Burlington is on Lake Champlain, which I hear ices over many winters, but which on this weekend had a thriving outdoor music scene highlighted by historic Church Street where restaurants open out into the closed old street and musicians perform up and down the six-block area as people chow down on a wide variety of delicacies and consume local Vermont beer (my favorite, Long Point Blackbeary).  I, however, stopped by The Skinny Pancake to get a Nutella and strawberry crepe (The Love Maker). 

Northampton, home of Smith College and just a few miles south of UMass Amherst, is another smallish city with lots of good restaurants and several music venues.  My man Tim (T-Bird) took me to the Haymarket for tea and some delightful food, and steered me to nearby Look Park where Sharon Jones and the Dap Kings and Grace Potter and the Nocturnals opened at an event celebrating the 10th anniversary of the funk band SouLive (those guys are good!).  Ms. Jones and her band put on quite a show (though I think several of Austin’s soul bands have better songs and more overall energy), but the highlight for me was the presence of the Waking Dream puppets.

JESS KLEIN – Bound To Love

There is something apparently magical about the Austin music scene that is attracting seasoned musicians to relocate here and find new energy, new hope for their futures.  In the past year alone Flanfire has had the great pleasure of getting to know such artists as Jackie Bristow, Jess Klein, and Ruby James (others, too) who have come to Austin to live and record new music.  Others (Alyse Black, Aly Tadros, and brand-new Austinite Barbara Nesbitt, for a few) made records elsewhere and then came to live in our fair city – certainly not because they love 100-degree weather all summer long.  Reviews will be coming soon for Ruby, Jackie, Barbara, and hopefully that pixie Jackie Daum (who came here to record with Billy Harvey, worked at Botticellis and rarely graced a stage but made a lot of friends before relocating to San Diego).

She has lived here for a year now, but few Austinites even know Jess Klein, despite the fact that she has six or seven (depends on how you count) prior CD’s, is a Telluride Troubadour Songwriting Contest winner, toured worldwide (Europe and Japan) with her first Rkyodisc release, Draw Them Near, performed her song “Little White Dove” on Good Morning America, and had her song Strawberry Lover  voted as one of the 10 sexiest songs of the year by the New York Daily News. 

The Rochester, New York, native has lived in Boston and New York City but came to Austin, she says, to “find a home where I could park myself between tours and feel inspired and supported. Living here and writing these songs uplifted me. Recording them was so much fun, and playing them live feels like a pure expression of my love for the world.”  Indeed, Jess’ new record, Bound To Love, is a pure expression of her gratefulness — and her courage to stand before sometimes rowdy audiences to pour her heart out, telling stories from deep within her own soul and sometimes her vivid imagination — all of which grip our hearts especially when her voice soars to the higher registers.

I first met Jess Klein at Momo’s Club (where else?), but when I first saw her on stage at Flipnotics in January (it was cold outside) I thought seriously about opening the windows thanks to the hot flamesshe was sending out to an enraptured audience.  I still sometimes get tongue-tied around this gentle woman whose passion for life has been rekindled by her move halfway across the USA.  I recall the other night at Threadgill’s she was sitting on a low wall in the back listening to a Jimmy LaFave song — and you could just see the boogeying energy that was largely in her head but yet emanating out into the night with a force ten.  Probably getting inspired to write another song.

I recall one night long ago in Washington, DC’s Montrose Park, a bunch of us were hanging out long after dark when someone came over and whispered, come into the maze and listen — but be very quiet and still .. and we tiptoed in and heard this young woman playing the flute and it was wonderful and we instantly knew why we had been warned against bluster.  Jess Klein is sometimes like that flautist — you have to be quiet so she can soar and touch your heart in ways you had not imagined possible anymore. 

Her old friends tell me Bound to Love is Jess’ best record yet, and lots of thanks must go to Mark Addison and Jud Newcomb, as well as to supporting musicians Rob Hooper, Harmoni Kelley, George Reiff, Slaid Cleaves, Matt the Electrician, Kim DesChamps, Susan Howe and Freedy Johnston.  The truth is that good as this record is, it cannot capture the electricity of Jess’ live performance, but people often drive while listening to CD’s and we do not need autos on cruise control with drivers and passengers totally oblivious to their surroundings.

