The Hollywood Stars: "Hey! L.A.!" (2026) CD Review

The Hollywood Stars recorded their first album in 1974, though insanely it wasn't released until 2013. They recorded another album in 1976 that wasn't put out until 2019, which is also crazy. So the first album people actually got to hear was a self-titled record that came out in 1977. But that initial album had a song titled "King Of The Night Time World," and the band revisits that song on the new album, "Hey! L.A.!," the album in part a kind of love letter to the great city of Los Angeles, where the band formed fifty-three years ago. The band is currently made up of Scott Phares on lead vocals, Terry Rae on drums and percussion, Michael Rummans on bass and backing vocals, Jeff Jourard on guitar, and George Keller on guitar. The album features original material.

The album kicks off with its title track, getting things off to a fantastic start. The drums get things rolling, setting a fairly fast pace. This song celebrating Los Angeles deals directly with the fires that destroyed entire communities, and especially hurt the music community. But this is a kick-ass punk number about the resiliency of the city. Here are the opening lines: "1/6 was bad, 1/7 was worse/A New Year's spark then scorched the earth/A dragon's breath blew across the west/So much heat, there was nothing left." And then Scott sings, "Santa Ana winds used to be my friend/A little bit of warmth after summer's end/But this time 'round it was just too much/Much too dry and too much brush." It's interesting, because in a way this song has us reliving the horror and fear of that time, while in a more important way it has us letting go of it. Because hey, we're still here. And besides, it is a fucking great song with an excellent bass line and a totally delicious rock and roll guitar part. And I'm sure it's a bit cathartic for Scott Phares, who lost his Malibu home in the fires. The song provides a valuable and exciting release for all of us in this extraordinary city. It's followed by "So Long And So Far Away," a song that looks back to those wonderful carefree days of youth when we thought, "This will last forever." The band then admits, "But that was so long/So long, so long and so far away." Sometimes it seems like yesterday, sometimes it seems like lifetimes ago. Weird how memory works, and doesn't work, and weird how music can make the deep past a part of the present. This track contains some really nice guitar work, including a catchy hook.

The main line of "I'm Not Broken" is "You can't fix me, 'cause I'm not broken," a line I imagine will resonate with, well, probably everyone. It's a line I bet people will sing. And check out these lines: "I'm not just some project of yours/Your mental medicine's supposed to cure/With side effects I must endure." I don't understand what makes a song a hit anymore, but if things made sense, this song would be a hit. It was written by Scott Phares and Michael Rummans. Then "The Bottom" comes on like one of those great rock songs of the 1970s, with a strong energy, prominent guitars, a driving beat, and some excellent vocal work. "Dreaming while awake, and waking while I dream/Everything's a blur, I just wanna scream." This is so damn good. I want this music to just take over. 

"This Moment" begins in a mellower place, with some pretty work on guitar. This song features special guest Loren Molinare (of The Dogs) playing guitar. Adding to this track's special sound and vibe, Michael Rummans plays cello on this one. The cello arrangement is by Steve Bartek. "Say goodbye to empty dreams/Say hello to your life." It's a love song, a wedding song, written by Scott Phares. Then "Will The Lights Go On Again?" come on with a steady pounding pulse on the drums. There is a glam rock vibe, particularly to the vocal work. "Now, maybe we'll survive/Will the lights go on again?" And these lines are ones we can latch onto in these strange, dark times: "Who'll be in control/Just the brave and bold/It's the world's darkest hour/And we are the power." This song, particular its title line, also reminds me of driving through Altadena weeks after the fires when the traffic lights were still not functioning. It is a song of perseverance. It is followed by "27," which is a song of survival too, and of those who didn't make it past that peculiar age of death, 27. This song refers to Brian Jones, Jimi Hendrix, Jim Morrison, Janis Joplin. But its main line is "I surived 27," delivered like an anthem, with a wild and powerful sort of joy.

"Bright Lights" is a song about revisiting a favorite bar, and how the lights there are welcoming. "Everyone I know may be out of town/But the faces here still seem familiar." And you know it feels good when a bartender recognizes you and knows just what you want. The only place I have like that these days is Maui Sugar Mill Saloon, one of my favorite places to see a band. The music of this song itself has that welcoming vibe. "The music blasts from a tiny stage/Everybody in the band is half my age/Playing songs that all of us know/That fill my head with a pleasant glow." Then "When I Find You" has a darker, more somber vibe from the start. It's a slower, thoughtful number. "What am I gonna do, what am I gonna do?/When I, when I find you, when I find you." It contains some interesting guitar work, moving toward a psychedelic realm at certain moments. This one was written by Terry Rae and Robert Blessus. The album then concludes with "King Of The Night Time World," which, as I mentioned, was a song recorded for what should have been the band's first record. It was also recorded by Kiss, but don't let that fact keep you from listening to this song. The song rocks just the way you want it to, with that 1970s rock sound, and features some excellent guitar work. "It's so mad pretending you're content far from the music and the gorgeous clothes."

CD Track List

1. Hey! L.A.!
2. So Long And So Far Away
3. I'm Not Broken
4. The Bottom
5. This Moment
6. Will The Lights Go On Again?
7. 27
8. Bright Lights
9. When I Find You
10. King Of The Night Time World

Hey! L.A.! was released on July 24, 2026.

Kelly's Lot: "Live" (2026) CD Review

One of my favorite bands to see perform is Kelly's Lot, a terrific blues-based band with a phenomenal lead vocalist. In fact, Kelly's Lot was the first band I saw after moving to Los Angeles, nearly three decades ago. These guys have performed in various configurations over the years, and lately it's often been as a four-piece. That is, Kelly Zirbes on lead vocals, Perry Robertson on guitar, Matt McFadden on bass, and Mike Sauer on drums. And showcasing this tight lineup is the band's new live album. Simply titled Live, it features the band's original material, along with a few stellar covers. It was recorded at Riverfront Blues Festival in Libby, Montana on August 8, 2026.

"Don't give my blues away" is the first line Kelly Zirbes delivers on this album, the first line of "Hush Up," a song that was include on the album Don't Give My Blues Away. And yet she is so generous with her own blues. Interestingly, I detect a hint of anger on the line "You tell all my friends these feelings I like to hide," something that is surprising, for there is a great amount of joy in her performances, in the band's performances. "I think it's time for you to hush up," Kelly sings, a line we might want to direct at countless people these days. And after that line, she adds, "We know what that's like," delivered as spoken word. Soon Perry delivers a good lead on guitar. That's followed by "Mr. Chairman," a song from the Bittersweet album, released in 2017. This song has a delicious, catchy groove. One of the many reasons I love seeing this band often is that Kelly will make each performance of a given song special to that night. You can get a taste of that in the way she sings, "Hold me in your arms, honey, come on" here. There is a freedom to their performances, and, perhaps in part because of that, a strong connection to the audience. This song too contains a great lead on guitar.

