Brief Notes On New Jazz Releases

Has our country hit bottom yet? Every time that it seems so, those in power find a new low to revel in. I'm not sure we'll be able to turn it around at this point, but I do know that musicians are here to help us in these infuriating and baffling times. Here are notes on a few new jazz releases that you might want to check out.

Kay Kostopoulos: "All This Is Possible" - Vocalist Kay Kostopoulos puts her own special spin on some beloved standards on her new album, All This Is Possible. Here she is joined by John DiMartino on piano, Noel Jewkes on tenor saxophone and soprano saxophone, Peter Brainin on tenor saxophone and soprano saxophone, Sean Conly on bass, and Vince Cherico on drums. The album opens with "Lover," the Rodgers and Hart song, which moves at a good pace, featuring some excellent drumming, even before that delicious solo in the second half. And, coming as no surprise, this track contains a great vocal performance. Check out the way Kay Kostopoulos delivers the line, "Lover, please surrender to my heart," holding onto the world "heart" until the saxophones take over, going into "Diggin' For Diz." This track features both saxophone players, and their work is part of what makes it so good. That's followed by "Never Let Me Go," the music becoming more tender. And here Kay shines even more. "What would I be without you/There's no place for me without you." And Vince's approach to the percussion is also tender. And Peter Brainin delivers some wonderful work on saxophone. But it is Kay's vocal performance that especially grabs us, particularly as she asks, "You wouldn't leave me, would you?" Then "I'm All Smiles" begins with some pretty work on piano, and soon the mood gets lighter. I love the way the saxophone dances and twirls over that nice rhythm. There is some really nice work on bass, particularly in that section. And Kay offers a little scat toward the end. She then delivers the opening lines of "Mad About The Boy" as spoken word, which works incredibly well and sounds seriously cool. "He cast a certain spell," she tells us, and gives a little laugh, while she herself is casting her own spell on all of us who listen. She delivers a tremendous performance here, and this song ends up being one of the album's highlights. It's followed by Charlie Parker's "Segment," with lyrics by Kay Kostopoulos, she clearly having a good time with this one. This track also features a great rhythm. Kay likewise adds her own lyrics to McCoy Tyner's "Search For Peace." "Pursue trust/Put others before us/Suffering surrounds/Disquiet abounds." She then puts her own wonderful spin on "I Enjoy Being A Girl," giving the song a different vibe and making it much more interesting than usual. It features some particularly good work on saxophone. The album concludes with "More Than You Know," which contains a tender, intimate vocal performance. This album was released on June 26, 2026.

Oliver-Smith Incomparables: "Stomp Your Stuff" -  The great Jelly Roll Morton has inspired a lot of musicians over the past century, and on this disc Oliver-Smith Incomparables celebrate the music of the 1920s, with new arrangements by various members of the band. The album opens with its title track, with an arrangement by pianist Andrew Oliver, and immediately we are in a better place and time, a time when it sounds like the whole world was dancing (even if we know somewhere in our brains that it wasn't quite like that). This rendition features some wonderful stuff on piano, and it is that instrument that feels most like a dance. Let your current cares be stripped away, let this music transport you. Andrew Oliver also did the arrangement for "Bucktown Blues," featuring some great work by Andy Schumm on clarinet. There is an easygoing playfulness that is delicious. That's followed by "Grace And Beauty," this version based on the 1926 arrangement by Elmer Schoebel, and it features a nice piano solo in the middle, as well as a delightful final section, the horns letting loose. "Jimtown Blues" is an interesting number, with its use of pauses and changes. That's followed by "Mill Creek Shuffle," which is performed by the trio of Andrew Oliver on piano, Hal Smith on drums, and Andy Schumm on clarinet. This is good fun, all but certain to put a smile on your face. I especially love when that clarinet shouts out toward the end. "Honey Babe," written by Jelly Roll Morton, is also done in a trio setting, this time by Andrew Oliver, Hal Smith, and T.J. Muller on both cornet and vocals (the only of the album's tracks to feature vocals). This is, for me, one of the highlights, in part because of T.J. Muller's excellent vocal performance. The track begins with some pretty work on piano before getting into the main body of the song. "I'm so sad and blue/Honey babe, about you." Things then get lively, get hopping with "San Sue Strut," with an arrangement by T.J. Muller. The band moves into bluesy territory with "29th And Dearborn," but even if things are moving more slowly, they're still moving. And the piano threatens to break out of that realm entirely. And there is a delicious moment with Dan Anderson solo on bass. "Mobile Blues" is great fun, the arrangement by Andy Schumm. Then Andrew Oliver delivers "Dallas Stomp" solo on piano, providing a wonderful rendition. Things take off again with "Original Chinese Blues," featuring some great stuff by Jacob Alspach on banjo and by Colin Hancock on cornet. "Daddy Do" is another of this album's delights. The band wraps things up with another lively gem, "Cafe Capers," featuring some wonderful drumming and some nice stuff on banjo. Dan Anderson is on tuba for this one, adding to the track's appeal. This album is scheduled to be released on August 28, 2026.