Get to a Jess Klein live show (I heartily recommend Momo’s on October 3rd, when Jess will be joined for the evening by fellow TB Artists performers Josh Grider (new CD release that date as well) and the incomparable Randy Weeks (how many songwriters can you listen to for four hours and never get tired?).  But when you come to see Jess Klein, get up close and be quiet and still — well, that is, until she blows you away and you cannot contain yourself.

“When the Time Comes” opens the record — “What you want is up ahead and what you had is all behind, all the voices in your head have finally left you peace of mind, and you walk like you’re on water now, you’re following a sign ….”  This song Jess wrote traveling toward Austin with a clear vision that freedom was in her future and she needed to be ready to soar.  Now let’s imagine Jess is telling a fictional story in “Don’t Wanna Say It,” as she sings that, “I have tried, oh I’ve tried to let no one see me cryin’, but the world passes on and I’m dyin’.”  This is a song about surrender .. and hope.

The title cut speaks to those voices that our writer has “seen the proof in the breeze blowin’ through my window shade, seen the proof in the sun glowin’ on the house I’ve made, where my heart’s growin’, where I’m not afraid — I’m free … and I’m bound to love.”  The key to this new joy and confidence — “My energy comes from giving to you … you help me pull the right things through…”  “I Just Want To Know Your Name” is a penetrating song that asks all of us are we just putting on a show and do we even know who we really are?  About being on stage, our writer says, “When I’m not smilin’ for them I’m starin’ at my shoes, I walk a mile for them, I sing another blues.” 

Then Jess tells another of her famous stories — “Postcard” is about a woman whose “true” love did not quite work out, and her memories of what might have been that keep her going.  Jess’ cover of John Hiatt’s “Before I Go” fit right in with the theme of the recording, and Jess too “will try .. and stumble” but like Hiatt, she can sing, “But I will fly, He told me so.”  Thanks so much to the loverly Abi Tapia (in whose house in the Berkshires Jess spent a few days last week) for co-writing “Fool,” and to Slaid Cleaves for his powerful duet vocal on this airplay-necessary cut.  Another story song — about a waitress and a truck driver finding and quivering through the beginnings of what could be true love.

“Putty” is a tough song about a “mental love affair” — and the presumptions so many of us have that we are so indispensable to another person whose life we want to manipulate for our pleasure.  As Jess says, “Buddy, what will you do when I’ve laid it all out on the floor and I ain’t got no more lazy days or time to spend?”  Life is not a game we can win but an adventure we must let take us where it will.

“It Will Come to Me” is one of my favorites – Jess here sings that she is embarking on a “bigger ship in a broader sea” (could that be Austin?) and yet recognizes that, “you won’t ever get too far if you don’t let the stars do their work and pull you out of that corner where you are.”  And just to remind us that she is one tough cookie, Jess tells a fictional story about a ”Traveling’ Woman” who is just plain frustrated with all of the phony lovers and would be boyfriends none of whom is really true – and she says what she wants — with the key being that whoever would be hers would not try to put her in a cage – if you want her love you had best not try to make her put her suitcase down!  This is a sexy song — and live she just flat out BELTS this one (as Jess says, her family always said she was too loud!).

“Rosalie” goes to the other side — a quiet, tender song about a lost love.  This song makes you cry when Jess’s voice soars into the stratosphere … and if we can learn anything, it teaches us to cherish each moment and be very careful with our own hearts and especially the hearts of those we profess to love.  Maybe Jess is even singing about someone who foolishly walked away from her long ago.  This could be the one song here that defines why Jess Klein touches the heart so deeply.

But “What For” is an anthem — you want to stand and place your hand on your heart.  Jess dedicated this album to her father, and this song reflects a deep love for someone whose “rare, sole example gives a night flyer ample fuel for the burning and the turning up for more.”  This very personal song lets us know that this woman who “live my life safely, making steps like a baby” would get on stage “where I’d open the cage and soar….”  Now, after years of dealing with a world that often makes us call into question our own deepset values, the die is cast and the time has come to stand bravely up and let those whom we love know that “we are all in this together” and maybe it is time that the one who was being led takes the lead in love and grace.  This Jess Klein is quite a woman, and Austin should be proud that she feels loved here …  and just might stick around for a while if we are willing to let her keep her suitcase packed to travel to Narnia and back and places in between.

