Betty Bryant at The Jazz Salon, 7-5-26 Concert Review

Betty Bryant returned to the Los Angeles Athletic Club last night, where the Invention Room on that building's third floor once again became the Jazz Salon. Last night's show was a little different from previous concerts, as Judd Pillot was out of town, visiting his family, so there were no drums. Instead, it was a trio setting, something I had not seen at one of Betty's performances before.

Just after 6 p.m., Betty Bryant began making her way to the piano, the sunlight through the large windows catching in the cane she uses, giving it a bright, magical look, that detail in itself preparing us for the magic of her music. And soon she was seated at the piano and ready to go, Dave Ross on bass to her right and saxophone player Rob Kyle stage left. Before starting the show, Dave mentioned how it had not been a normal 4th of July because of the peculiar and disheartening state of the country, but that music has the ability "to wash all that anxiety and stress away." I imagine that was exactly why many of us were there. He also mentioned that Betty Bryant has been performing in Los Angeles since 1954. For those who aren't already aware, this incredible jazz performer is 96 years old. Yup, 96 and still doing a two-hour show (artists who are a fraction of her age could learn a thing or two). She began the first song, an instrumental number, solo on piano, and a few moments later was joined by Dave and Rob. Each of the three musicians delivered an excellent lead, receiving applause from the audience, and reminding us that life is pretty damn good. Betty Bryant's rendition of "Just Squeeze Me (But Please Don't Tease Me)" was playful, yet also warm. I love how she dipped into her lower register on the world "blues."

Betty Bryant started "I Remember You" on piano. "You're the one who made my dreams come true," she sang. And isn't that something? Even if it's in the past, it's remarkable just to have experienced that at all. And as Betty played, those in the audience experienced a bit of that again, that wonderful feeling, one of the best parts of being alive. Great music, great performers can do that for us. After that song, a slight adjustment was made to the piano bench, and Betty told the crowd why she doesn't take chances with that anymore, how one time a seat caved in. "I disappeared behind the piano," she said with a laugh in her voice. The trio then played "When Did You Leave Heaven." "I am only human, and you are so divine," Betty sang, while her piano playing was both earthly and divine. And then Rob's saxophone lifted us to the mountain top toward the end of his lead. That was followed by "I Can't Walk Like Tina Turner In My High-Heeled Shoes," a song that Betty wrote. It was a total delight, particularly her vocal delivery in that first section. That was followed by "He May Be Your Man," which began with some good, bluesy piano work, and featured some smooth, delicious work on saxophone. "If he flags my train, I'm sure gonna let him ride." The first set ended with "A Lot Of Livin' To Do." This song expresses precisely the attitude we all need to adopt.

As with the first set, the second set opened with an instrumental number. That was followed by "'S Wonderful." You can never go wrong with Gershwin, as I'm sure you know. "Paradise," Betty sang, and indeed, any place can become paradise when this music is playing. Her piano work felt like a dance through this world, through this life. And what better way to go through it? This set also included "I Got Rhythm," because, again, you can never go wrong with Gershwin. When she sang, "And I got starlight," her eyes sparkled with their own light. We seemed to have everything we could need in that room. Who could ask for anything more? This song featured an excellent lead on bass, and after it, Betty offered a bit of scat. That was followed by "The More I See You," which also featured a wonderful lead on bass. The song was so bright, so cheerful. The trio then dipped into the blues with "Stormy Monday," with Betty delivering some seriously cool work on piano. And Rob's saxophone lead seemed to course through our veins, opening us to a special kind of warmth. There was a current that ran both below and above us. And I loved how Dave's lead on bass kind of sneaked into those deeper places. The set concluded with "It's Hard To Say Goodbye," a song that Betty Bryant included on her 2019 album Project 88, and which she introduced as "The Goodbye Song." What was especially delightful was the way she delivered the line, "You're ooh, you're ah." The show ended at 8:32 p.m. If you have not yet seen Betty Bryant perform, I highly recommend making the effort to get to her next show, which is scheduled for Sunday, August 2nd.

The Los Angeles Athletic Club is located at 431 W. 7th St. in Los Angeles, California.