Suzanne Pittson & Bevan Manson: "Conversations" - Vocalist Suzanne Pittson and pianist Bevan Manson recorded a demo in April of 2002, which was left unreleased until now. This disc's first four tracks are from that demo. The final track, which features a full band, was recorded in 2009, with additional parts added in 2023. The disc opens with Freddie Hubbard's "Birdlike," with lyrics by Suzanne Pittson, and here given the title "Like A Byrd (Byrd Like)." Immediately we're struck by Suzanne's vocal delivery, which comes at us at a fast pace, making our brains nearly rush to keep up with her. She takes Freddie Hubbard's trumpet part, which flies like a bird, and turns that into lyrics and also some delightful scat. "Like a bird, like a plane/We all know his name/Him and Dizzy, top of the game." The energy here is delicious, and, especially during the scat section, it is clear that she and Bevan Manson are having fun. Following the scat section, Bevan delivers a wonderful piano solo, the energy remaining high. The sound then becomes softer, prettier, more intimate, more thoughtful, during a touching rendition of Cole Porter's "After You, Who?" (here titled "After You"). "After you, who could supply my skies of blue/After you, who could I love?" Because of the way those opening lines are delivered, we might think that her love has died rather than simply left. There seems to be great meaning even in the pause before the words "could I love." Of course, later lines show the other person to still be alive. This is a beautiful rendition. The duo's rendition of Charlie Parker's "Confirmation" finds Suzanne delivering fun scat, as if her voice were a horn, her performance containing great joy. That's followed by "I'm A Fool To Want You," the last of the disc's songs from the 2002 demo. This is another beautiful track, Suzanne's voice full of yearning, and Bevan's playing providing a gorgeous landscape where the drama unfolds. The piano seems to also take part in the heartache, while simultaneously trying to fight it. The disc opened with a Freddie Hubbard piece, and it also concludes with one. This time it is "One Of Another Kind," here titled "Out Of The Hub (One Of Another Kind)." The lyrics to this one were written by Evan Pittson, Suzanne's son, who produced this album. This track features strings and horns, bass and percussion. Suzanne plays synthesizer on this track, and also delivers scat. There is an excitement here, but also a magical quality. Bevan Manson delivers an excellent lead on piano. This disc was released on June 26, 2026.

Jeff Rupert Quartet: "Sea Spell" - The Jeff Rupert Quartet is made up of Jeff Rupert on tenor saxophone, Richard Drexler on piano, Ben Kramer on bass, and Marty Morell on drums. The new album Sea Spell contains mostly original compositions by Jeff Rupert, along with covers of three beloved standards. The album opens with one of the covers, "Spring Can Really Hang You Up The Most," written by Tommy Wolf and Fran Landesman. Jeff Rupert delivers some pretty work right at the beginning, supported by Richard Drexler on piano, the two musicians setting the tone. When Ben Kramer and Marty Morell come in, the song takes on a good rhythm, and the beauty of the track becomes somewhat brighter. This track features a wonderful lead on piano in the middle, and then Jeff's saxophone raises us all to a place where perhaps nothing can hang us up. And I love the way the saxophone soon gently sets us down before the end. That is followed by "Blue Steel," an original composition. The rhythm to this one is established in its opening moments, and Jeff's saxophone creates a cool vibe and atmosphere, feeling like a character in a film, a character whose thoughts we are privy to through voiceover narration. Once he has us on his side, he begins to dance around with the story, becoming more lively, more animated. Richard's lead swiftly emerges, adding to the tale, taking us to some delightful places. The second cover is "Mambo Inn," a fun and lively number, a dance. And shouldn't we do our best to make life more of a dance, particularly these days? The track features excellent leads on both saxophone and piano. It is followed by the album's title track, a mellower number, the saxophone at first quite soothing, like those moments when we look out at the ocean and feel ourselves a part of the planet's rhythm. And speaking of rhythm, "Look Who's Calling" has a wonderful rhythm. This track really features the great work of Ben Kramer on bass and Marty Morell on drums, and even includes a good lead on bass in the middle, followed shortly by a cool drum solo. The album's final cover is "Polka Dots And Moonbeams," this song never failing to transport us to a more romantic setting. Ah, these musicians know all the answers, and perhaps a few things more. "A Breeze Through The Keys" does feel like a breeze, like a breeze on a warm summer evening. That's followed by "Orca-Stration," a playfully-titled number with its own energy. People have been wondering why orcas have recently been attacking yachts. But whales are smart; they know the rich are the enemy. This track features some great stuff on drums. The album concludes with "Wednesday's News," which has a gentle, cool blues vibe. This album was released on June 26, 2026.

Scott Sadlon: "Songs From Thin Air" - Drummer Scott Sadlon works in both jazz and rock realms, and his new album has elements from both. The Shakespearean phrase "thin air" of the title seemed to promise transportation to another sphere, and this album indeed takes us to interesting and unusual places, and does so right from the first track, "Post Tension," which creates a compelling atmosphere, with a sense of mystery from those opening moments on bass. This piece, like the entire album, was improvised by the three musicians: Scott Sadlon on drums, Rachel Eckroth on keyboards, and Tim Lefebvre on bass. They went into the studio without any material, and ended up creating some exciting and intriguing pieces. "Post Tension" has some electronic elements and moments, and then moves into other areas, sometimes with urgency. This track features some excellent drumming. It's followed by "Wandering Timelines," which begins on drums, and a sort of magical world opens before us, while the rhythm keeps us from losing ourselves immediately. And perhaps the right question isn't "Where are we?" but "When are we?" But surprisingly we find that an answer is not necessary, because wherever or whenever we are, the groove works to make things right. It takes us to some strange, even momentarily unsettling, places, but if we hold on, it will carry us through. At some point, it seems that the rhythm is the pulse of the universe, and if we relax we can witness the birth of galaxies, and then the first breaths of spectral creatures. There is a beauty before the end. Then "Bones" opens in an odd place, where computers breathe and send communications of their own design. And we find ourselves marching side by side with mechanical men into an interesting future. And by the track's second half we are there. Then "Acceptance" eases in, a slow but steady rhyhm, while a beauty rises to light the sky and calm us. There is a sort of alarm then at the beginning of "One A.M.," something to rouse us, while the bass work has a good, positive vibe to it. There are unexpected spaces here, silence to soothe us, the places between working to draw us in, filling them with our own thoughts and our own expectations. And then we've entered a groovy, cool realm, with still more surprises in store, this track becoming fun. "White Knuckles" soon creates its own interesting tension through unusual stimuli, which we try to process by comparing them to what is known to us. But that only gets us so far. Soon we have to learn to let go, travel along the current, and along the way we find beauty. The album concludes with "The Way Out," which creates its own intriguing landscape. Before long, we are feeling so good, so relaxed, and so ready. This album was released on January 28, 2026.