And speaking of those returning to town, here is Jackie Bristow fresh from six weeks in Australia working on her new record at the Red Shed Tavern (how about that stage built by Chad Pope?) with my favorite Austin guitarist, Van Wilks.  I think these two ought to play LOTS of shows together — Van was as energetic as I have seen him on acoustic guitar making beautiful notes happen, and my good pal Mark Addison was caught playing DRUMS on one of the songs they did together.

In the middle is that same David Ramirez whose new record I just reviewed — shown here playing at Momo’s Club just before embarking on a lengthy tour with Boerne native Matt McCloskey (last I heard the boys were chowing down at Katz’s Deli in Noo Yawk City).  And truth be told, no collection of photos of Austin music would be complete without Scrappy Jud Newcomb, shown here on the Momo’s stage backing Jess Klein just before the two left on a West Coast tour.  Jess will be back at Flipnotics on September 3rd before heading east this time — to New England where the rain has been falling every day this summer, I am told by old friends) and the Carolinas. 

There is NOBODY better as a lead singer on any stage in Austin than Drew Smith — and I mean NOBODY.  Last week Drew was set to play a trio with drummer Kyle (the Smile) Thompson and Ryan (Beef Beeferson) Bowman, but at the last minute Guitar Hero Jake Owens (who admits to being influenced by fellow San Antonian Joe Reyes) showed up, and it was the Lonely Choir in toto sans keyboardist Matt Russell — and thus a brand-new sound, edgier in some ways.  And Drew?  He was just out there sweating and shouting and bringing goosebumps to just about everybody at Momo’s Club — especially that lovely woman in the second tier of tables who inspires many of his songs.

My very next trip to Momo’s was just as good — what with Ian Stewart and the Fireants down to just three members for the night (Victor Ziolkowski and Rebecca Pledger) but with musical magician Erik Hokkanen swapping licks with Ian, nobody seemed to mind.  Just WOW!  Erik has also been spotted at Momo’s lately sitting in with Utah emigres Wisebird (a band NOT to be missed while the price of admission is still affordable).  Earlier that same evening I had stopped by Flipnotics for a RARE appearance by sultry songbird Tawnya Lorae (again, a packed house cheering her every breath).  And to my joy and surprise there was Ram Zimmerman tapping out the rhythm to her blues … but no wonder!  I had not seen Ram since the Kim Deschamps Band days of olde. 

Here we have Austin newcomer (and Berklee grad who hails from California) Michelle Alany playing fiddle with The Inheritance (featuring Amanda Kitchens on accordian) at a packed-out Flipnotics (this band is HOT and will be back there and elsewhere soon).  Next up is Sasha Ortiz in total ecstasy at a Blues Mafia show at Antone’s (opening for Gary Clark, Jr., who along with Eric Zapata and a killer rhythm section blew the walls off the storied blues venue on Saturday night.  Blues Mafia was just as impressive in a shorter set — and they will be back at Antone’s on August 27th with the Bubbles as openers at The Daze CD release party.  The rowdy Mandy Rowden, she of Girl Guitar, is shown HERE with her all girl (what else?) band, Cover Girl (playing, what else, covers!) during a nine-band, six hour showcase at Antone’s sponsored by Austin Music Marketing.  I got in early to catch a short set from my old pal James Bullard and returned later for a kicking set from The Skeletons — punkabilly at its very best!  I have long been fond of Jeremiah and Amanda Ingram (that gal can pound the skins!), and bassist Vincent Salcedo is just pure slap-happy — but the band has taken on new life with lead guitarist Dan Nettles and mandolinist Nick Wicker.  I wanted these guys to play another hour or two.

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).