And speaking of the band's connection the audience, in the introduction to "Reason For The Blues," Kelly says, "Now for this song about toxic love, raise your hand if you kinda like it." And we hear laughter in the audience. "Okay, this is for you," she says. "You're the only reason I play the fool," Kelly sings. And interestingly there is a sweet aspect to her delivery at times. And then, bam, she raises her voice as she sings, "'Cause you're hard like candy, sweet like wine/I can't help myself every time." Ah yes, I think we've all been there at some time or another. We've all had crazy come knocking. And later she riffs on the crazy comes knocking line: "So when crazy comes knocking, I'm going to answer that door, and so is she/You know somebody, crazy is nice and sexy." And you can be fairly sure that on "and so is she," she is indicating a specific person in the audience. In the middle of this track, Perry gets to cut loose on guitar, delivering some delicious stuff with a timeless sound.

The first cover in the set is "These Boots Are Made For Walkin'," and there is just the right amount of attitude to Kelly's delivery. And check out that sexy guitar work. There is some seriously nice stuff there. And the audience is right with the band. "She knows the words, right there," Kelly points out. And she engages with the woman, recalling her from a previous show. That sort of thing helps create a sort of celebratory atmosphere. And I'm digging the jam at the end. There is some great stuff on drums as well as guitar and bass. I love that the band is rocking this song at the end. That's followed by "Taking Time," another song from the Don't Give My Blues Away album, and one with some seriously cool vibes. "When I'm taking time for love/I'm taking precious time for you." And here we are treated to a wonderful lead on bass, helping to make this track stand out. Kelly interacts playfully not only with the audience, but also with her fellow band members, as she does on this song when she sings, "And I'm so happy you're in my band" (instead of "It makes me happy to love you") just before the end.

"Okay, here we go," Kelly says as the band starts "Boom Boom Boom." Kelly encourages the audience to join her on the "boom" part. And check out the way she sings, "My heart goes faster and faster, I can't help myself." Oh yes, this is what it's all about. I love the great, raw honesty in her voice. And then the guitar drives that feeling right into our bones. "You make me cry, but you make me smile when you're close to me." Then "Ain't Always" is a fun one with a rhythm that will get you dancing. Yeah, this track features some great drumming. "Just hold me tight, darling/You're what I need." Oh yes, that's what we all need. Perry delivers another strong lead on guitar. That's followed by another fun number with a great rhythm, "Boogie Bus." "Get on board, get on board, get on board," Kelly encourages us at the beginning. And actually, before that, this track includes a short introduction in which Kelly talks a bit about how this song came about.

The band then changes gears with "Mama's Blues," a slow, gorgeous, personal number. "So I'll keep playing and I'll keep singing/And putting words to a tune/Keep on sharing mama's blues." There are some incredibly touching moments when you might find yourself in tears as you listen. Sharing music, sharing songs, so that we can have an experience together, is what this is about, what this band is about. "Mama's Blues" is followed by "Love And Understanding." "Without love and understanding, we will never win," Kelly sings in this one. It all comes down to love, doesn't it? This track contains some cool stuff on both bass and guitar. At one point in this song, Kelly sings, "Without love and understanding, this world will never last." I think the world will continue. But people? Not sure about them. Then we get the album's second cover, a really good rendition of Kris Kristofferson's "Me And Bobby McGee" that features a passionate vocal performance and some excellent touches on drums. And from there, the band goes right into another cover, "Piece Of My Heart," the song that turned many of us onto Janis Joplin. As you'd hope, the energy is fantastic.

"Can't Take My Soul" eases in, but even in those opening moments you just know this one is going to suddenly burst open into a fun number, and it soon does. This song is often a highlight of Kelly's Lot sets, and it is here. The band is cooking here. When Kelly sings she's going to fly, you feel she's going to take us right along with her. And, hey, maybe while you're dancing, you'll find your feet leaving the ground. That's followed by "All I Ever Want Is The Blues." In her brief introduction, Kelly mentions the song honors all the greats, "As many as we could put in." She means the great blues musicians, such as Muddy Waters, BB King, Bessie Smith, Robert Johnson, and Etta James, all of whom are mentioned in this song's lyrics.

The album's final cover is "Route 66," and in her introduction Kelly tells the audience that Route 66 has been around for a hundred years. The road, not the song. You can still find kicks on that road, by the way. I've been to some good concerts along Route 66 here in southern California. And what a good time to hit the road, on the one hundredth anniversary of the road's establishment (gas stations, to honor the occasion, should lower their prices to what they were in 1926). The band delivers a fun rendition, featuring some especially good guitar work. "We're going to bring a little funk to our blues," Kelly then announces, and the band launches into "Train," another seriously fun and cool number, this one featuring a totally delicious rhythm. "'Cause I'm stuck between no place - here we are - and the blues." And Perry gets to let loose on guitar in the second half.

The guitar sets the mood on "Tired," and then the song takes on that classic blues sound. This track features an incredible vocal performance by Kelly Zirbes. I know, I know, she's always good. But wait until you hear this particular rendition, this particular track, which has perhaps the best vocal performance on the album. She works her blues magic. All the blues gods are rising from the dusty depths to applaud. And Perry's guitar work here is also outstanding. He gets a chance to dig in, to see where the moment takes him. Seriously, check out this recording. Absolutely fantastic. The album then concludes with "Woe Is Me," from the band's 2019 album Can't Take My Soul. Once it kicks in, this song has such a good, fun vibe, with a bit of a New Orleans thing. "You focus on your bad luck/Not all the good things that you have." On this track, the band stretches out a bit. First it's Matt McFadden who delivers a delightful lead on bass. And then Perry takes over on guitar. "Don't be so sad/Don't be so mad/Look at what we have." This is a really good and playful rendition to wrap things up.

CD Track List

1. Hush Up
2. Mr. Chairman
3. Reason For The Blues
4. These Boots Are Made For Walkin'
5. Taking Time
6. Boom Boom Boom
7. Ain't Always
8. Boogie Bus
9. Mama's Blues
10. Love And Understanding
11. Me And Bobby McGee
12. Piece Of My Heart
13. Can't Take My Soul
14. All I Ever Want Is The Blues
15. Route 66
16. Train
17. Tired
18. Woe Is Me

Live was released on October 9, 2026.

Brief Notes On New Jazz Releases

If the world is making you a little crazy, turn off the news and turn on some music. Here are notes on a few new jazz albums you might want to check out. 