Rick Shea & The Losin' End at Maui Sugar Mill Saloon, 7-15-26 Concert Review

The third Wednesday of every month, Rick Shea holds his "Swingin' Doors" music series at Maui Sugar Mill Saloon, playing two great sets of music with his band, Rick Shea & The Losin' End, and inviting a special guest to play a set in between. Last night that special guest was Jodie Siegel. It was a wonderful night of music.

Rick Shea & The Losin' End

Rick Shea & The Losin' End started right at 8:30, Rick saying, "Good to be here at Maui Sugar Mill Saloon, where the air conditioning is working." For those outside of Los Angeles, we are experiencing a heat wave, and it's always hotter in the valley anyway, where the venue is located. And maybe you knew that already, for apparently folks are experiencing high temperatures all across the country. It certainly was good to be at Maui Sugar Mill Saloon, mainly because of the music, but the air conditioning helped too. Rick Shea opened the first set with "Shelter Valley Blues," one of my personal favorites. That "foolish dream" line always speaks to me. By the way, Brian Whelan joined the band on guitar for this show, filling in for Tony Gilkyson. On "Shelter Valley Blues," he not only delivered some good guitar work, but also provided some nice backing vocal work at certain moments. Rick Shea mentioned his new album, Smoke Tree Road, and told the crowd he was going to do a few songs from it. The first of those songs was "Guardian Angel," the band delivering a sweet, pretty rendition, with Brian again providing some good backing vocal work. This song perhaps got folks thinking about their own crazy chances, and their own guardian angels. That was followed by "A Week In Winnemucca," the lead track from the new album. There's something about this song that just feels right, just like "a breath of country air," as Rick sings early on. Then in introducing "An Irishman's A Laborer At Heart," Rick talked a bit about how the Irish contributed to the building of this nation's great cities, such as New York and Boston. Whenever he plays this song, I think about my dad, this music drawing out certain memories. "Not one to show his feelings/Or speak of them out loud." The band delivered a tender rendition last night.

Rick Shea then gave us "Mexicali Train," Dale Daniel creating the gentle rhythm of the train with brushes on the drums. And without turning around to confirm it, I could swear that Jack Kerouac and Neal Cassady were in the back of the room, taking it in and enjoying the song and a drink. Jeff Turmes then took a turn at lead vocals, choosing his "Don't The Moon Look Real," which had a delicious, jazzy vibe. Brian delivered some excellent work on guitar, to which Jeff responded, "Yeah, man!" And that was even before the leads. Both Rick and Brian took turns leading on this one, receiving applause from the crowd. That was followed by another of my favorites, "Mariachi Hotel," a seriously cool song. It's a song that creates a world so clear and so vivid that we can not only see it but taste it too. That song featured some beautiful guitar work from Rick. The band then picked up the energy with "Hold On Jake," and wrapped up the first set with "(Down At The Bar At) Gypsy Sally's," another cool number, another that creates a delicious atmosphere. There was a certain great vibe to this first set, which ended at 9:15 p.m. 

Jodi Siegel

Jodi Siegel began promptly at 9:30, joking that it was "kinda past my bedtime." She performed solo, on guitar, as well as percussion with her left foot, delivering an excellent set. She opened with "Wrong Side Of A Dream," a cool, soulful number that featured a great vocal performance and a nice guitar part in the middle. "It's a lot of work being a one-woman band," she commented afterward. She followed "Wrong Side Of A Dream" with "Louisiana Wake Up Call," a song she wrote with Gary Nicholson. "Interestingly enough, we've never met in person," she said in the song's introduction, adding that their songwriting partnership began during the pandemic. It was a totally delicious song with a bluesy groove. Jodi connected with the audience, joking about how the last time she'd played that venue, "I was younger, and taller." That was followed by "I'll Go Your Way, You Go Mine," with Jodi singing "We don't have a clue/What it is they're going through," and then by "Love Is Gonna Find You," in which she sang, "Love is gonna find you/In its own sweet time." She joked about how the room had gotten quiet, and encouraged people to order drinks or something. And then she herself got the crowd louder with her "Barbecue" song, a good blues number with some really nice guitar work. The lines "You see, I never get the blues/When I'm eating barbecue" received both laughter and applause. She followed that with "Heartbreak Coming Soon," "That Makes One Of Us," and then "I Drive By Your House," that one having an especially good vocal performance. Her set also included "Come Up And See Me Sometime," a song that Teresa James has covered, and "At The Border Of Broken Dreams," a pretty song about seeking asylum. She wrapped up her set with "There's A Little Bad In Every Good Girl," which contained a little nod to "In The Midnight Hour." The crowd wanted more, and so she played "Permanent Change," in which she sang "There's nothing more temporary than a permanent change." Her set ended at 10:32 p.m.