Clay DuBose: "Father Time & Mother Nature" (2026) CD Review

Clay DuBose is a singer and songwriter based in Texas, an artist who took some time away from recording after his 2005 album These Days. Now he's back with a new album, Father Time & Mother Nature, which features mostly original material, written or co-written by Clay DuBose. The album was recorded in Los Angeles, and he has a stellar group of musicians backing him on this album, some of L.A.'s best, including Ted Russell Kamp (who also produced the album and co-wrote several of the songs), Carl Byron, and Brian Whelan. There is some tremendous talent on these tracks. This album even features some work from the late Neal Casal.

The album kicks off with "When Heroes Say Goodbye," a good country rock number with a driving beat, a song about the effect music has on us, particularly when we're young. "When I was a kid you were there for me/The sound inside my head to set me free." And now so many of those folks are gone. Clay sings, "It's hard to say goodbye to your heroes/You don't know when they'll decide to go/You get the news, you can't rewind/A thunderclap inside your mind." These days we're losing more and more of those musicians that have been such an important part of our lives, not just our childhoods. The year 2016 was especially bad (that year we lost Leonard Cohen, Leon Russell, David Bowie, Merle Haggard, Prince, Dan Hicks, Rob Wasserman, Guy Clark, Ralph Stanley, Maurice White, Paul Kantner, Signe Anderson, Keith Emerson, Greg Lake, Billy Paul and many others), but just recently losing Bob Weir was hard, as he was the last voice of the Grateful Dead, a huge part of my life. This song was written by Clay DuBose and Ted Russell Kamp. Both Dean Parks and Brian Whelan are on guitar, Ted Russell Kamp is on bass, Carl Byron is on organ, and Mitch Marine is on drums. That song is followed by "Winning Streak," also written by Clay DuBose and Ted Russell Kamp. This song takes us to a wedding in Las Vegas, officiated by an Elvis impersonator. It contains references to Elvis songs, including "Can't Help Falling In Love" and "Suspicious Minds." "This could be the start of a winning streak/A winning streak, a winning streak for you and for me." This track contains some hopping work on keys. Brian Whelan is on piano, as well as electric guitar on this one, and Sasha Smith is on organ. Ted Russell Kamp is on both bass and acoustic guitar, and Jamie Douglas is on drums. It's a fun number that feels totally positive, even while using all that gambling imagery. "I'm placing a bet like it's meant to be/Doubling down on our destiny."

"All we are in this universe is a tiny point of light," Clay DuBose sings at the beginning of the album's title track, reminding us of that photo of the earth as tiny blue dot. Then he follows that line with this one: "One lonely sailor on a sea of endless night." I'm sure many of us have been thinking about this vast universe, and our tiny, and brief, place in it. It's all over too soon, and someday even this planet and the sun will be gone. This song features a particularly good, and varied, vocal performance, as well as some excellent lyrics. "All of us, all as one/Oblivious to oblivion." I love that. Quietly powerful moments like that lead this to being one of my personal favorite tracks. Also, this song has some special guests, including the late Neal Casal on both electric guitar and acoustic guitar. I wonder how many more recordings he'll pop up on. And Janiva Magness adds some excellent vocal work. This is an outstanding track. "You can't cheat Father Time or fool Mother Nature." Then "Dreams Come Untrue" is a bluesy country rock number with its own special power. "There's a liar in my head, he has returned/He says, touch the fire, this time it will not burn/There is one thing he forgot to mention/Dreams can come untrue." And then he sings, "The day that I lost you, that was living proof/That dreams can come untrue." This track contains another strong vocal performance, plus quite a bit of good guitar work. Neal Casal is again on electric guitar on this one, as is Dean Parks. Both Brian Whelan and Carl Byron are on keys. Again, there is so much talent on this album.

I wasn't expecting to burst into tears while listening to this album, but there is a song titled "I Hope You're Watching" about the loss of his father, and of course it made me think of my own dad, and suddenly I found myself in tears. While I think the chance of there being any sort of afterlife is just this side of nil, this song is effective, because of course there is still the hope that this isn't the end, that we'll get to see our loved ones again. I wouldn't bet on it, but that doesn't quell the hope. John Schreffler adds some pretty work on pedal steel, adding to the song's emotional impact. That's followed by "Waiting For The Day." Doug Pettibone joins the group on both electric guitar and baritone guitar, delivering some wonderful work. There is a bluesy edge to some of the guitar work. This track also contains a great bass line. And there is a good energy to the vocal performance. "Just give me a little sign/That the sun's about to shine." I think many of us need just that sort of sign. Isn't this darkness going to give? Mitch Marine is on drums.