I could not resist throwing in another photo of Danny B Harvey — shown here playing with the Jessica Shepherd Band (that’s Perry Drake on drums, but also Trisha Keefer (of the Trishas and Dustin Welch’s House Band) on fiddle and David Valley on bass).  This show was out at Klattenhoff Park in Wells Branch on a hot Sunday afternoon — but the real smoke was coming from the stage.  Jessica just sent her new CD off to the manufacturer and it is hot stuff. 

The Beautiful Mistakes started out a few years back and were for a while the house band at Roadhouse Rags (one of my favorite Austin venues), but here they are at Momo’s Club — Ben Todd and Ben Sirko on guitars and vocals, Ashley Pankey on bass, Jason Toll on drums, and the amazing Aaron Starr on harmonica (amazing because he has brought out the saxophone as a second instrument).  This is one kick-ass band that can jam with anybody — the more I listen, the more I like.  Stop by the Continental Gallery and ask Ben for a demo — made (where else?) at Roadhouse Rags — and I hear the band is about to put together a newer collage of their live sets there onto a playable disc.  RUMOR has it that a tall Kentucky blonde may be on stage with them here and now.

Also debuting a new CD is Boerne’s Matt McCloskey (living here now, of course), who has been holding down Mondays at Momo’s for the past few weeks.  Matt has a new CD available, “These Times Won’t Last,” recorded with George Henderson on bass, James Richardson on drums, and Joe Moralez on keyboards — but his band right now includes Brian Marshall on guitar (and banjo!).  Matt himself plays guitar, piano and harmonica on the record, which features seven of his rockin’ songs.  He is back at Momo’s in July (with Deadman on the bills too) and plays the EverGreen House Concert in Boerne at the end of the month.  The title cut is a nice opener, and the record continues with “Bottled Up,” which rocks, and a real ballad, “That Kind of Love,” that has an old-time feeling – a mesh of Mellencamp and Ryan AND Bryan Adams, pop but indie too.  Maybe Matt lives in a pink house?  “Give All Your Love To Me” is another ballad.  “Love Her Through the Hard Times” sounds like a song written by a man who is growing in responsibility in real life — a song about commitment that all too often these days is foreign to our experience — a real primer for keeping the fires lit.  “Dyin’” is pure R & B — and great to dance (close) to.  The last cut, “Baby, I Need You,” is an admission that genuine love really makes a huge difference in our lives.

And I was recalling these two very good books I have read lately (and met both authors in person) — “Reading Lolita in Tehran,” by Azar Nafisi, and “In the House of My Bibi,” by Austin resident Nastaran Kherad — and how the wonderful Ayatollah put women in prison for daring to breathe freely and executed untold numbers of people for failing to jump high enough (or for nothing at all, kinda like the dragging to death of James Byrd).

And I thought — we had a concert for Bangladesh, we turned out by the millions to cheer the fall of the Berlin Wall, and so why are there so few Austin people here supporting our Iranian friends whose votes are being thrown away?  Do we not remember that if we fail to promote freedom abroad, we stand to lose our own freedom right here at home?  [Imagine if the Saudi King ran the USA -- no dancing, no tank tops (and much much worse).]

But this is a MUSIC column, and so I was thrilled to note that my good friend (and Iranian by heritage) Paul Oveisi was that very night bringing to his stage “Tehranosaurus,” which features the music of setar (different from the Indian sitar by a whole lot) player Fared Shafinury.  This was to be the debut of a forthcoming World Music Night at Momo’s (details will come later) — and I of course was so looking forward to this great show.  Little did I know that the fellow leading the march was that same Fared Shafinury — accompanied that afternoon by a couple of drummers and a host of spontaneous singers and beautiful people calling for a peaceful revolution in Iran — where a huge majority of the population is under 30 years old.

Of course I could not be THAT surprised when I walked into Momo’s and that guy was on stage.  And then we all began to listen to this great music — jazz, folk, and traditional Iranian (Persian, really, because this music has a LONG history) rhythms on two different setars he was playing.  The whole audience at Momo’s sat quietly (except to loudly applaud) so they could listen to every note.  Fared also explained what had happened that afternoon — and the very LEAST we can all do is to takje notice that the Ayatollah has now threatened massive violence against these freedom loving people who know full well that their “election” was totally fraudulent and that the people of Iran do not want a blowhard dictator who threatens nuclear warfare and keeps his own people enslaved to a “religion” that is — as the star of the new movie (see below) “The Stoning of Soraya M.” says, not Islam in any way, shape or form but in reality just a means to use to maintain absolute power and control.  [The movie, BTW, opens at the Regal Arbor Cinema in Great Hills on July 10th.]