Twenty minutes later Rick Shea & The Losin' End were back on stage for their second set, opening it with "Midnight Shift," a song that Buddy Holly had recorded and that Rick included on his new album. That was followed by "The Town Where I Live," a song that is beautifully sad. "The town where I live/It is ragged and old/Too hot in the summer, and the winter's too cold." And he mentioned that he grew up in San Bernadino, which has "gotten a little rough." He returned to the new album then, playing "Georgia Bride" and delivering a particularly good rendition. That was followed by "Juanita (Why Are You So Mean)," which is always fun, and last night featured some especially good work from Brian on guitar. One of my favorite tracks from Smoke Tree Road is "El Diablo Manda," and that song followed "Juanita." "El Diablo Manda" featured some really nice drumming, Dale playing with his hands at the beginning before grabbing his sticks. "All innocence is gone." Indeed. A highlight of the set, "El Diablo Manda" was followed by another of the set's highlights, Jeff Turmes' "Early Train." This was the best version of this song I've heard the band do. Everything was working perfectly, and Jeff's vocals were excellent. "Summer's coming, and I love someone/And I love someone." The music made us feel that perhaps we were all dreaming still. An absolutely fantastic rendition.

Rick changed a line of "The Starkville Blues," singing "I knew a girl at the Maui Sugar Mill Saloon." Funny how that line got me thinking of all the various characters I've met at that venue, lots of nice people, friendly people, and nary a lunatic in the bunch. "It's just a rough and dirty town," Rick sang at the end of "The Starkville Blues," and the band then went right into "Sweet Bernadine," which made complete sense, that song being about San Bernadino. This was a really good rendition, with some great stuff on guitar. It was followed by a fun rendition of "Blues Stop Knockin' At My Door," which featured a delicious bass line and more excellent stuff on guitar. There was a bit of trouble with Rick's guitar at the end of that song, and, while smacking the amp didn't help, it was soon fixed. They then played another Jeff Turmes song, "I Heard You Were In Town," which began with some cool stuff on drums. "I got that idea from a dream I had," Jeff mentioned afterward. The set concluded with a cover of "Honky Tonk Blues," which featured excellent work on guitar from both Rick and Brian. But the audience wanted a little more, and the band chose to finish the night with another cover, "Long Black Veil," delivering a rocking rendition. The show ended at 11:53 p.m. 

Set Lists

Set I

1. Shelter Valley Blues
2. Guardian Angel
3. A Week In Winnemucca
4. An Irishman's A Laborer At Heart
5. Mexical Train
6. Don't The Moon Look Real
7. Mariachi Hotel
8. Hold On Jake
9. (Down At The Bar At) Gypsy Sally's

Set II

1. Midnight Shift
2. The Town Where I Live
3. Georgia Bride
4. Juanita (Why Are You So Mean)
5. El Diablo Manda
6. Early Train
7. The Starkville Blues
8. Sweet Bernadine
9. Blues Stop Knockin' At My Door
10. I Heard You Were In Town
11. Honky Tonk Blues

Encore

1. Long Black Veil

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

Danielle Nicole: "Fireflies" (2026) CD Review

Danielle Nicole Schnebelen is a singer and songwriter working in the blues realm, delivering some fantastic music, music for which she has received multiple awards and a Grammy nomination. In addition to her solo work, you might know her from her work in the group Trampled Under Foot. Her new solo album, Fireflies, contains mostly original material. She plays bass on these tracks, and is joined by Brandon Miller on guitar and vocals, Jim Pugh on keys, Tony Braunagel on drums and percussion, Melodye Perry on backing vocals and Maxayne Moriguchi on backing vocals. The album was produced by Tony Braunagel.

The album's opening track, "Radical Love," begins with some catchy guitar work, and soon Danielle Nicole comes in on vocals, delivering a strong, passionate performance. "This ain't no ordinary/It's extraordinary/Coming from all directions." And then a heavy, funky rhythm takes over, and the song grows from there. "Radical love/That's what's gonna save us/Radical love/The only weapon that we need." Yes, love is the answer. It seems everyone knows that, so it's a mystery to me why people are still so horrible to each other. This song is a glorious, funky, positive force, with some cool stuff on keys, and it features some strong work on guitar in the second half. "Radical Love" was written by Jodi Siegel and Jeff Silbar. "Radical love/Triumph over hatred." Then guitarist Luther Dickinson joins Danielle Nicole on "Take Me Back," and here we also get a great, heavy funky blues vibe, the song moving at a steady pace. "Kind of town you wish that you could leave and not look back." And we can feel it, in that rhythm, and in her delivery. This song was written by Brandon Miller and Danielle Nicole Schnebelen. When Danielle Nicole sings, "I swear I feel the tingle of that breeze upon my skin," the work on piano reflects that tingling sensation, a nice moment. This track also contains some excellent stuff on guitar. "All right, Luther, take us back," Danielle Nicole encourages Luther Dickinson at one point approximately halfway through. And he delivers. I also love all the little touches Danielle Nicole seems to spontaneously add, as when she exclaims, "Right now, baby." And the band gets a chance to jam a bit at the end.

Danielle Nicole slows things down then with "Memories," delivering an intimate and beautiful vocal performance. "Why has love got to be such a funny thing?" she asks once that delicious classic vibe is established. "I don't want to be/Just a memory/One you regret/Spend your whole life trying to forget." This track features some really nice work on keys. And partway through, Danielle Nicole begins to belt out the lyrics, and is captivating. This track just gets better and better, and is one of my personal favorites. She returns to those lyrics about not wanting to be a memory, and now there is a great passion to her delivery, an ache she can barely contain. Wow! This one was written by Brandon Miller, Jim Pugh and Danielle Nicole Schnebelen. That's followed by "Soulside," which has a pleasant, soulful vibe and rhythm, fitting for the song's subject. "Pain has a way/Of making you feel out of place/No matter where you go/You're missing something in your life." Danielle Nicole delivers another appealing vocal performance. "It ain't been easy/But I'm finding my way," she sings, and we are all right with her. "But I know there's a place where everyone can be just who they are."