The first of the album's two covers, is "New Game Now," which was written by Kris Kristofferson and Danny Timms, and included on Kristofferson's A Moment Of Forever. Danny Timms plays piano and organ on this track, and his work is a big part of the track's appeal. In fact, the song begins with some thoughtful work on piano, setting the tone. Also, this track contains what might be the best vocal performance of the album. This is a really good rendition. Will Ray plays electric guitar on this track, and Michael Clarke is on drums. Then "Fading Away" has a steady beat pushing it forward, and us along with it. "When things start going a little too well/In heaven I start jonesing for hell/I fear I have lost all that I found/My days are numbered, I'm counting them down." Both Brian Whelan and Doug Pettibone are on electric guitar, and, yes, there is some excellent guitar work here.

"Broken Mirror" has a softer, more intimate sound, led by acoustic guitar at the beginning. Both Ted Russell Kamp and Dean Parks play acoustic guitar (Ted Russell Kamp is also on bass and toy piano). "Broken up, broken down/Broken mirror on the ground/Shards of love disappear." And the song builds from there, in power and beauty. Brian Whelan and Doug Pettibone are on electric guitar. Sasha Smith is on organ, and Mitch Marine is on drums. That's followed by "Growing Wild," an energetic number. "Every year is flying by," Clay DuBose sings in this one. It's a song about watching one's children grow, and how it happens so quickly. This song features some good work by Eric Corne on harmonica, and a really nice bass line. And even though this one starts with a great energy, it somehow becomes more energetic as it goes, leading to an exciting conclusion. Clay DuBose then turns to a jazzy vibe on the album's second cover, The Kingston Trio's "Scotch And Soda," to wrap things up. He delivers a delightful rendition of this Dave Guard composition, leaving us feeling good.

CD Track List

1. When Heroes Say Goodbye
2. Winning Streak
3. Father Time & Mother Nature
4. Dreams Come Untrue
5. I Hope You're Watching
6. Waiting For The Day
7. New Game Now
8. Fading Away
9. Broken Mirror
10. Growing Wild
11. Scotch And Soda

Father Time & Mother Nature was released on June 12, 2026 on Lazy River Records. 

Drool Brothers, The Furys, and Bad Motivator at Maui Sugar Mill Saloon, 7-3-26

In January, a medical emergency kept The Furys from being able to play a gig they had scheduled at Maui Sugar Mill Saloon, and so The Weirdos filled in, ensuring it would still be an excellent night. Last night, everything was fine, and The Furys delivered a fantastic set. Also on the bill back in January was Drool Brothers, a band I have quickly come to love. And they kicked off the show last night as well. Rounding out the night was a band I hadn't seen before, Bad Motivator (as in "Uncle Owen, this R2 unit has a bad motivator"). And those guys were a lot of fun, delivering a high-energy set. So, yes, it was another night of great music at Maui Sugar Mill Saloon. And certainly we needed it. If things hadn't gone completely sideways, this country would be celebrating its 250th anniversary right now with a big party, but with the way things are, it's understandable that no one is feeling all that patriotic. It's a shame. We need a good party.

Drool Brothers

The Drool Brothers created something of a party atmosphere with their set, and even with their clothes. Chuck was sporting a Davy Jones T-shirt (and actually, if you looked closely you'd see the shirt said, "President of the Davy Jones Fan Club," so it was also a Brady Bunch T-shirt as well as a Monkees T-shirt). And Tom had on a Bay City Rollers T-shirt. So it was obvious they were in the right frame of mind. After a brief soundcheck, which the audience applauded (folks were eager for a party), the band joked, "Thank you very much, it's been a geat night." Seven minutes later they were back on stage, kicking off the night with "Kaleidoscope," a song with a cool groove. Its line "Enjoy the show" makes it a perfect set opener, and after the song, Chuck said, "Enjoy the show, everybody." By then, I think, everybody was enjoying it. "Have Fuzz Will Travel" followed, providing some delicious rock and roll, and that song led straight into "Psychology," the title track from last year's album. "It's disco time, everybody," Chuck announced. See? Musicians give us the party we crave. Natalie delivered some good work on keys, and the song also featured a fantastic bass line. "Lobotomy/Shock therapy," they sang, making it all sound so good, so pleasant. That in turn led straight into a bit of "Get Off Your Ass And Jam." "Quiet Vacation" was next, just the sort of thing we might all want, with those "ba ba-ba ba" vocals. Just that sort of vibe, you know?