Dave Bass: "Trio Nuevo Vol. 3" - In 2023, pianist and composer Dave Bass released The Trio Vol. 3, and the next year began Trio Nuevo, with Tyler Miles on bass and Steve Helfand on drums. Now we have the third volume in this series, completing the second trilogy of trio recordings. I have to assume there will be a third, though I don't know what he will title it. Anyway, this album opens with an original composition, "Neither Have I Wings," which starts with a piano solo. Its first moments have a warm, even somewhat romantic bent, and then it begins to move, and that's, appropriately, when the drums come in, and soon the bass as well, that rhythm pushing us forward, urging our bodies to dance. From there, the piano work gets more exciting, lively, and bright. In the middle, Tyler Miles takes over on bass, his lead having its own sense of excitement, its own sense of life. And we feel that, though the water be wide, these guys will find a way across. That's followed by another original composition, "Toccata," inspired by Bach's work. There is a pause after its first section, and then it moves more firmly into that classical realm, taking us to another time, and doing so with strength and a sense of urgency, or perhaps need. For me, the most interesting work comes in the second half in the freer moments. Then, interestingly, Dave Bass tackles the traditional folk song "The Water Is Wide," interesting because that song contains the line "Neither have I wings to fly," from which the title of the first track comes. The trio delivers a wonderful rendition featuring some beautiful work on piano and an excellent lead on bass. Things get particularly interesting on "Fingerprints/Gantry," Chick Corea's tune combined with another original composition. This is a lively track. I especially love Steve's drumming on this track. There is some delicious work on bass too, especially in the second half. That's followed by "When You Wish Upon A Star," which has that familiar fairy tale vibe as it starts, and then settles into a jazz context, partly grounded and partly eager to enter a land of dreams. "Black Swan" is an original piece that borrows a bit from Tchaikovsky's "Swan Lake," but set to a good rhythm, and builds from there, featuring a wonderful lead on bass. Dave Bass then delivers a cool rendition of Thelonious Monk's "Work," a track that becomes even more fun during that bass lead. Great stuff! It is after that section that Dave's piano really takes off into especially delicious territory. That's followed by a good rendition of "Try A Little Tenderness," Dave Bass putting his own touches on it. He then returns to original material for the album's final three tracks, starting with "Lost Mambo," which, as you might guess, has a fabulous rhythm, and following it with "Far And Wee," which has a playful vibe, ready perhaps for a bit of mischief. The album concludes with "You Lose," moving a good pace and featuring a strong lead on bass and an outstanding piano lead, and even a drum solo. This album was released on October 2, 2026.

Alexis Cole: "Taking My Seat: A Musical Inheritance" - Vocalist Alexis Cole's new album was recorded back in the fall of 2020, during the time of the pandemic, and it features not only her excellent vocal work, but also her talent on piano. She is joined by David Finck on bass and Kenny Hassler on drums. The album contains mostly standards along with a couple of original compositions. She begins it with "Bye Bye Blackbird," that opening section building in power and then suddenly softening for her entrance on vocals, an effective way of drawing us in and commanding our attention. What a voice she has. And it isn't long before she delivers a good lead on piano. This too builds in power, before then easing back and leading to some really nice work on bass and a cool drum solo. The section where the bass and drums exchange ideas is wonderful. That's followed by Cole Porter's "Get Out Of Town," the first of two Cole Porter songs on this album (the other being "Night And Day"). Alexis begins this one on vocals and piano, the others joining her nearly a minute in. It's interesting how seductive she is as she tells us, "Get out of town before it's too late." This track also contains a great lead on bass, and the transition from that back into the main theme is so smooth. The first of the original numbers on the album is "Blues For All Of Us." It has an interesting beginning, as she mentions various women, and we can't help but guess what they all have in common. "Why is Alice so great, what's she got over me?/How about Stella, Laura or Emily?" Soon she explains that those names have their own jazz songs (those names also have their own rock, pop and folk songs). "And yet there's no song for me." Somehow this song comes across as both heartfelt and playful. That is followed by the album's other original composition, "Momentary Lapse Of Happiness," which is even more enjoyable. Check out these lines, which begin the song: "Well, I'm back from happiness/Romance had turned my life into a mess/Walking with both feet off the ground/Is a hard way to get around." This song is a delight, one of my personal favorite tracks. Alexis Cole adds a little spoken word part to the end of "Girl From Ipanema." She also adds another section to "My Funny Valentine," original lyrics about Richard Rodgers and Lorenz Hart meeting. But it is the final section of this rendition that is especially arresting. Then Alexis Cole's rendition of "Jitterbug Waltz" finds her voice supported by just bass. And she delivers some delightful scat. Another highlight is her touching and passionate rendition of "Here's To Life," a song that I find more striking as I get older. "And who knows what tomorrow brings, or takes away." The album concludes with "Yesterdays," which might get us reflecting on our own personal histories. Do we dream of our yesterdays? This album is scheduled to be released on November 6, 2026.

Event Horizon Jazz Quartet: "Consternation" - It's been six years since the debut release from Event Horizon Jazz Quartet, but now we are treated to the group's follow-up, Consternation, a perfect title for these days of dismay and alarm. The album features all original material, written by saxophone player Jim Kaczmarek and keyboardist Scott Mertens. The opening track, "Spring Was Here," was written by Scott Mertens, who delivers some warm work, as if the band is trying to coax spring to return. Interestingly, Rick Vitek's drumming has a cool, somewhat unpredictable sense to it, like a storm brewing beneath. There is a feeling of excitement, especially during Scott's lead in the middle, giving us the notion that we should enjoy the moment, for we never know what is just around the corner. Donn DeSanto delivers a good lead on bass in the second half, and, as the track is reaching its conclusion, Jim Kaczmarek's saxophone work really starts to take off. I wish the track did not fade out so soon, and the saxophone were allowed to explore that area further. That's followed by the album's title track, "Consternation," written by Jim Kaczmarek. The drums create the atmosphere on this one, and as the others come in, there is an almost eerie feeling, the feeling that something is not quite right. The saxophone seems to be dancing around the truth, the music leading us down one path where, it turns out, there is a different sort of storm, a place of dark greys. The keyboard attempts to cut through it, but the drums and bass are right on its heels. This is a fascinating piece. "Tumbling After" then begins with some pretty work on piano, and soon feels like the delight of a new day, a day that promises little or no stress, a day that celebrates simple pleasures and memories. The lead on saxophone has a free, wonderful vibe, lifting us up and setting us on our way. And I love the way the energy builds in the second half. "Ballad Di Sienna" contains some sexy work on saxophone, conjuring one of those nights when maybe things work and maybe they don't, but the desire in the room is nearly tangible. That's followed by "Going Home," which has a delicious rhythm, yet a sense of melancholy playing over it. The idea of going home is appealing in song, though here is an ambivalance about it, for there is an acknowledgment of what is left behind, what is lost, expressed especially in Jim Kaczmarek's excellent work on saxophone. The quartet has a couple of special guests on "JC In The Club": Victor Garcia on trumpet, and Raphael Crawford on trombone. The JC of the title is John Coltrane, this piece paying tribute to his work. There is a brief moment when the piano work reminds me of the Grateful Dead's "Terrapin Station." Then there is a New Orleans flavor to "I Have No Idea," particularly in that great drum work. There is a wonderfully positive vibe to "Yes," as you might guess from its title. This is a fun one. "Prattle Away" is another fun one, moving at a good clip, and featuring a cool bass line. "The Dane Effect" is a particularly engaging and exciting number. The album concludes with "Fourthwith," which has a kind of funky, bluesy vibe at the start, and features a strong lead on saxophone, along with some playful touches. This album was released on September 25, 2026.