As "Gaslight" begins, Danielle Nicole's voice is supported by just drums, a very cool way of starting the song. "Got me going round and round/'Til I don't know which way is up or down." And then the rest of the band comes in. The song features a delicious groove. I especially love the bass line. Plus, the backing vocals add a fun element. "Question everything you said." Then in "Piper" there is another great combination of blues and funk. "Said there ain't nothing wrong with a little bit of sin/'Cause it's a cutthroat game and I know you want to win." This is a song full of attitude, with some nice touches on keys. The idea of people having to pay the piper is appealing, of course, like the idea of karma. I don't believe in the inevitability of such things. Bad people often get away with terrible things, with no consequences, taking no responsibility. You might have heard the story of a rapist and conman who was found guilty of thirty-four felony counts and not only escaped a prison sentence but became the president of this country. There is no paying the piper, there is no justice. But there is great music.

"The Same Love That Made Me Laugh" begins with a delicious bass line and promises something special. And indeed, this song is something special. It was written by Bill Withers, the first of two Bill Withers songs Danielle Nicole covers on this album. This is an excellent rendition. "Well now, why must the same love that made me laugh make me cry." She goes back to original material with "Chameleon," which has a mellower, easygoing, soulful sound and vibe, and features a wonderful, captivating vocal performance. "But that look in his eye/Predator to prey/When you realized/It's far too late." Then "Tug Of War" has more of a fun vibe, and a classic sound. "So here we go again/You want me to pretend/You didn't say the words/That we both know you said." Danielle Nicole is having a good time with this one, getting a little loose, and also digging in at moments vocally. This track also contains some nice backing vocal work. And I love the way the keys help create the tone. It's an empowering and fun number.

The second Bill Withers song that Danielle Nicole has chosen to cover here is "Dreams," which he included on his 1976 record Naked & Warm. As with "The Same Love That Made Me Laugh," this one has a delicious bass line. It also features some good guitar work. The album concludes with its title track, "Fireflies," another song with a classic and incredibly appealing sound. "Hello, sweet surrender/Every melody/You hold dear." This is another of the disc's highlights. There is a great passion in her voice, even before she begins to belt out certain lines. The track contains nice work on keys too, especially in the second half. This is a strong ending to a remarkable album.

CD Track List

1. Radical Love
2. Take Me Back
3. Memories
4. Soulside
5. Gaslight
6. Piper
7. The Same Love That Made Me Laugh
8. Chameleon
9. Tug Of War
10. Dreams
11. Fireflies

Fireflies is scheduled to be released on August 28, 2026 on Forty Below Records.

The Lost Weekend Band: "One Hell Of A Time" (2024) CD Review

When punk meets outlaw country, you know the energy and attitude are going to be strong. And such is the case with The Lost Weekend Band and its 2024 EP One Hell Of A Time. David Fisher, the band's lead singer, goes by the name Hardcore Dave, and was part of the punk scene before switching to country and moving to Los Angeles. Certainly, that earlier scene is still a part of him, and he's taken what he learned there and applied what seemed right from it to his newer musical interests and endeavors. The Lost Weekend Band also features Parker Richey on guitar and pedal steel, Eliot Lorango on bass, Joey Ponchetti on drums and percussion, and Carl Byron (how many bands is he in?) on piano and accordion, with Jason Moore providing some backing vocal work. The EP features original material, and it was produced and mixed by Paul Fig. 

The EP opens with "Pay The Rent," which begins with some good stuff on guitar and a great scream of "Yeah," a perfect way to set things in motion. The energy is similar to that of, say, Rev. Peyton's Big Damn Band. "Show this world what I got inside/Well, there's something I can't explain/Ain't never getting off this train." This is fantastic, especially in these days when paying the bills is a struggle. No matter how bad the financial situation gets, we still need to go out and enjoy ourselves. Otherwise, what's the point? And this music is here to help us have a good time. "Won't you trust me when I say/We want to see your better days/Light and love/Dance in the sunshine." There is a sense of excitement to this music, with some excellent stuff on guitar. And this wild, boisterous country number ends with the advice, "Lead with love." How about that? That's followed by "Sunlight," with Hardcore Dave delivering some delicious work on harmonica at the beginning to help set the tone. And when he sings, "I swear last night I met the girl of my dreams," it turns out she was just that, which is a nice twist. He sings, "I woke up, there was no such girl in my reality." This song soon takes us to a bar where a band is playing (perhaps this band), so everything is okay. "When I'm in a bar room, I like to sing it out loud." This track has a powerful ending.

"Sing With Me" begins in a mellower place, with some nice work on guitar. And, yes, there is a different vocal approach to this one, and a certain beauty to the performance. There is also a good bass line. And I love how the work on keys creates the song's atmosphere. "You can walk away/In my heart you'll stay/There's one more song." And he requests, "Won't you sing with me/When you're lonely." It's interesting, because that is something we do when we're lonely, isn't it? Sing along with some of our favorite tracks, songs that touch us, that offer comfort and companionship. Then "Madison County" opens with a bright burst of energy. This one takes us to a bar, with Hardcore Dave singing in the first line, "Madison County found me loaded alone at Lucky's Bar." It's great to find someone who is going through the same things, someone to connect to straight away. "I was suffering a broken heart/She had one too/She looked at my arms, saw my scars/Said there's nothing wrong with you." And when Hardcore Dave belts out lines in the second half, we are all in some sort of unexpected heaven. "I choose to live my life with Madison County." So good! And check out that guitar work. The EP concludes with "In The Morning," which features some wonderful work on harmonica right at the start. Here Hardcore Dave offers a touching vocal performance. "I'll tell you all about it/I'll tell you all about it/I'll tell you all about it/In the morning." This is a pretty and moving song, and in the second half it begins to grow, to swell, featuring some wonderful percussion. "How we sang and we danced into the night." What a fantastic way to wrap up this disc, including some lovely backing vocal work.