Chuck asked the crowd if anyone still gives hickies anymore, if it's still a thing. And the band went into "Yolie's Got A Hicky," which had a totally delicious funky groove. It was a lot of fun, and featured some great stuff from Dan on guitar. This song also featured some good harmonies, everyone in the band singing at a certain point, which was my favorite section of the song. Why is it that the mention of West Covina causes laughter? I'm not sure, but the line from "Alice" made me laugh. This was another fun one, with references to Jefferson Airplane's "White Rabbit." Chuck called out Mini Mendez, who was in the audience, saying that next time they'll have him come up and sing the song with them. That was followed by "Fame Whore," a song that reminds me of "Steppin' Stone" (even when Chuck is not wearing a Monkees T-shirt). Shouting out "Fame whore" and then "Sha-na na-na" is delightful. They wrapped up the set with the fun power pop number "She's Got The Beat" and "Itchy Turtleneck," which featured Natalie playing the tiniest cymbals, finishing at 9:45 p.m.

The Furys

The Furys were up next, and there was a certain excitement in the room, with several people in the audience wearing Furys T-shirts. This band has been rocking folks since the late 1970s, a glorious institution at this point, and one whose energy and joy don't seem to have lessened one bit. They kicked off the set with "ICUCMeCU," and everything was in fantastic motion. That was followed by "Hey Girl, Goodbye," which had a delicious pop vibe and featured a great vocal performance from Jeff. And then they gave us a fun rendition of "Ghosts Of Princes In Towers," a song with a good beat. Paolo is a great addition to the band, by the way, not only on drums, but also on backing vocals. The vocal work might have been the most impressive thing about the band's set last night, and "Ghosts Of Princes In Towers" also contained a fantastic vocal performance. Then, in introducing "Wicked White," they joked about having written the song in 1947, quickly correcting the date to 1977, Jeff giving the song's introduction while Cliff switched guitars. Jeff mentioned that at the time technology was taking over, something he didn't like. Just look where we are now. "Wicked White" was great, a highlight of the set. A video was shot during that number, so keep an eye out for that.

Cliff switched guitars again for "Without You," which was released as a single last summer. This song completely rocked, with an incredible energy, another of the set's highlights. Afterward, Jeff pointed out that he was wearing a Drool Brothers button on his jacket (just above a Batman button, by the way). Then "New Wave Girl" had a sweeter vibe, a nice change of pace. That was followed by "Tightrope Walking," a song, as was mentioned in its introduction, that was written during the pandemic. This one came at us at a deliciously fast pace, and featured both a cool guitar lead and some wonderful work by Dave on bass. There was another excellent bass line in "Waiting For Surrender." That was followed by "Sweet Connection," which had a good pop element, reminding us that pop music can still be cool and powerful and fun. They wrapped up the set with "Say Goodbye To The Black Sheep," which also featured some excellent vocal work, and had a fantastic punk vibe. It was a tremendous set of music, everything sounding perfect, and it was over all too soon.

Bad Motivator

Bad Motivator closed out the night with a set of high-energy music, the stage not always able to contain the band's vocalist, who was often moving through the crowd. The kick drum head, by the way, featured an illustration of R5-D4 in a growing cloud of smoke, but with musical notes emerging from within that smoke. An indication that there would be a playful element to their music. They opened with "Messin' With My Mind," which started with a fast-paced kick-ass beat, a strong and rocking introduction. As the song moved into its main body, it took on something of a 1960s garage sound, mixed with a new wave thing, a wonderful combination. That was followed by "Chasing Truth," which came on with a furious force. Sound man Nubs made a microphone adjustment because everything needed to be perfect, as the sound had been all night. This song also featured some good stuff on keys. It is the lead track on the band's album titled The Album, and there it is followed by "See You Again," which also followed it last night. Still following the album order, the band then played "Too Much," a catchy number. And this is when lead vocalist Brian started stepping off the stage, perhaps in part because of the heat of the lights (something that other artists have mentioned), but probably more due to his unbridled energy.

