LOTS more props for Oklahoma songwriter John Fullbright, who made his Austin debut opening for Jimmy LaFave Saturday night at Threadgill’s to rave reviews, and to Uncle Lucius for their stunning show at the Saxon Pub late Saturday with Mark Williams on cello and horns too.  Right in the middle of “Fire on the Rooftops” the band broke into “Cortez the Killer” (that’s my favorite ever Neil Young song) and since I was already out with the beautiful and talented Barbara Nesbitt I KNEW I had gone to heaven.  [Barbara Nesbitt -- remember that name -- new to Austin but very very very good!]

THE TINY TIN HEARTS –  Last Flight of the Martyr Aviator

I have been jonesing for this record in its final form for well over a year.  Produced by George Reiff, with Steve Christiansen handling “Luke,” this is everything we always wanted and expected from one of Austin’s most innovative ensembles — MY HEADLINERS AT FLANFIRE FAVORITES AT CENTRAL MARKET ON OCTOBER 11th!!!!

Talk about an eclectic group that leader Seth Osborn has put together.  Melanie Martinez on bass (she learned to play from Mark Andes), Jessie Poole on drums, Sean Ziegler on guitar and lap steel — plus Daniel Eversole on violin, Jim Korioth on cello, Jenni Wieland on French horn and trumpet, and Donald McDaniel on trombone.  Maybe the first time in history this particular set of instruments made up an entire band (Seth, BTW, plays banjo and keyboards and writes the lyrics). 

The CD opens with “The Aviator,” and you know immediately that you are in for quite a flight — indeed, the closing number is “Love and Jet Engines,” which suggests that Seth watched Top Gun as often as I did on the BIG screen.  Two “gnossiennes” (a term coined by Erik Satie) grace the CD, along with TTH favorites “Navesink” and “Luke.”  This is full-bore music — to be heard live.  DO get out to the CD release on September 25th at The Parish and also to the October 10th showcase.  I LOVE THIS BAND!  And so did my young French horn player friend from Oregon, who texted me that she was listening to the Hearts on KUT-FM on the Internet last weekend while in Washington, DC.

BROTHERS LAZAROFF — American Artifact

I just got this CD in the mail and played it three times through.  Jeff Lazaroff (main lead singer) has finally persuaded brother David (main guitarist) to return home to St. Louis, but the band will be back and forth anyway, given that Lindsay Greene (bass) and Gary Newcomb (pedal steel extraordinaire!) live in Austin and the lads just cannot get good tacos that far north.  Also featured on the CD are Stacy Hoobler on drums and percussion and Jerem Schildcrout on harmonica — but trust me, there are PLENTY of people (Dave Sanger and his lovely bride Elizabeth McQueen, for example) who love to play music with THESE guys.

THIS is the record I had long been waiting for — consistent in its sound and with the songs I had been hearing for years, like “When the Bottom Falls Out” (dark) and “Let It Be Love” (yeah!) and “Creeks Don’t Rise” (sounds like a Robbie Robertson song to me).  The opening cut begins with Newcomb’s signature sound, and then Jeff’s raspy voice promises that “I’ll See You Through.”  The title cut is a real rocker — this is, after all, an Indie rock band of sorts.  More guitars on “Ain’t Gonna Let You In” (I think this is David singing here?)  — this has a little of the sound of “Eight Miles High.”  “Dreamin’” is a ballad sure enough, with lots of pedal steel and passion.  The final cut, “Lament,” is a poet’s version of a Bob Seger song, one to be played late late at night.  I have to run so I will not tell the WHOLE story of this record — but just get it and tell the band they HAVE to get here for about six or seven shows a year at the very least.

P.S.  I played American Artifact several times over last week while driving through the beautiful Vermont countryside — and let me tell you, the juxtaposition of David Lazaroff’s fuzztone guitar and Gary Newcomb’s unequaled pedal steel make this one of the best traveling records in a long time.  The final cut, “Lament,” is nearly nine minutes of pure bliss — Jeff’s spoken vocals reminding us along the way that “paying attention” reaps huge rewards and does not (despite the “paying”) cost a dime — Gary says this is some of his very best work ever, and I concur.  The boys will be down later this year for another round of shows.

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).

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.

Last Monday, for example, was the second anniversary of Ming’s Cafe in Austin  – yes, the same Ming’s that graced Houston’s Montrose district for over a decade — and owner (and good buddy — see photo) Fai Jow provided his friends and patrons with an amazing gumbo on top of his tasty Chinese dishes.  Ming’s is one of Austin’s hottest Monday night music venues, thanks to the Mingtones and special guests, and this night was no exception.  Pedal steel genius Gary Newcomb showed ow the instrument works in the jazz idiom, performing with Brad Houser, Eldridge Goins, and an all-star cast that included Jane Bond, Matt Hubbard, and Cole El-Saleh – and later it was Laura Scarborough showing she too can entertain on a drum kit (or just with her hands in the air).  In the house for the annual photo were such luminaries as Shelley King (new CD on the way that is awesome, baby!), Carolyn Wonderland, and others too numerous to mention.

 Later that evening, Stretch and I stopped by the Hole in the Wall to catch a preview of the big Tuesday night bash at the Continental Club at which sets by the Lonesome Heroes and Shotgun Party were wrapped around the big CD release party for Leo Rondeau (see our review, archived at this site).  Mind you, this show came right after the historic Hippie Hour and founder and sequined songbird Toni Price stuck around for the whole shebang (as did earth mother/barn dance queen Leeann Atherton and many of the Hippie Hour regulars).  Now Stretch, being an old friend of Greg Garing, is also an old friend of Shotgun Party’s Katy Rose Cox, who has also been doing shows this week in Austin with the Maybelles (including Happy Hour at the Contintental the very next night).

But let’s get down to basics here — top left below is Shotgun Party with Leo, Missy Beth, and Vaughn Walters of the Shake ‘Em Ups celebrating the debut of fellow Shake-Em-Up Andrew Thomas Austin-Petersen as Shotgun Party bassist and sometime vocalist.  Top right – same group dancing and singing along with the dancing and singing crazy audience.  Bottom left – Leeann and Toni having a ball; bottom middle -Katy Rose with the Maybelles; bottom right – Leo Rondeau and Jenny Parrott.

 Okay — Stretch was already in Bandera on Wednesday evening when Flanfire kicked off a stellar evening that began with the bluegrass trio the Maybelles (Katy Rose with Jan Bell on guitar, harmonica, and British accent, and Eureka Springs, Arkansas, native Melissa Carper on upright bass — and all three on vocals (see photo at top right below with Landry McMeans of the Lonesome Heroes with Melissa and Jan and a handsome devil in the middle). 

Then it was over to Antone’s for a powerful set from The Tiny Tin Hearts (top left below) who OWN that room with their wall of sound, followed by Chris Brecht (bottom left) with ALL of his Dead Flowers Band, and the wonderful Jess Klein (with Scrappy Jud Newcomb, no kin to Gary, apparently) who showcased songs from her forthcoming CD done at Aerie Studios here in town.  Later, a bunch of us went over to Momo’s Club for a late-night set from Deadman, featuring bassist John Michael Schoepf along with frontman Steven Collins, Scott Davis on lead guitar, Kevin McCullough on harmony vocals, Todd Pertll on pedal steel, and with special guest (from the Dead Flowers Band) Matt Mollica on Hammond B-3 (which he lugged up the stairs at Momos after a hot set with Brecht at Antone’s).