CD Track List

1. Pay The Rent
2. Sunlight
3. Sing With Me
4. Madison County
5. In The Morning

One Hell Of A Time was released on June 14, 2024.

Old Californio at Route 66 Roadhouse & Tavern, 7-11-26 Concert Review

It is some sort of injustice that Old Californio is not better known. This band is one of the best out there, in terms of musicianship, lead vocals and harmonies, songwriting, and live performances. Basically, in all the areas that count, these guys excel. Last night, Old Californio delivered two excellent sets at Route 66 Roadhouse & Tavern in Duarte (which is not nearly as far away as it sounds), helping some friends celebrate their birthdays and helping the rest of us celebrate too.

At 8:15 p.m., they took the stage for the first set. After Rich made the announcement, "If you have a green Subaru, your alarm is going off," the band went into its first song, "Millard Canyon Run." Almost immediately Jon was delivering some nice work on keys, and then later had a cool lead section, which Woody followed with a great lead on guitar. "I hope you're having a good World Cup," Rich said to the folks at the bar, where two televisions had the Argentina/Switzerland game on. "Go Switzerland," he added. The band then launched into "City Lines," a song I am always especially happy to hear. The line "Let's get hard to find" becomes more and more appealing as this country gets less and less appealing. Everything about this song felt good, felt right, and Woody's guitar work was impressive. Justin delivered some excellent stuff on drums, and Jason really dug into that moment when the bass got heavier, stronger, more forceful. Seriously, this song is fantastic, and last night's rendition was perfect. "Happy birthday to Robert and Phil," Rich said after that song. The band then did a cover of Neil Young's "Hawks & Doves" in honor of the United States' 250th anniversary.

The Route 66 Roadhouse & Tavern has a wonderful, loose and friendly atmosphere, the kind of place where people enjoy just hanging out, talking, drinking, getting to know each other. And certain songs feel particularly at home there. When Old Californio started "Old Kings Road," it hit me that that song seemed especially appropriate, fitting with the vibe. The band delivered a strong, energetic rendition. The guys then entered smoother, mellower territory with "Chilao Flats," a song with a soothing vibe at the beginning, and some wonderful stuff on bass. "Just looking for the good life." Hey, maybe we've found it. It certainly feels like it, listening to this music, listening to the harmonies. And Woody's guitar lead helps us remain aloft, floating happily in the ether, then taking us farther up and farther out. Fantastic work. That was followed by a nice rendition of Little Feat's "Willin'" which featured some good interplay between Jon and Woody. And then the band did The Beatles' "Because." I love when they play this one, in large part because of their vocal talent, but also because of the approach with regards to rhythm, making the song their own. "Midnight Moonlight" followed, always a fun number to dance to. There was a brief band discussion about what to do next, and it was decided to wrap up the first set with a cover of Waylon Jennings' "Lonesome, On'ry And Mean." The band had fun with this song, and jammed on it at the end. A good way to wrap up the set, which ended at 9:14 p.m.

The birthday boys, Robert and Phil, joined Woody, Jon and Justin for the first song of the second set, a cover of The Rolling Stones' "Dead Flowers," delivering a delicious, high-energy rendition. Then Rich and Jason rejoined the band, and they played "Ring Of Fire." This second set was made up mostly of covers. I know I've mentioned this before, but "Ring Of Fire" is a song that this band completely owns. These guys put their own spin on it, and Rich's vocal approach is fantastic. If you think you know this song, you need to hear Old Californio's version. Last night, it began with a nice jam, quickly developing a delicious groove. Justin provided some excellent drumming throughout, and Woody offered great stuff on guitar. I was especially tickled by Woody's comment on guitar at one point after the line "Love is a burning thing." This was an outstanding rendition. It was followed by another favorite of mine, "Shorten Your List," in which Rich sings, "You'd better learn to shorten your give-a-shit list." Is there any better advice to be given these days? And last night they made the song sound like a party, which worked well. That's an excellent original song, included on the band's Old Californio Country album.

The band returned to covers then with a really good rendition of Neil Young's "Everybody Knows This Is Nowhere," featuring a good jam. They kept the energy high with a cover of Gene Clark's "Kansas City Southern," Jon rocking the keys. After the phrase "whistle blow," Jon's keyboard acted as the whistle. The band was cooking at this point, and followed "Kansas City Southern" with a totally fun rendition of "Hard To Handle" that became a great jam, featuring more wonderful work on keys. And at one point Woody took things to a different level, on vocals and guitar. They returned to original material with "Mother Road," the second of only two original numbers in the second set. I love the way the bass created the road, and then the guitar flew down it. They then wrapped up the set with two more covers, the totally delightful "Styrofoam," which is a song I love seeing these guys do, and The Who's "Squeezebox," which they clearly had a lot of fun with. The show ended at 10:34 p.m. There was no encore. 

Set List

Set I

1. Millard Canyon Run
2. City Lines
3. Hawks & Doves
4. Old Kings Road
5. Chilao Flats
6. Willin'
7. Because
8. Midnight Moonlight
9. Lonesome, On'ry And Mean

Set II

1. Dead Flowers
2. Ring Of Fire
3. Shorten Your List
4. Everybody Knows This Is Nowhere
5. Kansas City Southern
6. Hard To Handle
7. Mother Road
8. Styrofoam
9. Squeezebox

Route 66 Roadhouse & Tavern is located at 1846 Huntington Dr. in Duarte, California.

