sunday next Will Taylor promises us Warren Hood and Chris Maresh as his special guests.  Tonight, though, it was Jamie Deshotels of the Austin Pops and an all-star cast straight from the Austin Symphony performance during the afternoon.  Later, I stopped by the Continental to see Heybale but also went upstairs to the Gallery (for my first time) and caught an entire set from Mike Flanigan with Frosty on drums, Derek O’Brien on guitar, and a couple of horn players whose names you would likely recognize.  Man, I like that place — it’s an aerie and they play jazz — and there is a ping-pong table in the upstairs back.  And Hilary York and Shae Stuart were working and otherwise hanging out.

 Now back to Saturday, which ended early in the morning at an undiscolosed location at a going away party for impresario Michael Lahrman that featured a live backporch 2 am set by T-Bird and the Breaks.  That’s Austin, babee!  I ran into Jeremy Nail and almost got a copy of his brand-new EP and also caught up with Brian Keane and now-fiancee Rachel Loy, who is in town to record her own EP.  Someone took this photo of five HANDSOME MEN — Flanfire, Ihor Gowda, the honoree Michael, Dustin Welch, and Rockslide’s John Grubbs.  I would party with these guys anytime.

Earlier, I had stopped by the Amsterdam Cafe to catch half a set from Noelle Hampton and her brand-new band, anchored by the handsome Andre Moran (shown here with the now-blonde bombshell).  Dad George Hampton and the whole extended family were still celebrating George’s work on the brand-new statue of Texas (and national) hero Barbara Jordan.  [His art exhibit at Z Tejas is also notable.]

I got to Momos in time for opening sets from Miguel Briones and Kalu James and then the main course — Jack Valen himself with his hot band (more later) — and then the dessert, a great set from Tiny Tin Hearts (who also played Momos on Sunday night).

Now for Friday — which began at the brand-new (same old Barton Springs) Flipnotics, which already has a brand-new porch floor and will by the time you read this have a brand new air conditioning system — with more great changes to come, courtesy of the venue’s new owner.  That “Censored” beer from California was pretty good, too.

I of course was there to see the esteemed Kyle Clayton and his debut with Margo Valiante — with Etan Sekons on guitar.  Margo, by the way, is a finalist in the Wildflower Festival (in RIchardson) songwriter contest, and she and the other nine finalists will share the stage on May 16th right before my pal BettySoo.  Needless to say, the highlight of the evening was Kyle’s bass solo on the last song — and the text messaging back and forth to Hawaii with Geron Hoy.  Margo sounded great, and so did Etan.

Later I stopped by Momos to catch a very hot set from Dertybird, with Robby Kidd on drums and JT Holt on guitars (with Lee Brock on bass) — and song stylist Clayton Colvin on vocals.  Sitting in were Douglas Jay Boyd on vocals and on a couple of songs the amazing David Jimenez (Bruce James is where I first saw him) on guitar.  This set was fun, and downright nasty when JT and David set out on an extended jam.

JACK VALEN — WHAT WAS, WHAT IS

What was Kris Brown doing NOT playing lead guitar for way too long? 

What is Jack Valen doing that is so very right?  Well, one thing is working with Kris’ roommate Randall Squires, whose prior credits include Grimy Styles “Rewind” CD.

What shall be — now that is all up to those who actually take a listen to this young songwriter of Brazilian heritage who has been based in Austin for some time now.  My advice — do not be like the guy who failed to get to the U2 concert in College Park, Maryland, when the price was low and the venue was a mile or two from his house.  Now Jack may never become a world-renowned star, but this writer will get out to as many of his shows as possible — really good songs, a great vibe, and Kris Brown on lead guitar showcasing talents he rarely unveils to even his closest friends.

Are there really 14 songs on this record?  You listen, you hear a little Dylan, a little Crash Test Dummies, and maybe even a little Seattle grunge — but what you get is a guy whose songs insist on being taken seriously.  And better yet — this guy will just get better and better the more he does it.

The uptempo “Please Melinda” and its lovely harmonies AND handclaps (very California sound) opens the listen .. a plea to stick around, not let the “snakes” whisper “words that will blister your soft, delicate ears.”  Then the tempo slows and the falsetto appears for the final plea — and then the tender, short guitar solo.  Anyone figure out already why this is the guy women want to hear sing? 

“Thank You” is more of a prayer — “When clouds were raging above me you kept me on my page, I had nothing to do with you but you did it in your name.”  And how about, “The wicked smile through their teeth to keep themselves from crying.”  There is this bouncy segment in the middle, then back to the main theme.

Okay – Jack can have a little fun, too — hence the “Ballad of Tipsy Bill,” a guy who professes that “having holes in your clothes has been hip for quite a while.”  Another song to dance to and laugh along as we hear about “that aroma that you smell , so good that it could kill, it’s all natural, baby, I call it “‘ssence Tipsy Bill’.”  So where does that amazing guitar solo at the end come from?

“Back Home” is one of my favorites (there are many).  It opens like a Grateful Dead song, feels a little like Dylan’s “Knocking on Heaven’s Door” for a second, and then a touch of classic Eighties crooning.   “It Takes Two” is realizing that love is a two-way street — here Jack shows off his falsetto.  But what do you do with a harmonica player whose lyrics promise to dry “the tears off from your eyes”?

“What Do I Have To Do” is a flat-out rocke that gets EVERYBODY up on the dance floor.  And then we are hit in the breadbasket with “When I’m Gone,” a song about a man speaking his dying wishes to his oldest son.  This is pure Eddie Vedder with a little Kurt Cobain.  Then there’s the curious “She Cursed Me,” which has this line — “the wind has a thing for men who hide their broken hearts, gets in their lungs and then rips them all apart.”  This poor guy is already preparing for death over the loss of a woman — yeah, this is a killer.

“Nothing Left To Say” is another bouncy rocker — a song you just have to dance to.  And there’s Jack’s harmonica finally.  “Reason To Believe” (not the famous cut) is more majestic, like a Kansas tune (well, close) — and MORE harmonica. 

“You May Be Able To Fool Yourself” is like an early Dylan ballad — except this guy sings on key.  And “My Sweet Lady” is an even slower ballad — this is turn off the lights, light up the incense and the barely able to see candles, and open that bottle of good wine music.

“Midnight” is just gorgeous – like Don McLean’s masterpiece, “Vincent,” and with the encouraging word that “through a broken window, a light can still shine, [but] you were’re looking for existence, you wanted to claim mine.”  A little mournful harmonica … and then …… the transition to the climactic (and anthemic) ”We Are,” which features pal Kalu James on harmony vocals.  Lyrics like, “I may not have much but at least my soul is fed, And at night I can easily lay my head, with no neeed to keep one eye open.”  And then there is this WOW guitar solo from Mr. Brown … the guy has the soul (maybe it is the years of playing reggae plus the jazz guitar training coming together).  At the end, you just feel refreshed — the meal is over and you are totally satisfied.