Angela O'Neill And The Outrageous 8: "A Live Musical Tribute To Peggy Lee" - This special tribute to Peggy Lee was recorded live at Vitello's in Studio City on September 10, 2024. It includes the briefest of introductions, and the band gets this album off to a wonderful start with a fun rendition of "Take The 'A' Train," here delivered as "Outrageous 'A' Train," featuring a series of good leads, including some great work by Sam Morgan on tenor saxophone and by Dennis Mitcheltree on alto saxophone, as well as some delicious stuff by Bill Bodine on bass (even before his lead). There is even a cool, though short, drum solo from Tony Pia. A nice way to introduce the band straight off, everyone getting a moment to shine on the opening track before Angela O' Neill comes in on vocals on the next song, "I'm A Woman." And when Angela belts out the title line of that song for the first time, the crowd reacts, giving her some deserved applause. Oh yes! This is a totally cool rendition, featuring some really nice stuff from the brass section too. "What do you think, ladies, has much changed since Peggy Lee sang that song?" Angela asks the crowd. We hear someone shout out, "No!" The fun continues with "Hallelujah I Love Him So," with a great arrangement by trombone player Harry Smallenburg. Angela provides a bit of backstory for "It's A Good Day" in her introduction. This track is a highlight, in large part because of her vocal performance, which has great doses of both power and joy. There is one odd thing about how this album is put together, and that is that after the applause comes at the end of certain tracks, there is then more at the beginning of the next track, but not continuous applause. So it feels like the applause at the beginning of a track follows a song that is not included here. Weird. And on some later tracks, the applause is cut. Anyway, the rendition of "I'm Beginning To See The Light" included here is a delight, with a special energy and vibe. That's followed by "I'm Gonna Go Fishin'," another of the disc's highlights. It includes a cool bass line, some nice stuff by Rocky Davis on piano, and a phenomenal vocal performance. Al Timss then sings lead on a good rendition of "Mean To Me." "It may be great fun to be mean to me/But you shouldn't, for can't you see what you mean to me," he sings over that delicious rhythm. All smooth and cool. And he ends it by saying, "Don't be mean." "All Right. OK. You Win" is another totally fun number, the band swinging and cooking, and getting playful. That's followed by "Fly Me To The Moon," which contains some wonderful drumming, along with a good series of leads from the horns. As you might expect, "Why Doncha Do Right?" is another of the album's best tracks, oozing cool from its opening moments, and featuring an alluring vocal performance. Everything is working perfectly, as the band struts about, in complete control. Al Timss joins Angela O' Neill on vocals on "I Love Being Here With You," and the two sound excellent together, mentioning the Outrageous 8 in the lyrics. The disc concludes with "Fever," here listed as "Fever: A Live Musical Tribute To Peggy Lee." Angela gets the crowd snapping at the beginning, and then delivers a delicious rendition. This album was released on August 21, 2026.

Visions Jazz Ensemble: "Of The People" - This year marks the 250th anniversary of the signing of the Declaration of Independence and the beginning of this country. There wasn't really a celebration, since the country is now run by fascists and incompetent imbeciles who would have trouble organizing a child's birthday party, but nevertheless it's a significant milestone. Visions Jazz Ensemble marks the occasion with Of The People, an album celebrating this country's music. The songs are of several different genres and types, given a fresh jazz perspective. The album eases in with "Simple Gifts," a song from the mid-1800s, this version sounding like a dawn breaking gently over the land in its opening moments. "To turn, turn, it will be our delight/'Til by turning, turning, we'll come 'round right." David Linard's work on keys leads the group from the pretty vocal section to the central instrumental section, which grows and breathes. And it is the piano that begins the group's version of John Denver's excellent "Take Me Home, Country Roads," this version more contemplative, introspective, with a wonderful vocal performance by April Varner. A striking atmosphere is created here. Then in "The Wreck Of The Edmund Fitzgerald," April's voice comes almost like a warning to those on the ship, as if she could reach back in time to save people. And who knows? I believe music can work miracles. There is a certain power to this rendition of the Gordon Lightfoot classic, and it features really good drumming by Francis Bassett-Dilley. An instrumental opening section sets the tone for the group's moving take on Patty Griffin's "Not A Bad Man," a track featuring some nice guitar work by Alex Turner. The group puts its own spin on Dolly Parton's "Coat Of Many Colors," delivering a passionate rendition that features an excellent lead by Alex Hoberty on bass, and some wonderful work by Caleb Robinson on tenor saxophone. That's followed by "Going Home," the only instrumental number on the album, featuring some gorgeous work by Garrett Fasig on alto saxophone. A very cool rendition of "Ghost Riders In The Sky" follows, containing some excellent work by Sam Butler on trumpet. I've heard a lot of versions of this song over the years, but nothing quite like this. Then "Deep River" begins with some soft work on drums, setting a slow pace, and preparing us for April's strangely captivating vocal performance. The group's version of "God Bless America" also begins on drums, but setting a much different vibe, the song having a cool, funky element, and featuring some strong work by Jeff Parker on trombone and by Sam Butler on trumpet. "Revolutionary Tea" features some good drumming, feeling like the heart of the piece to me. Then "America The Beautiful" has a kind of bluesy beginning, and in the middle begins to swing, containing some wonderful work on trombone and alto saxophone. That, for me, is when the track is really successful, and that rousing ending is great. The album concludes with Stephen Foster's "Hard Times Come Again No More," here simply titled "Hard Times," the trumpet shining. This album was released on July 31, 2026.

JoJo Green: "Paint The Sky - Part 1" (2026) CD Review

JoJo Green is a group that deftly combines elements of pop, jazz, rock, soul and funk to create its own special sound and vibe. Based in St. Paul, Minnesota, the band released its first full-length album, The Line, in 2021, and followed that with an EP titled The Summer Tree the next year. Now, four years later, these guys give us Paint The Sky - Part 1, which features all original material. The band is made up of Sharisse Germain on lead vocals, organ and keyboard; Scott Yonke on bass; Zach Miller on alto saxophone, tenor saxophone and backing vocals; Nancy Long on drums: Conner Allen on guitar; Doug Christianson on percussion; Dawson Redenius on trumpet; and Annie Hicks on backing vocals. The album was produced by Scott Yonke, Sharisse Germain and Matt Patrick.