Things got even more wild on "I Don't Think I Want To V2." That was followed by "Part Time Other" and then "Switchblade SC," which featured some cool work on keys. Earlier, the band's album was held up for the audience (selling records and T-shirts and whatnot at shows is how a lot of artists make their money these days), and at this point a 7-inch was also held up. I love vinyl, and wished I had enough money to buy whatever records this band had for sale, but work has been scarce lately, so those purchases will have to wait for another time. "Information Overload" was next, a fast-paced punk gem that is included on The Album, and one of the reasons I want to add that record to my collection. That was followed by "Heads Up" and then "She Wants Me Dead," the latter a seriously cool number that could work well on your next Halloween play list. That was in turn followed, naturally, by "Forgot To Die," which featured some great stuff on drums. They wrapped up the set with "Troubled Chances," the final track from The Album, and one that included some great stuff on bass. The show was over, but folks called out for an encore, and as it was only 11:28 p.m. Nubs added his own voice to those calling for more, letting the band know there was time for another song. And so the band gave us "Wasted Time," an excellent ending to an outstanding night of music.

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

Eliza Neals: "Thunder In The House" (2026) CD Review

These are days when you just want to scream at people, "Stop being so awful." And there aren't always the right, or appropriate, outlets for that energy, but keeping it inside just eats at us. Fortunately, there are some voices that seem to take that energy and send it in a more positive direction, and listening to them works to release and even transfer that energy in us. It's a special kind of magic that certain singers are able to do. Eliza Neals is especially adept at it. It's almost a relief that she has a new album out. Titled Thunder In The House, it contains all original material, written or co-written by Eliza Neals. Joining her on this album are Michael Puwal on guitar, Doug Woern on bass, Steve Lacross on drums, and Justin Headley on drums, along with guests on a few tracks. The album was produced and arranged by Eliza Neals, and co-produced by Michael Puwal.

Eliza Neals opens the album with "Speedy Beady," with a good, mean blues vibe to immediately set the mood. "I got a red rooster," she sings at the beginning, which reminds us of another great blues number, "Little Red Rooster." But this original number soon goes in its own direction. I love that moment when it kicks in with a brutal force. The power was already there in Eliza's vocals, of course. This song doesn't shy away from violence, from death. "That boy protected me from harm/Then a mangy, mangy dog came sneaking up around/And he chomped Speedy Beady up into his jaws/He killed my favorite rooster/Now he's in the ground." But there is also a playful spirit to this song, a certain humor. This song was written by Eliza Neals, Michael Puwal and H.J. Neals. It's followed by "Love Will." "Can you spare a touch, can you spare a kiss?" Eliza asks at the beginning of this one. "We're all alone in the dark/Open up your eyes/We're all alone in the dark." Indeed. Then she tells us, "So many people losing their way/We need love to brighten up their day." See? She is able to take our frustration and channel it in a much better direction. "Love's the antidote." It's interesting to hear that message wrapped in a great, mean blues garment. The trouble, the frustration is still there; this isn't some kind of sunshine pop song, promising everything is going to be okay without any effort on our part. It's going to be work, the music tells us. But we can do it, the music also tells us.

With "Blues Bombshell," Eliza Neals gets sexy and seductive, sounding so inviting. Because of course a song called "Blues Bombshell" must be a personal number coming from such a vocalist. "I did not mean to tear you apart," she sings. She inserts a slight pause after the word "mean," providing us with just enough time to begin to guess where she might be taking us. Did any of us correctly guess how that line was to end? This song is a cool, slow strut. "I'm your blues bombshell/Saving souls from hell." This music does save us from the hell of the current political and social landscape, driving away all those demons. Interestingly, she later sings, "Don't take me apart." This track features some great stuff on guitar, as well as some cool stuff on keys. Mike Hepner plays both organ and piano on this track. "All Alone" then surprisingly begins on keys, kind of easing in. This time it is Eliza Neals herself on organ and piano. And there is a beautiful ache in her voice as she sings, "I'm looking for you every day and every night." This song has a different vibe, a different tone, with a heavy kind of pop flavor. "I'm all alone in my dream/Won't you rescue me."