Patria Jacobs, Double Naught Three, 3D Picnic, and Waterloo Saints at Maui Sugar Mill Saloon, 7-9-26 Concert Review

I've had some great nights at the Maui Sugar Mill Saloon. Some spectacular nights. Thursday night was one of the best. It was one of those nights when the right energy is present from the first note, and actually even before that, the audience experiencing it as a kind of electricity, an exhilarating buzz coursing throughout the room looking for an outlet or receptor and finding it in every person there. The place was crowded before the first band even began its soundcheck. The word had gotten out that it was going to be a special night. There must have been some kind of collective magic at play, for somehow people just knew this was a night not to be missed. Four tremendous bands all performing at the absolute height of their power, of their abilities, and doing so with joy. In addition to the musicians themselves (and Nubs at the soundboard, of course), we had Lawrence Mann to thank, for he is the one who put together this bill, like a sorcerer gathering rare components for the mightiest of spells.

Patria Jacobs

At 8:06 p.m., Lawrence stepped up to the microphone, said, "Welcome to the Silver Lake high school reunion," and he introduced the first artist of the night, Patria Jacobs, whose band included Marc Doten (of Double Naught Three) on keyboard, Carey Fosse on guitar, and her Rubyfish co-conspirators Derrick Anderson (who's been touring with Marshall Crenshaw) and Andy Sykora on bass and drums respectively. I had not seen her before, but I'd heard positive things from people I trust, people who know and love music, so my expectations were fairly high. Patria and her band were not far into their first song when I understood just what all the talk was about. That first song, "Indian Burn," eased in. There was a cool beauty to this song. As it eased in, it also eased out. That was followed by a Rubyfish song, "All She Swallows," which had a great vibe, and a groove that was almost haunting. "When I think of all the pills she swallowed." Carey Fosse delivered some nice work on guitar. "Mrs. Combs" had a more fun vibe, with some delicious energy and featuring good work by Marc on keys, and a bass line that I loved. There was also a playful aspect to the vocal delivery. "True story," Patria said afterward. "That was a true story."

Andy established a delicious beat at the beginning of "Serengeti," some great stuff on the floor tom. There was a cool psychedelic element to this song, with a hypnotic delivery to the title word, everything feeling so damn good. And then there was more of a rock thing to certain instrumental sections. Andy switched to brushes for "On The Lake," the song having a gentle vibe. "Funny how I've learned to drown it all down with wine." Patria gave a beautiful vocal performance, that beauty matched by Carey's guitar work. That was followed by "Silver Lining," a fun one, the rhythm like that of a train. The energy was high, and that cool instrumental section had me briefly thinking of The Monkees' "Circle Sky" (that section was returned to at the end). Then Marc delivered some wonderful stuff on keys during "IC Red." "How do you feel/I see red." "Napoleon" was a slower number with a pretty vocal performance and a psychedelic atmosphere, Andy using mallets for that one and delivering some wonderful work. "This will be our final number," Patria announced after that song, and was immediately met with multiple cries of "No" from the crowd. That last song, "Supercharger," was fantastic, and after it the audience understandably called out for more. But, no, that was it. What a great set, and a great start to the night. 

Double Naught Three

Sometimes when multiple bands are on a bill, folks come out for a specific band and then leave after that set. If anyone had come out just for Patria Jacobs, he or she thought better of leaving afterward. People couldn't fail to realize that the excitement had not diminished one bit after her set, and in fact the buzz was louder, greater, more compelling and more joyful. It felt like the night was on an upward trajectory, though it began already at a great peak, leading us to some other plane we'd only heard rumors of. Double Naught Three was certainly the vehicle to drive us in that direction. They began the set as the trio of Marc Doten, Marcus Watkins and Joe Berardi, opening the set with "Arrangement With A Dung Beetle," with a groove that immediately transported us to another land, to a time of the band's creation. These guys create worlds with their songs. "We're Double Naught Three, the remnants of Double Naught Spy Car," Marc said, and then introduced Kaitlin Wolfberg, who joined the trio on violin for "Danger High!" Now we were off into even more interesting territory, with fifteen tons of Cool piled on top. How can you not love that bass line? And Kaitlin was producing some ghostly sounds with her violin. At a certain point, Joe's drumming led us into more serious territory. The crowd sang the song's sole line at the end. "Thanks for singing along," Marc said, which of course was funny, as it was only two words.

Kaitlin left the stage, and Brian Walsh then joined the group on bass clarinet for "San Paku Pass," taking us on a different trip and delivering some phenomenal stuff. That beat on the floor tom first led us farther in, and then led us out. Brian's work was impressive, but it was on "The Rube Cubist" that Brian really knocked everyone's socks off. We were in wild jazz land at that point, taken to wild and fascinating places, all to a delicious beat. At one point, it took a turn toward progressive rock, getting heavier, with Marcus taking over on electric guitar, delivering some absolutely fantastic stuff. And then Joe was commanding on drums. A highlight of the set, for sure. Brian then left the stage, and Kaitlin returned for "I Rose In A Field," which had something of a reggae rhythm, while Kaitlin created a more ethereal sound over it. Marc's bass line worked its special charm, and then Marcus' guitar began pushing against any remaining barriers, finding, or creating, passages. And we all rushed through. As great as all that was, what happened next was even more astounding, as Brian re-joined the group, and all five musicians launched into "Macedonia 6-5000." This was a phenomenal rendition, with the bass clarinet leading us into special territory, where all manner of delightful things were possible. And what was possible was happening, as is always the case with this band. Marcus' guitar work was especially outstanding. And soon we were out in the Unknown, until Joe's beat created a place for us to stand, to step. And at that point the music had segued into "The Indian," and we were soon in a mesmerizing expanse of weirdness, a place I wished to set up home. It was an incredible rendition. The band then wrapped up the set with "Jan-Michael Vincent Rehab.com," taking us yet in another direction, Joe rocking the drums. A fun conclusion to one of the best sets of music I've heard. 