Fared and his friends had been handing out a flyer with these immortal words from the 14th Century poet Saadi:   Human beings are members of a whole, in creation of one essence and soul.  If one member is afflicted with pain, Other members uneasy will remain.  If you have no sympathy for human pain, the name of human you cannot retain.

Fared’s music conveys that sympathy for the human soul — anyone watching the crowd at Momo’s would know this instinctively.  His singing — which includes the Iranian “radiff” vocal style (you just have to hear it) — is just as impassioned as his speaking.  [Okay - I shot a great video but have to find a way to edit it down to under 10 minutes to get it on youtube -- all this technology is a learning experience; for example, I just learned how to write Noëlle!]

Do not be dismayed, as Fared will be BACK at Momo’s on June 24th — and friends of freedom and lovers of great music (they seem to go together) would do well to wear green and show up for this amazing performer and his friends.  Fared will also be at the Cactus Cafe on July 7th — but by that time, untold numbers of his fellow Iranians (though he was born “on the Gulf of Mexico”) may be dead or in prison.

To get more, just go to www.myspace.com/faredshafinury (or www.behindtheseas.com)   where you can hear songs from his brand-new EP, “Tehranosaurus,” and learn more about his forthcoming full-length CD, “Behind the Seas, “ which was recorded in Tehran in 2008.  And if you want to learn more about what is going on in Iran, or how to show support for these great people, just go to www.utipj.com — And remember the words of this young woman — “Freedom is something we all need. It’s a human right. It is worth fighting for,” said a young demonstrator who identified herself only as “Gazel.”

“The Stoning of Soraya M.” is being released next weekend and describes the life of an Iranian woman who tells a journalist about her life in Iran and the corrupt situation. Sadly, this movie seems to parallel the present day situation in Iran, we notice this when journalists cover riots and rallies. However, Iran has begun the steps to ban foreign press. Today, Iran banned the foreign press from any text, print and TV output in covering opposition rallies in Tehran. It is speculated that the cause of this new ban is because forces loyal to Iranian president Mahmoud Ahmadinejad killed eight opposition supporters. Maybe the current president wants to shut us out but Iranian youth are using Facebook and Twitter to stay strong during the new elections even if their Internet speeds are similar to those of dial-up. Be sure to check your local theatre listings to find where you can watch this heart-breaking true story.

Sometimes we import ‘em — the Jess Kleins and Charlie Fayes and Jenny Reynolds’ of the world.  Other times we grow ‘em right here in Austin (Suzanna Choffel, for example), or at least here in Texas (that would be BettySoo).  Or you could throw in Kat Edmonson or Carolyn Wonderland (both, like BettySoo, from Houston), or Eve Monsees (Austin’s own) — or a bunch of others.  Bottom line — there is NO PLACE LIKE AUSTIN for live music.  Not when you are at Momo’s Club (for example) and Jess Klein brings up BettySoo and Suzanna Choffel (with Charlie Faye looking on joyfully) or last Saturday at the Cactus when BettySoo at her own CD release party brought up Jess and Aimee Bobruk and Jenny Reynolds and Ben Mallott and Graham Weber and of course Gurf Morlix himself sang a song for us all. 

WHO IS THIS BETTYSOO?  That was a question I was asking myself after totally missing her contirbution to last year’s Hank and Lucinda Hoot Night at the Cactus (hosted by Jenny Reynolds).  Then one night at the Saxon Pub when I was there to see Charlie Faye and Will Sexton and friends there was BettySoo jumping on stage to sing harmonies.  And there were parties and such — and still it took months for me to get to hear this woman sing — and all I could say was WOWOWOWOWOW!  Plus she’s just a great friend and a real wit.  And she haws a great husband (Mail Man Dave) who plays in her band sometimes.