"Locked Up" opens in a somber, introspective place, with some nice work on piano by Eliza Neals. "I done lost, lost everything/I even lost, lost my wedding ring," she sings. I assume what she means is that the marriage has ended, and focusing on the physical object is an interesting way of conveying that loss, like the last remnant of a relationship. Eliza Neals provides her own backing vocal work, which has a different tone from her lead vocals, showing even more of her range. "I'm locked up (locked up) from the inside." And I think we can all relate to these lines: "Next thing I lose/Sure gonna be my mind." Michael Puwal delivers some excellent guitar work. "So many people living in poverty/Wake me up from this crazy scheme." I love that in that line she uses "scheme" instead of "dream." That's followed by "Wicked Heart." The first line is delivered a cappella, then the band comes in. This one has a groove you can dance to, and is more in the rock realm, but of course still with that delicious raw power. Mark Leach is on organ for this one, delivering some really nice stuff. "So many times/I look you right in your eyes/Just lies, lies, lies."

In "Unoriginal Bitch," Eliza sings, "Unoriginal, everything you say and do/Come to bother me/Make me feel like slapping you." Oh yeah, we are right with her. I love this song, and I love the attitude in her delivery. By the way, some people deserve to be slapped. They just do, and there should be no punishment for doing what needs to be done. This is a wonderful and fun song, featuring some strong guitar work. Then "One Monkey (Don't Stop No Show)" begins with a strong beat, and soon it features some cool work by Mark Leach on organ. Frankie Maneiro is on guitar for this track, and Michael Puwal is on drums. I only wish this song didn't use that "shelf"/"self" rhyme (and it uses it twice). Other than that, this song is a fun, totally enjoyable number with a good energy. The album concludes with its title track, "Thunder In The House," which begins in a delicious, haunting atmosphere, the music soon breaking through the smoke, the darkness. This track, which was written by Eliza Neals and Michael Puwal, features another powerful vocal performance. Powerful and moving. There is also great use of percussion on this track. It's a captivating number.

CD Track List

1. Speedy Beady
2. Love Will
3. Blues Bombshell
4. All Alone
5. Locked Up
6. Wicked Heart
7. Unoriginal Bitch
8. One Monkey (Don't Stop No Show)
9. Thunder In The House

Thunder In The House was released on March 26, 2026.

The Stu Olsen Band, The Smokey Lonesome, and Luna Sea at Music Garden L.A., 6-28-26: Photos

What's better than spending an afternoon outdoors enjoying some great music with good friends? Not much, as far as I'm concerned. Yesterday The Stu Olsen Band, The Smokey Lonesome and Luna Sea each delivered strong sets at Music Garden L.A. in Highland Park. Here are some photos from the show:

Luna Sea (Darlene Luna) was up first, backed by Bob Pritchard on drums. The two delivered some really nice original material, along with a couple of covers. I especially enjoyed "I Thought You Were The One" and "All Alone."

The Smokey Lonesome was up next. These guys always deliver the goods, and yesterday's set was particularly delicious. It included great versions of "Mojave," "Cannabis" and "Desert Run," along along with some wonderful covers, including "White Freightliner Blues," "Silver Threads And Golden Needles" and "Your Cheatin' Heart."

Closing out the afternoon was The Stu Olsen Band. The band, by the way, was Tranquilina, and this time they backed him for the entire set, which was fantastic. They opened with "Bright Burning Street," his song about Townes Van Zandt. Sophia Delgado played lap steel on that one and the next two songs, then switched to electric guitar for the rest of the set. "This is where we turn into a punk band," Stu said before the switch to guitar. Other highlights included excellent renditions of "It Ain't Medicine" and "Valkerie."

That was the end of the scheduled performers, but then James and Sophia did a brief set of Gram Parsons songs, including "$1000 Dollar Wedding," "Return Of The Grievous Angel" and "A Song For You." A special treat to wrap things up.

Music Garden L.A. is located at 5133 York Blvd. in Los Angeles, California.