3D Picnic

And after that, no one was ready to leave. It was getting late for a school night, but the crowd remained. Next up was 3D Picnic, a group that was active in the late 1980s and early 1990s, but had apparently only done one other show since then. So, yes, this was something special, and on a night when special was the name of the game. While the rest of the band was finishing setting up and tuning, drummer Brandon Jay mentioned Altadena Musicians, a foundation he set up to provide instruments to musicians who lost everything in the fire. For those who might not be aware, Altadena is an area where many musicians live, and where many lost their homes in the Eaton Fire. "We're 3D Picnic, and we're going to play you some songs from long ago," singer and guitarist Dallas Don Burnet announced, and immediately the band was into the first song, "Beneath The Coals," which soon took on a great punk groove and was totally fun. Holy moly, these guys were good! "Soul Peeler" followed, with Carolyn Edwards taking over lead vocal duties. What a joy it was to watch these guys. And I loved when Brandon let loose on the drums. "We haven't played in, what, three years?" Dallas Don said, then added that the time before that was thirty years earlier. He introduced the next song as being from the band's first album. Before anyone played that night, Joe Berardi and Nubs added a guitar to the instruments hanging on the wall behind the stage, and at the beginning of "Charles Thinks About It," Brandon playfully tapped on it as well as on the other instruments in reach. Carolyn had moved to the keyboard for this number, and this song featured a strong bass line from Greg Mora. This was a ridiculously fun rendition.

In introducing "Desert Of Libya," Dallas Don said the song was about a distant place where "It's hotter than Tarzana in July," while Brandon established the beat. It was Carolyn's work on keys that really helped transport us there. And when the pace increased, they just completely owned us. That was the only instrumental number of the group's set. It was followed by a cover of Kirsty MacColl's "They Don't Know" (a song that was later a hit for Tracey Ullman), with Dallas Don first playfully asking the crowd, "Do you know what the next song is?" When folks shouted back, "No," he said, "They don't know." Carolyn was on lead vocals for this one. Meanwhile, Brandon was tossing drum sticks around like there was no tomorrow. They followed that with "Murdermaid," which was like a surf song if it were written by a punk sea monster lurking beneath the waves. Carolyn attacked the keyboard as if that might keep the monster at bay, a fantastic moment. "We're going to do a song that's never been played before," Dallas Don then told the crowd, adding for clarification, "Well, live." He dedicated the song to Kim Shattuck. Titled "You're My Idol," it had a great, heavy power pop sound, like if The Partridge Family went a bit punk. It, like the band's entire set, was a lot of fun. Carolyn was back on guitar for "All Wrapped Up," and Dallas Don was then sporting a captain's hat. At the beginning of that song, Brandon was playing some of the stuff on the walls again. It's difficult to contain that guy within the confines of a drum kit. After that song, some folks called out requests for "Dirt," and the band obliged (it was on the set list anyway). This song was another highlight, and featured a guitar solo at the end. What a set! What a treat!

Waterloo Saints

Some folks did have to leave after that set (it was already after 11 p.m.), but did so reluctantly. After all, a night this good could not possibly end on anything less than a stellar note. The final band of the night was Waterloo Saints, and those guys were certainly ready and eager to deliver the delicious and fun conclusion this night deserved. "What a great night," singer and guitarist Fred Oliva remarked, also mentioning how all the other bands blew his mind. They opened with "Sincerity," immediately giving us a fun number, just what we wanted. It was clear we were in good hands. I was digging Fred's voice, and the song had a driving beat by Rick Woodard to keep things moving forward. That was followed by "Hologirl." "This one is about a girl," Fred informed the crowd. "She knows who she is." He added that she lived somewhere in southern California. Might she be in the room, I briefly wondered. But then the music took over, and it didn't matter to me where this girl was. Christopher Risucci delivered some great work on guitar, at one point reminding me of The Buzzcocks. After that song, someone in the crowd shouted out, "Sponsored by Lenscrafters," which made the band smile. All of them wore glasses. They then played "MZ Donut," which featured Christopher on lead vocals. The song also featured some excellent work by Michael Risucci on bass, that instrument taking over for a moment, which was great. Fred thanked Lawrence Mann, saying that they are happy to be in the cleanup spot, before launching into "AD 99."

A highlight of the set was "Badderall." In introducing it, Fred playfully asked, "Who's tired of winning?" Someone in the audience yelled out, "I'm exhausted." There was a tremendous energy to the song, and it had something of a 1960s element. That was followed by a fun rendition of "Don't Let Me Let You Down," featuring some really nice guitar work. Then "Fall Beautiful" had a good pop vibe. The band also delivered a wonderful rendition of T. Rex's "20th Century Boy," totally rocking the song. "No time for tuning," they joked before going straight into "Everybody Comes," another fun number, this one with Christopheron lead vocals. They wrapped up the set and the night with "It Won't Be Me." The song began with some delightful "ba-ba ba-ba" vocals, with Fred, Chris and Michael all singing, and later the audience joining them on that part. It was a perfect way to end things, the audience singing along, everybody having a good time. These are the kind of nights that make me think that Los Angeles is the best city in the country.

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