Okay, you can read all about BettySoo in this week’s Austin Chronicle (she’s the COVER GIRL — not bad for a woman who wrote that amazing song, “Never the Pretty Girl”).  Did I mention that she is scheduled to open for Joan Baez (yeah, that’s JOAN BAEZ!!!) in Wisconsin in August?  Right in the middle of her California tour.  Well, if YOU were BettySoo, you’d drop it all to open for the woman with that pure soprano who was the voice of the Sixties.  Then again, if you are Joan Baez and heard BettySoo on stage before your set, you just might want to get out and share that spotlight — with a woman who not only has a voice to compare with your own but whose real life story (which is really that of her family ofwhich she is a living, breathing part) is more than captivating.

BettySoo did not even tell her parents about her CD release party — she’s had two of those before, and thought, “My folks would drive all the way back to Houston after the show so they could work (as medical doctors to Houston’s poor) the next morning.  But they showed up anyway — and this modest couple had a hard time getting a seat until someone let out who they were).  The CD release party (sorry, folks, no photos) was hands down the BEST SHOW that Flanfire has EVER seen atthis venue.  Standing room only, with people turned away (including Jim Patton and Sherry Brokus, who hosted BettySoo at the Amsterdam along with Karen Mal and Will Taylor the next Thursday [that was tonight]). 

I guess I have to mention her songs — starting with that Little Secrets song from an older album that sends chills up the spine of any cheating husband.  But this is all about “Heat Sin Water Skin,” produced by Gurf Morlix with Fred Remmert doing various things and Gene Elders on violin (and, yes, folks, the incomparable John Conquest has compared the quality of BettySoo’s voice to that of Gene’s lovely wife Betty  – and he is DEAD ON).  Gurf even stuck around hot, sticky Austin just to play at the CD release party — and his guitar solos (someone once said he can play a 3-note solo and it is better than anything most other guitarists can do with much more fanfare) on the two songs JEnny Reynolds did were phenomenal (drawing huge applause).

Okay, already — my favorites are cuts 1-11 (there are 11 cuts).  But how can you not be moved by “Never the Pretty Girl” and “Whisper My Name” (actually, the Chronicle reviewer — not Margaret Moser — called the “Pretty Girl” a little “naked” and “Whisper” “a little schmaltzy” and complained that she does not belt it out enough — is she just jealous?) 

But BettySoo DOES belt out the opening cut — “Never Knew No Love” — and for that matter “Still Small Voice,” a song that bespeaks her upbringing.  “Just Another Lover” opens with Gene Elders on fiddle — and then BettySoo hits us in the breadbasket, asking whether this relationship is real or just a fill-in for self-gratification, without any real contact with the person in the skin he is touching.  Women — and men, too, these days — ought to ask that question if they are looking for real love.  Saves a lot of heartache — and disappointment.  That’s what she is saying to all of us.

Gurf’s guitar is dark and murky on “Who Knows,” and Todd Wilson’s organ adds to the aura of this powerful song that sounds a little like one Stefanie Fix would write.  “Forever” fits right in with Deadman’s music — rich and warm and yet quite sad.  “Get Clean” also rocks — especially when she does it live.  But let’s get real — “What We’ve Got” is a love song that is just gorgeous and rich in its imagery (as are many of this woman’s songs).

I will mention the rendition of “Lonesome Whistle,” a collaboration between Gov. Himmie Davis and Hank Williams, for its pure simplicity and BettySoo’s awesome quiet delivery — but ther emay not be a better song on the record than “Next Big Thing,” which opens with a wailing steel and tells th story of the woman who left home in Iowa to become a star on “that music highway.”  Now I guess it was just the right thing that BettySoo made me wait for weeks (well, she cannot find her keys sometime either, I hear) to get my review copy — and I had a self-imposed deadline of getting this done BEFORE the JOINT BETTYSOO-CHARLIE FAYE show at Momo’s on June Teenth [ a show I may not even make, given that Jess Klein and Noelle Hampton are on at the same time in two other venues -- NOT FAIR!].

CHARLIE FAYE – WILSON ST.