The band does not make us wait for the funky fun to begin. The bass line at the beginning of the opening track, "Get Me Back," announces that the party has started. "I can feel the weight of the world/It's got me pinned to the ground," Sharisse sings. Yet her voice seems completely unrestrained, gloriously free and powerful. Her delivery has a tremendous energy, her voice seeming to drive this song. "I know the road I need to travel/I know the road that leads me home." I've said it before, but there is always something appealing about going home in song, and here that road is exciting. I love how that bass pops and dances. And the horns add another delicious layer. When this track seems to be reaching its conclusion, instead it enters another realm, led by the drums, this other realm being a seriously cool space. And then we are back in the main body of the song, and somehow there seems to be even more energy now. That song is followed by "Two Different People." Its first line, "Why are you two different people," is delivered a cappella, and then we're into another cool realm. The question is asked again, "Why are you two different people?" There is a somewhat heavy vibe to the song as the question is asked. But the band soon finds itself a delightful groove, and everything feels good, not just because of that rhythm, but because of the horns. This is a fun song to dance to, let loose to, and the horns are especially delicious. "Holding out just ain't my style/Holding on seems way more fair." Interestingly, when the question is asked again, the song returns to that initial sound; so the song has two different vibes, one more serious than the other, which works well with the question. This track also features some excellent guitar work.

The band takes us into smoother territory then with "Paint The Sky," the disc's title track. This is a jazzy pop realm with a somewhat dreamy aspect. "And I let out a sigh/I want to stay forever right here/You get up and fly/Take me by the hand, let's disappear." And when she sings, "Let's just stay here please," that line is allowed to hang in the air for a moment, before the song takes on a somewhat funkier vibe. And interestingly, this is when the song becomes more beautiful too. There is some pretty fantastic vocal work here, as well as a good lead on guitar. This song also contains really nice work on saxophone. It ends by returning to that line, "Let's just stay here please." So that thought lingers, at least until the next song begins. That song, "Couldn't Do Wrong," begins in a mellower, more intimate folk space, with some nice work on guitar. "If I could sing you this song/If I could sing you this song/If I could sing you this song/I couldn't do wrong." Those are interesting opening lines, because they get us wondering what wrong she has been doing, or is afraid of doing. Perhaps it is a greater need than we understand at first, a need to be able to sing to this person, a need to be with this person. A vulnerability is expressed in those lines. The song takes on an undeniable beauty. "The lake, it seems peaceful tonight/I couldn't do wrong, I couldn't do wrong." This is a song that really grew on me, and before the end it had become a favorite, something I wasn't expecting when it began. And each time I've listened to it since then, I've loved it more.

The album concludes with "Timothy B. Schmit," a funky number with some disco elements early on and featuring more delicious percussion, as well as some glorious saxophone work. There are interesting changes. At times, it has a dramatic, playful, even cinematic, sense that reminds me of Double Naught Spy Car. Plus, it's an instrumental number, which is perhaps another reason that group comes to mind. And it's great fun, while not being afraid to go in more romantic directions at certain moments. Also, as you might guess from the track's title, it contains some good stuff on bass. It's a wonderful ending to this thoroughly enjoyable disc. I am looking forward to Part 2.

CD Track List

1. Get Me Back
2. Two Different People
3. Paint The Sky
4. Couldn't Do Wrong
5. Timothy B. Schmit

Paint The Sky - Part 1 was released on September 26, 2026. As I understand it, Paint The Sky - Part 2 will be coming in 2027.

Tom Ciurczak: "Antarctica" (2026) CD Review

Last year Tom Ciurczak released an album titled Yorick, and it was that title that first drew my interest. I'm always curious when an artist uses or cites Shakespeare in his or her work, and a reference to a character that doesn't even appear in the play is particularly intriguing. Anyway, I'm thankful for that title, for I otherwise might not have heard this engaging and exciting singer and songwriter. He has now followed Yorick with a new album, Antarctica, which features all original material, songs that tell compelling stories, while still maintaining a strong rock vibe. Backing Tom Ciurczak on this album are Jimena Fosado on electric guitar, Oscar Jesus Bugarin on electric guitar and acoustic guitar, Rob Reischak on electric guitar, Matt Hornbeck on electric guitar and acoustic guitar, Sean Sobash on bass, Travis Carlton on bass, Billy Diisko on bass, Valerie Chaikin on keyboards, Stephen Haaker on drums and percussion, and Jayme Palmer on backing vocals, along with guests on various tracks. The album was produced by Stephen Haaker and Brett Grossman. The painting on the album's cover, by the way, is by Camille Woods, who also did the cover of Yorick. 

The album opens with "Invisible Man," a song told from the perspective of someone who is struggling, who doesn't feel his own worth. A serious subject, and yet I find some humor in the first stanza, or at least in its final line: "Dad ain't been the same since Vietnam/And Mom is back in prison again/Bank took away our car and house/And I'm starting to have some serious doubts." This track has a good rock sound, with the right raw emotion in Tom's vocal performance. I think most of us can relate to these lines: "I don't know what I'm supposed to do/Everywhere there's trouble/Lots of people struggle/But that ain't nothing new." Are we all just numbers? Certainly from the perspective of the government or any other official organization, we are. And that's part of the reason we turn away from those sorts of organizations. In music is where we find humanity, where we can be reminded of our own humanity, our own worth. That's followed by "Haunted House," which has a great energy as it begins. Jayme Palmer joins Tom on lead vocals for this one, delivering the song's opening lines as spoken word. "This place doesn't need a barbed wire fence/The hardest prison to escape is in your mind." And Tom sings, with a sort of desperation, a driving need, "I'm always waiting here for you." Jayme delivers another spoken word section partway through, and that section contains one of the song's best lines, "There's something seductive when you scream." And Tom sings, "When are you coming back for me/I need for you to set me free//From living in this haunted house alone." His vocals are particularly good on those lines.

There is a dramatic opening to "Antarctica," the album's title track, creating an atmosphere that sets us at unease, taking us to another place and another time. That work on keys has a deliciously haunting vibe. Then a rock sound emerges from that opening, and we learn this song takes place a hundred years ago, soon after the end of World War I, telling a true story about a whaling operation. Check out these lines: "Set out from Argentina, headed for Whalers Bay/Sailed out through Drake Passage on a cold October day/To the edge of the world, at the end of the road/Maps said there'd be dragons, but never mentioned the ghosts." This track features some really nice stuff on keys, particularly during that instrumental section in the second half. And the line "Weigh, heigh, up she rises" of course reminds me of "Drunken Sailor." This track ends as it began. Then "Blackout Jack" seems to open in a dark realm, with a dramatic tone and sense, and some seriously cool guitar work in that opening. Adding to its intriguing vibe is Lasim Richards on trombone. This one too, after that first section, goes more into a rock realm, while maintaining some of that initial sound. There is a great energy to Tom's vocal performance. "I know the streets like the back of my hand/Seen every type of con and scam/Laugh at the cops who think I'll crack." The guitar drives things upward during that instrumental section in the second half, scratching at the sky, taking a swipe at the gods. Wonderful stuff! Oddly, and unexpectedly, this track ends with some laughter and banter.

