Flanfire

There’s this group of songwriters I have met thanks to Rob Cooperman and maybe now and then independently — but it is hard to tell, as they hang out in packs.  All of them are very talented, often sharing stages with one another, touring together, and of course that carousing thing.  Kalu James is a Nigerian by birth, raised in Benin, and moved in 2001 for computer studies to Rochester, New York (also home to Jess Klein).  It was there he began his singing career – for some wonderful reason Kalu moved to Austin a few years ago to enjoy our winter wonderland weather and grace us with song.  James Moran is a Nawlins street rat (self-proclaimed) who escaped Katrina or for whatever reason spent an eternity in San Antonio before the lovely Aly Tadros [off on tour with Douglas Jay Boyd as we write] started singing HIS songs at Red Fez and to defend his own honor he just HAD to move up here and start playing gigs.  [Of course James sang Aly's songs that night, too -- but it makes a good story.]  Both these guys have new product on the shelves and at their shows — and Kalu’s oft-times singing and swizzling partner Josh Halverson is not far behind. 

JAMES MORAN (self-titled)

I could say that James Moran is a dirtier (Nawlins does that), grittier Danny Malone — but that would not be fair to either performer.  Both are intense guys who sing pop songs [Moran prefers "soul," but acoustic they are soulful pop], both wear fedoras, both are loved by the ladies, and neither is as tall as I am.  Both, however, write great songs that are all their own.  So let’s move past the outward appearance and get to the nitty gritty.  Daniel Coffey produced Moran’s debut; Bryan Williams recorded the guitars (all James), and Damian Rodriguez the vocals (again, all James).  I also have to say the last time I saw James on stage was at B. D. Riley’s with Rob Cooperman joining in now and then — it was a TOTAL GAS!  These guys are fun!

“Come What May” opens the CD, and this is a catchy song.  “Jadi’s Song” is all about “writing this song on your guitar” to the woman whom he loves.  “Agree to Disagree” shows a great vocabulary — something he shares with Tim Buckley (father of Jeff Buckley, whose work Moran dearly admires).  We do look forward to the full band version of these songs — because with a band, James will be able to emote more.  “Mea Culpa?” is a sad song about a broken relationship – how do lovers learn to listen before it is too late?  How do we know when there is nothing left to try?  But more importantly, how do we know when to shut up and just wait until the storm clouds disappear? 

[What we] “Could Be” is a plea to stick together to see what good things can happen in a mutually supportive relationship.  “Home To Stay” is yet another tale of a guy who goes off track in a relationship [notice that James is always a lover], while “Least That I Could Do” is a reflective ballad about how good a relationship can be when giving is at the bottom on both sides.  I like this song.  “Believe It or Not” is the jazziest song on the record — this time the relationship seems adrift, with some loss of meaning, and yet our gallant lad holds out hope.  [We have the] “Solution,” James sings on the final song — but you have to open up your eyes.  Sometimes Moran’s lyrics sound like rap set to music — so many rhymes in one long phrase.  Moran will be joining Rob Cooperman on February 8th at Momo’s Club — and maybe some Mondays at B. D. Riley’s (but there was some cryptic message about the “final show” for the Undercover Songwriters Showcase). 

KALU JAMES – Live

Of course the second to last time I saw James was at a Kalu James (and Josh Halverson) show at One 2 One Bar the very night before — and Kalu handed me an advance copy of his new live record, cut at Ruta Maya with his full band — Randall Squires (bass and producer), Ed Miles (drums), Drew Howard (lead guitar), Michael Rubin (harmonica, mandolin, vocals), Erik Telford (trumpet, keyboards),  and the inimitable Josh Halverson on two songs.  Curiously, Jeff Buckley is at the very top of Kalu’s “influences” list on HIS MySpace — me, I prefer Nick Drake, but most of these guys may not even know who he was.  But he also likes Tracy Chapman, and she is clearly a HUGE influence on his vocal style.   

Kalu has a BIG voice (and he is a big man who admits he sweats during shows, kinda like Marvin Dykhuis) — and his band is just topnotch.  The first time I heard Kalu sing was at a Ham Jam, and his pure vocal tone was just stunning!  Kalu must mean “bear” in some language he speaks — because he just oozes warmth even when not on stage.  I listen to this live record and hardly hear the words — and then I really listen and sometimes cry.  “SCheck” opens quietly, then the guitar comes in like a xylophone hitting solo notes — and you know you are up for something good.  Then comes that gravelly vocal and you wonder what is this song all about?  And it does not matter — it is all about introducing the band.  And, OH — it is really “soundcheck.”

Then the REAL music begins — “The Way I Feel” opens with the organ holding a long note — and the guitar comes in underneath, and then Kalu … singing a love song ….. about Rochester and the love he found there as a young African man in America where the summers are colder than whatever he thought was winter and the winters are a whole other planet.  The sheer energy of this performer already comes through, and we are just getting started.  “Dreams” is a bouncy tune, Simon and Garfunkely even, about a “brand new chapter for this love.”  “Love for Someone Else” is a quiet song about ending an affair – “I’ve built mansions, you leave me with a leaky roof,” and so it is time to move on.  Next is “To Be in Love with Me,” a song about smiling … and why not?  Malaria is prevalent in Africa, and this song evokes memories that left Kalu smiling in the face of danger.  And then there is “Big Heart,” which opens with a monologue and ends with a smile.  “The World Needs You” is just beautiful.  Did I mention these are lengthy cuts — four of the songs are over 7 minutes long.  “Listen to the Wind” opens with an Erik Telford trumpet solo and later there is this mandolin dolo from Michael Rubin}  The final cut, “Answers,” is yet another ballad … oddly, his live sets are anything but.  This is lovely stuf — even thugh i am very tired after a long day.  But just get out to see Kalu soon.

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.