So back when a friend of mine was raving about Charlie Faye, I was thinking, who is this Nashville country singer who has come to Austin?  And then I met Charlie Faye — the New York woman with the heels as tall as she is who single-handedly (later on, of course) saved at least some of the famed Wilson Street cottages [hence this album title] from the wrecking ball and kept herself and fantastic neighbors like Jess Klein from being homeless.  Then I got Charlie Faye’s first record and played it 15 times while I was moving back into my old house on Hermitage Drive — alternating with Steve Carter’s great record that Courtney Audain produced.

So the new – AUSTIN – record opens with one of my favorites off that old record, “Bottletops,” a song I must by now have played 300 or more times (it is on my late-night personal playlist), and there is “Lady of the Leading Man” again as well.  But this is not just a redo of the New York record — what we have here is Mark Hallman’s genius and Andre Moran’s engineering (he who is Noelle Hampton’s hubby and guitarist) and featuring that man about town Will Sexton on bass, guitar, and vocals, David Holt on guitar and Rick Richards on drums — with appearances from half the town on various songs.

“Runaround” (co-written with Will) is brassy (reminiscent of Runaround Sue in its chorus, oddly enough), while “She’s Gonna Go” (written with Philip Gibbs) also has a little Dion in it.  Then there is “Simple Seduction,” one of Charlie’s signature songs — about a woman (or a man?) needing a little attention from her man — for example, “you alone without the children and the triple evening blues.”  This cut features Katy Rose Cox on fiddle, Gabe Rhodes on guitar, George Reiff on bass, and JJ Johnson on drums. 

Charlie and Will also co-wrote “Waitin’ (on Something)”, a ballad that has that lazy bayou feel, a song to listen to with a glass of wine and a cigarette (and you know I don’t smoke) in the reverie of the very late evening — a song that provokes us to think about our own failures to follow through with those with whom we are entwined but perhaps not inspired.  This is a KILLER song!

But it is not “Jersey Pride” (and did I mention that Charlie, Jess Klein, and Jenifer Jackson are ALL New Jersey refugees, as are some other of my “New York” friends).  The land of Bruce and Bon Jovi and the Amboy Dukes and the FREAKIN’ RAMONES!!!! — THIS is a song that just shouts out at you — you can leave New Jersey (and “the smell of the backyard pines”) and yet you never forget that it was something good you left behind.  My favorite line — “Now you’re left with all of those damn memories and stories too sweet to tell of secret and unstolen nights in the cradle of America …..”  And, oh yeah, Gurf Morlix plays lead guitar and Joe Humel is on drums and Cornbread on bass here. 

Maybe even better is “Coward’s Lament,” a song that may soon catch up with “Bottletops” on my personal playlist — “Baby, I’m so afraid that the truth will set you free, I’ll become a coward and a liar just to keep you right here with me….”  “Summer Legs,” like Bottletops, features Abra Moore on harmony vocals and Will Sexton singing some key lines as well.  And John X Reed plays guitar on “Lady of the Leading Man,” which features Will and Philip Gibbs on harmonies.  No claws here!

“Ready to Fall” is the final cut here — a love song of sorts.  What we know is that Will Sexton has recorded his own brand-new song collection, and that he even has a new MySpace page.  Meanwhile, Charlie Faye may be gearing up for a run for city council (or to run off the city council that has been shutting down music venues on technicalities that could have easily been worked out peacefully) — and that she is bringing down her friends from New York to live and vote in Austin – and make great music (well, it was Charlie Faye who introduced me to Jess Klein).

If it’s June in Austin it must be Kerrville spillover city — so naturally, Flanfire went out to the beautiful Wyldwood House Concert site in deep south Austin (thank you Andrew and Amy for sharing your home with all of us — and Andy’s birthday cake!) to see my old friend Carrie Elkin (you know, that blonde who hangs out with that Danny Schmidt who is topping the folk charts these days) and a friend of hers whom I had met a few months back at the Continental Club — Tennessean Robby Hecht (with whom Carrie will be headed on tour to England very soon).