"And here we go" comes the announcement at the beginning of "Looking For A Place." And the song comes on like a delicious blues rock number with a driving beat and a strong bass line, and develops from there. "Ain't running from the law/Ain't running from my wife/Just need a place to go/And think about my life." Ah yes, where are those places? This track features some delicious stuff on keys. That's Bobby "Bundst" Victor on keyboards. Tom Ciurczak switches gears then with "We Were Immortal," taking us to a strange, haunting place, reminding me of some of those weird early 1970s horror films as it starts. "There's a deep abyss/Where all his monsters exist." And then there is a different sort of 1970s flavor to the music as the song continues, a touch of progressive rock. "We never made it far/The music gave us away/We didn't have the fuel/To keep the stars in tune." This is a song that takes us on a ride, something that a lot of music, particularly the stuff on the charts these days, no longer does. It's a cool track. Then "Going Down In Flames" has a solid rock sound, like some of the stuff I grew up on. "I was born with a thunder crack/Rocked my world and I rocked it back/I stood up and started to laugh/Man, this is gonna to be fun." Indeed! Those are the song's opening lines, some unabashed rock lyrics. Isn't it great to have something like this again? This track features some good drumming and some wonderful stuff on electric guitar. "Crank it up, it's gonna get real loud/If you can't handle it, better leave right now."

Tom Ciurczak switches gears again with "Losing You," which has a sweeter, mellower vibe from the start, with some pretty work on keys. That's Neara Russell on keys for this one. "See the highway fading as/The sun sets in these tired eyes/As I drive away now." Jayme Palmer joins him on lead vocals again, this time the two blending their voices in a pretty duet. This is a song about a musician trying to make it on the road, while thinking about home. "'Cause all this time away from home/I was just losing you." It's a touching number. That's followed by "Atom Glow," a song that takes place in a post-apocalyptic setting, and yet has a rather pretty sound, "Survivors stalk the subway fallout shelter/That's where I found you/Your eyes were glowing like that yellow sun/That died when the angels fell from the sky/Lobotomized zombies wandered the streets/Looking for a meaningful purpose." And it has a sense of humor, heard in lines like "But when I look at you with that atom glow/Well, I melt down, darling/This half-life's better/Than the one we left." The album concludes with "Creature From The Blues Saloon," its title, obviously, a reference to the old horror film Creature From The Black Lagoon. Interestingly, its opening lines refer to Casablanca and then Looney Tunes, an interesting combination. But it is about a dangerous creature who "matched me drink for drink" and apparently led him into criminal activity. It's hard to say, because he "Can't remember what happened after that." Both Matt Hornbeck and Dylan Tirapelli-Jamail play electric guitar on this one.

CD Track List

1. Invisible Man
2. Haunted House
3. Antarctica
4. Blackout Jack
5. Looking For A Place
6. We Were Immortal
7. Going Down In Flames
8. Losing You
9. Atom Glow
10. Creature The Blues Saloon

Antarctica was released on September 18, 2026.

I See Hawks In L.A., The Underthings, and Double Naught Three at Maui Sugar Mill Saloon, 10-9-26

The Underthings

Last night's outstanding concert at Maui Sugar Mill Saloon was billed, at least in some corners, as a "Farewell To The Underthings." But I have some great news. It might not, in fact, have been the final show by The Underthings. Rather, it might have signaled a new beginning for that band. But more on that in a bit. The concert, which was one of the best of the year, featured three bands that Paul Lacques was a founding member of. In addition to The Underthings, there was I See Hawks In L.A. and Double Naught Three (previously known as Double Naught Spy Car). One thing that is remarkable about that lineup is how different each of those bands is from the other two. Paul Lacques didn't just focus on one small area of music and excel in that space; his interest seemed to cover great realms in music, and he excelled in all of them. And though he is no longer with us, the music is very much alive, as was clear last night. What a joyous, vibrant, exciting night of music. And it was free. Paul Marshall joked with me before the show, "Three great bands for the price of none."

I See Hawks In L.A.

The night started with I See Hawks In L.A., Richie Lawrence (a member of Rotondi as well as The Underthings) joining the band on accordion for the entire set, which was a treat. The room was packed for the soundcheck, "Turn That Airplane Around," a song from the band's first album, which the band recently celebrated at a special show at McCabe's. Apart from some sound adjustments made during the song, it felt to some like it might have been the beginning of the set rather than just the soundcheck. Either way, the song drew applause from the eager crowd. There was a great buzz in the room, and as the band left the stage for a few minutes before the start of the set, I could hear that many of the conversations around me focused on Paul Lacques. A knowledgeable crowd, and that generally means a fun crowd, an enthusiastic crowd, a respectful crowd.

When the band took the stage just before 8:30, Rob asked for the televisions to be shut off. "No one here cares about that." It is a rare thing when you can speak for an entire crowd, but in this case the statement was spot-on. Everyone was there for the music. The Hawks kicked things off with "Live And Never Learn," and right away the music took hold, the world feeling like a much better place. The song featured some really nice harmonies and a good lead from Dan Wistrom on pedal steel. Paul Marshall's bass work was excellent, particularly during that special section in the middle. While a sound adjustment was made on Rob's vocal microphone, Rob mentioned being excited to celebrate the last show of The Underthings. Apparently there were some issues with the monitors, but everything sounded wonderful in the house. Dan switched to electric guitar for "White Cross," and both he and Richie delivered strong leads. And Rob's vocals were fantastic. There was an electricity on certain lines. "Well, tonight we're also thinking about Paul Lacques," he said after that song, then mentioned how Paul had founded all the bands on the bill, and how they were all different. The Hawks gave us an especially good rendition of "California Country," a great joy to the song.

"Ohio" (or, rather, "Get Back To Ohio," as it is now officially titled) was tremendous fun, featuring some nice work by Dan on electric guitar, and some wonderful stuff on accordion, especially near the end. Folks in the audience added their voices to the "Sweet home" line, which felt just right. This music is like a sweet home for us, isn't it? And it felt right dancing joyfully to a line about being poisoned by the California dream. The band followed that with a fairly new song, "Turtle Song" (this was only the second time I've seen these guys play it), which had a sweet vibe. The accordion worked especially well on this one, adding an element that now seems almost necessary to the song's success. "I know it's crazy, but it just feels right." After that song, Rob joked with the crowd: "Everybody gets a turtle. You get a turtle. You get a turtle. You get a turtle." Dan added to the Oprah Winfrey joke, telling the audience, "Everyone look under your seat." I have a special fondness for turtles, but, though I didn't check, there was no turtle taped to the bottom of my chair. Rick, a guy near me in the audience, happened to be sporting a cool turtle shirt, and I think he enjoyed the song as much as I did. It seemed everyone in the room embraced this new song. 