There is NOTHING like great food, great music, and the beautiful Texas sky (complete this night with an amazing full moon and lots of stars).  Let’s start with the FOOD!  Okay — Andy and Amy DO provide hot dogs and s’mores (by the campfire) for their guests as part of the suggeseted donation (sic) — but of late they have added an extra special deal — gourmet barbecue from Brendan Retherford and Nakita Santiago!  Here’s the deal (for anyone going to see Kevin Russell on June 20th or any future shows) — you order by Wednesday and your food is there for you on Saturday (and you must order ahead to get this great deal).  Brendan is founder of Sapor, a personal chef and catering service, while Nakita’s parents were longtime staff at Castle Hill Cafe who passed on their skills to their daughter.  OK they let me try some of their food — and one bite of the macaroni and cheese (which they normally feed to the kiddies) was enough to make my day!  And that was before I had the prime rib.

But this IS a music column, and so I guess I have to tell you about Carrie Elkin (who enjoys letting her pal Danny grab all the headlines while she just writes and sings great songs) and Robby Hecht (who has been called a young James Taylor in both voice and songwriting quality even though he is grousing about not having enough songs for a second album yet).  “But you will,” said Flanfire, promising he will gain great inspiration from days on the road in Merrie Olde England and Scotland with Ms. Elkin, who once wrote a song while stranded somewhere in NEBRASKA until her car got fixed.  One MIGHT say the performers were joined in song by a chorus of crickets OR that one of the macaroni generation danced in front of the stage showing off a FROG he had caught somewhere on the property (or was it, as Robby speculated, just a TOAD?) 

Just a day or so earlier, I had been called out to Lambert’s by my pals Andre and Noelle to meet Andy and Amy and hear a set from folk-punker Cory Branan (whose next Austin show will be at the Red 7’s Punk Rock BBQ on July 4th).  Cory (red shirt) who hails from North Mississippi and made his first mark in Memphis, reminds one a little of John Prine in his voice and his humor — and yet he can lay down some very heady stuff with significant power.  I have been seeing Cory here and there in Austin since he moved here about a year ago but this was my first time to hear him on stage.  I WILL be back!  I absolutely LOVED the “Prettiest Waitress in Memphis.”

I went BACK to the Madison (5th Street next to Rainbow Cattle Co.) to catch a longer set from Graham Wilkinson (at this dance club with some pretty nice amenities and lots of people having fun) — and this time he had (in addition to Mr. Swift on drums and vocals) Joe Beckham on bass (filling in on four hours’ notice) and a horn player.  It was a GAS the second week in a row.   I also caught a second set from Meagan Tubb and Shady People — that long-legged gal can flat out wear some threads, and she sings and picks guitar pretty well, too! 

Okay — I did not see any shows this week at Flipnotics, but I DID stop by to take a photo of the new outdoor seating areas that the new owners have graced the place with (along with a whole new deck, new paint, and a lot more work that really spruces up the old place).  Carrie Elkin, Molly Venter and Vanessa Lively will be at the venue on June 13th, but I have been told by Miss BettySoo NOT to miss HER CD release party at the Cactus.  Of course I would also love to be up at Journey for Grace Pettis’s show there — and down at the Amsterdam to see Jarrod Dickenson (but I just saw HIM at Momo’s).  Jarrod would get a photo spot here but he sings with his eyes closed — so I am throwing in a photo of the lovely Caitlin Bailey (cello), who is moving to New York State to further her musical education. 

Now THAT is a lead-in to talk about Jessie Torrisi, who came to Austin from New York in January and is already doing shows at places like Botticellis with cellist Alissa Schramm and multi-talented Rob Jewett (who played everything BUT standup bass that evening).  Later I went out to see Goldcure at the Szxon (great show and another debut song or two — these guys are ROCKSTARS!).  And then back to Momo’s for Jess Klein with Mark Addison, Rob Hooper, Scrappy Jud Newcomb and special guest Suzanna Choffel (she of the Momo’s late night dance club that was founded by Johnnie Goudie).

And the hits just keep on coming!  Just wait till you see the astounding video of the stormy West Texas gal Jen Womble’s Momo’s debut with Kalu James and Josh Halverson — on Kalu James Day in Austin but also Ms. Womble’s own birthday!  Ahhhh — but that’s enough of a foretaste.  I gotta get out to the club district for some more great Austin music.

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).

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

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.