Victoria Jacobs took a turn on lead vocals, delivering a stellar rendition of "Skipping Stones." Dan added some nice touches on guitar throughout the song, and Richie delivered a great lead on accordion. Also helping this song stand out was the delicious interplay between guitar and accordion at one point. But it was the rhythm that drives this song and especially stands out. This was a highlight of the set. That was followed by another favorite, Paul Marshall's "Talking To The Dog." I've seen him perform this song several times now, and it still makes me laugh every time. Both Dan and Richie delivered good leads, and the song had such a delightful sound and vibe. "Paul Marshall's brand new song," Rob said afterward, playing on the song's line about the dog liking his brand new song. A cover of Willie Nelson's "Me And Paul" followed, the song featuring beautiful vocal work. And then they gave us "I Fell In Love With The Grateful Dead," which had a great rhythm, Victoria kicking ass on drums during this trip. The song also gathered a fantastic energy. The band concluded the set with "Hope Against Hope," its opening section containing some wonderful work on bass. Paul delivered cool stuff on bass throughout the song, and the band included a sweet jam at the end.

The Underthings

The Underthings were up next, and the crowd was certainly ready. I had seen this band perform a few songs at the Paul Lacques celebration at McCabe's in April of 2024, but had never seen a full set. The group was made up of Stefanie Naifeh on vocals, Richie Lawrence on accordion and backing vocals, Marcus Watkins (of Double Naught Spy Car) on guitar, Terry Wilson on bass (sitting in for Simeon Pillich), and Tony Braunagel on drums. A ridiculous amount of talent and experience packed into one band. They got right into the magic with "My Ship," with its totally cool, jazzy vibe, Stefanie taking command of the room. The song was wonderful, even without the saxophone, and it included a bit of "Sixteen Tons," the audience singing along. "I'm so happy to be here with you," Stefanie told the crowd, before mentioning this was the group's final show. The band then delivered a delightful rendition of "I Will Eat You Up," although at first Tony, who began the song on drums, started playing a different song. Very quickly he realized his mistake, and then got the song off to a great start with that wonderful rhythm, a sort of Bo Diddley, New Orleans thing happening. Stefanie was a gloriously twisted force, a compelling presence, and an absolute delight. I doubt anyone would object to being eaten up by her. That song comes from the band's self-titled album, and they followed it with another song from that same album, "Waiting For The End Of The World," Stefanie introducing it by saying they'd been having dreams of the end of the world. It was written in 1988, recorded in 1990, and it featured a beautiful vocal performance, along with really nice touches on bass. It was another of the set's highlights. 

"I Ain't Lonely" was another delicious number with a jazzy vibe. Oh yes, swing me, baby! Richie delivered some fantastic work on accordion, and the song had a delightful ending that caught us all by surprise. That was followed by "I Want To Sleep," a song that was just released on Bandcamp, and one containing a compelling, captivating vocal performance, along with a nice rhythm. "How many people here know the song 'The Curse Of Bigness'?" Stefanie then asked, and several people cheered (including myself - I have the band's first album on cassette). It's an intriguing song anyway. It was the title of a play that Paul Lacques wrote, produced in 1987. And it's something that Sandy Rogers has been mentioning at recent concerts, as she covered "Wild Bill" on her latest album, Tingling Blue, that song having been written for the play. After a false start, The Underthings delivered a really good version of "The Curse Of Bigness," a number with its own wild drama. "I get headaches from low-flying planes." That was followed by another song included on that self-titled album, "La Vie," which featured some excellent stuff on guitar and some wonderful accordion work.

The final three songs of the set were, interestingly, the three songs they performed at the McCabe's show in 2024. The first of them was "Voulez Vous Danser," which Richie began on accordion. He delivered some wonderful work throughout the song, and also provided backing vocal work. A guest backing vocalist also joined the band. Richie spoke a bit about Paul Lacques after that song, referring to him as a champion of music, and speaking for everyone in the room. That was followed by a fun rendition of "Home In My Heart," everything sounding so damn good. They wrapped up the set with "Brand New Mind," featuring some wonderful drumming, making it a great song to dance to. This is a song that was also recorded by Rotondi, and a perfect choice to conclude the set, there being a certain elation to the song's sound. "Shine, shine, my head shines/I woke up with a brand new mind."

Double Naught Three

Double Naught Three closed out the night. And this time it really was the Double Naught Three: Marcus Watkins, Marc Doten and Joe Berardi. Violinist Kaitlin Wolfberg, who has been playing with them lately, wasn't able to be there. The band went right into the music, no introduction, no preamble, seemingly not even a soundcheck. Just, bam, right into the glory of "Macedonia 6-5000," featuring some incredible drumming from Joe. Marc began the night on the keyboard, delivering some wild stuff. I suppose that first song functioned as the soundcheck, for there was a quick adjustment after it, before the band continued with "Jan-Michael Vincent Rehab.com," which was great fun. I love when things get weird, as they did here. And from weird to more fun, this band determining the course of our little universe. We were in good hands, of course. Strike that. We were in spectacular hands.

"Kay Sara Sarah" was up next (a song title I love, by the way), with that totally delightful, catchy part at the beginning on keys. So cheerful. And the band took us into disco land later in the song. This was a particularly good rendition, and a highlight of the set. Marcus switched guitars then, and Marc said, "I don't know if that's the Underthings' last gig." At that moment, I thought perhaps it was just wishful thinking on his part, for no one wanted this to be that group's final show. More on that in a bit, really. Anyway, "Kay Sara Sarah" was followed by "I Rose In A Field," with that wonderful reggae thing. There were some interesting breaths in that number. Yeah, this band can even make a brief pause exciting. And things then got wild, got intense, and got so fucking good. Then "Arrangement With A Dung Beetle" began in that gloriously strange place, that place that felt perfect for Halloween month. The song then became a dance. 

It was after that song that Marc switched from keyboard to bass, and the band launched into "What's Your Hurry," Marc almost immediately delivering some delicious stuff on bass. And Joe's drumming was fantastic. And Marcus delivered a great lead on guitar. Everything felt exactly right, and this was one of the highlights of the night. Joe then set "Double Naught Spy Car" in motion on drums. Yes, the band has a song sharing the band's name. So does I See Hawks In L.A. So does Rotondi. So there. Anyway, the song featured a seriously cool groove, and Marcus delivered some absolutely incredible stuff on guitar. "Helicopter" began with a delicious bass line, moving directly at us, and soon we were in another cool dimension. This tune was a whole lot of fun, and I especially loved the interactions between guitar and bass. Marc then returned to keys for the final song of the night, "The Mooche," introducing it, "This is a classic." Indeed, and Joe was delivering some spectacular stuff on drums. The set ended at 11:28 p.m., and the crowd erupted, wanting an encore. But no such luck. Interesting that the Hawks didn't play "Good And Foolish Times," and Double Naught didn't play "Danger High." But that probably adds to the special aspect of the show, playing with, or against, audience expectations. But it wouldn't have mattered if Double Naught had chosen "Danger High" as an encore or not. It was just that no one was particularly keen on this night ending, and any song at all would have been welcome.

So, as for this being, or not being, the final show for The Underthings, I had a chance to talk with Stefanie after Double Naught Three's set. I asked her if this was really it, and she said it might not be the end after all. The band's bass player did not want to continue without Paul Lacques, which I understand. But that bass player wasn't able to make it last night, and the set was still a great success. Terry Wilson filled in admirably. So might the band continue in this new configuration? From what I gathered, Stefanie does not want this to be the end any more than the audience did, and so there is good chance that the band will continue. It was a phenomenal night of music, and I left the venue feeling optimistic, not only about The Underthings' future, but about the world in general. 

Maui Sugar Mill Saloon is located at 18389 Venture Blvd. in Tarzana, California.

Ben Tatar And The Tatar Tots: "The Kids' Table" (2026) CD Review

Ben Tatar And The Tatar Tots continue their delicious tradition of singing only about food on their new release, The Kids' Table. The kids' table, of course, is always the fun table at holiday gatherings, the table with the most joy, the most noise, and likely the most spills. The band captures the fun of that table in the original songs of this album. And just as a side note, what other bands can you think of that have a theme to their material? There is The Baseball Project, of course, all their songs being about baseball. The Zambonis sing about hockey. The Firkins sing about beer. There is also The Legendary Ten Seconds, singing about Richard the Third. Any others? Anyway, this album is a treat for anyone who likes both music and food, regardless of which table he or she ends up at during holiday feasts. The band is made up of Ben Tatar on vocals, acoustic guitar, trombone, trumpet, keyboards, glockenspiel and banjo; Jon Gould on electric guitar; Cory Biggerstaff on bass; Kurt Lubbe on drums; and Anthony Bruno on saxophone and clarinet. Cameron Tatar and Everleigh Tatar provide some vocals.

The Kids' Table opens with its title track, which has a good rock sound, with a steady beat, at its start. "I have dreams/Of cakes and ice creams," Ben sings at the beginning. Soon the song kicks in. "And I recall/The flavor of it all/The aromas wafting down the hall/Assembling the group." We all have memories like those, don't we? And certain smells, certain tastes, take us back. "Save a spot at the kids' table for me," he sings, a certain amount of excitement in his voice. The horns respond. It's a fun number, featuring some nice work on bass, and that instrumental section in the second half is wonderful. That's followed by "Jumping Beans," a song that in its first moments promises to be a fun one, with the great rhythm. I love the drums on this track, and the song feels like a dance. A silly dance, to be sure, but aren't all dances delightfully silly dances? "Jumping beans are coming to town/Up, down, left and right/Jumping beans are out of sight/My jumps are sky high/Everybody jump, no reason why." And then he sings, "Everybody join in the fun." That's a key line, not just to this catchy song, but the whole album. For this is fun, and it encourages all of us listening to have fun too.

The rhythm is a big part of the appeal of "Put A Little Ranch On It" too, a big part of its fun. And the song mentions the band in its lyrics: "Put a little ranch on it/It's good on cucs and carrots too/Makes Tatar Tots a happy crew." Of course, that now makes me wonder if these musicians are covering themselves in ranch dressing. No judgment. Whatever you enjoy. This song has a cool vibe, and these guys wouldn't lose that sense of cool even if they were covered in Russian or Catalina dressing. The fun continues with "Pass It On Down The Line," which has a delightful jazzy vibe and a totally delicious rhythm. It's a song about wanting a hot dog, and the title makes me think he's ordering the hot dog at the ball park and his seat is in the middle of a row. The clarinet work here is absolutely wonderful, the heart of this piece. This is one of my personal favorites (and I don't even like hot dogs).

There is more of a folk sound at the beginning of "Pictures Of Food," and the first lines made me laugh out loud the first time I put on this disc: "Scrolling through my mama's phone/That's what she gets for leaving me alone." This song is adorable. "A picture of a menu, and a picture of my dad/Then ten to twenty pictures of a dinner that they had." Those lines remind me of comedian Lachlan Patterson's bit about how photos used to tell a story, used to have meaning, while now we take pictures of food and clothing we think of purchasing. And, in fact, this song's second verse mentions clothes: "Here's a picture he took yesterday/Of a shirt he didn't buy/Ten pictures of the same thing/In case my sister blinked an eye." Perhaps Ben Tatar heard that same comedy routine. And in this song he talks about how we all do it, how we all take pointless and numerous photos of completely uninteresting subjects. The band then gets into a rock sound with "The Candy Dance," a song in which Ben Tatar asks, "What kind of candy is your, what kind of candy is your, what kind of candy is your favorite?" There is a dance associated with each candy. I'm partial to milk chocolate and white chocolate. I used to buy one-pound bags of M&Ms, back when such a thing existed. Now there is much less than a pound in those bags, and yet they cost more than twice what they used to. That's progress. I don't buy them anymore. Too expensive. Anyway, this fun song encourages dancing.

"Get ready to act out the foods in this song, and in the end let's see who can do them all at once," Ben Tatar tells us at the beginning of "All The Cooks In The Kitchen." I love the playful aspect of these songs, heard in lines like "Flip a pancake with your foot/That's a thing to do." Hmm, I'm guessing if I tried to do that, that would end up being a pancake I wouldn't be eating. But I'm digging this song. It features nice stuff from the brass section. "Crack an egg with your armpit." That's followed by "Five Second Rule," another jazzy delight, moving at a fast pace. "One hot potato jumped off my plate/But the timer starts when it hits the floor/Better be quick if you want some more." And how could anyone not love the moment when he says, "Cue the sad trombone"? The band gets a little funky for the album's final number, "Boogie On The Cookie." "There's a boogie on the cookie, oh yeah/There's jam on my bread." Yup, this is fun. And silly. And it features some good work from the horns.

CD Track List

1. The Kids' Table
2. Jumping Beans
3. Put A Little Ranch On It
4. Pass It On Down The Line
5. Pictures Of Food
6. The Candy Dance
7. All The Cooks In The Kitchen
8. Five Second Rule
9. Boogie On The Cookie

The Kids' Table is scheduled to be released on November 20, 2026 (just in time for Thanksgiving).