The Glimmer Stars, Tailpipe, Analog Saint, and The Livingstones at Maui Sugar Mill Saloon, 7-24-26

The Glimmer Stars

Four excellent bands took the stage last night at Maui Sugar Mill Saloon, delivering delicious, energetic sets to an appreciative audience. The Glimmer Stars were up first, starting just after eight o' clock. Steven Soto called out, "Tarzana," and Mini Mendez introduced the band, "Good evening, we're The Glimmer Stars." There were cheers and shouts from the audience, and the band launched into the first song of the night, "Better Day." And it immediately became a better day. Isn't it great how music can do that? That song is on the band's new album, Someday's A Long Time. That song led straight into another song from that album, "I Need It Now." There was a great energy to this delicious power pop number. And I especially loved when all three band members shouted the title line, Richie Mendez pounding the drums, the song taking on a terrific punk vibe. There was barely a pause before the band then played "If I Only Could," leading us on a march into a cooler world. "Friday night in Tarzana," Steven then said. "Thanks for making it out tonight." It might sound strange to those who have not yet been to Maui Sugar Mill Saloon, but Tarzana is a fantastic place to be on a Friday night (or any night, for that matter). Mini Mendez offered cheers to the crowd for being there, and Steven added, "Cheers to air conditioning." The heatwave here shows no signs of breaking, and it seems like this is our new reality. Cheers to air conditioning, indeed! "It's going to be a good night of rock and roll," Mini Mendez said, and the band went into "Pictures Of You," which has a Cheap Trick reference, and which then led straight into "Alley Cat." I love the way the guitar responded to the line, "You're such an alley cat," and how the guitar rocked at the end. Mini Mendez can deliver a rock and roll scream, a rock and roll snarl, and do it with a smile. "Would You" and "Nice" followed, the latter featuring some especially strong stuff on guitar. Mini mentioned the band's new album, and Steven pointed out the Glimmer Stars buttons that he'd placed on the tables for everyone (mine is now attached to my Station 19 backpack, right next to the Jed's Dead button). The band then played "Maybe," one of my personal favorites from the new album. It is so catchy. Mini thanked Nubs for the great sound, and for pointing out that he plays three notes, not two, as he'd claimed earlier in the set (in that playfully self-deprecating way). The trio then delivered a fun rendition of "Paulina," which led straight into "I Want You" to wrap up the set, a song featuring some kick-ass drumming and finding Mini attacking that bass.

Tailpipe

Tailpipe was up next. As Steven had shouted out "Tarzana" at the beginning of the Glimmer Stars' set, Kevin Keller called out the Schlitz sign on the stage. And as Mini Mendez had announced, "Good evening, we're The Glimmer Stars," Jeff Bossin announced, "Good evening, we're Tailpipe." However, this band actually has a song titled "Good Evening, We're Tailpipe," and it was that playful number that opened their set. A short number that showed the band's sense of humor and made them immediately likeable. That was followed by "I Want It All," a song with fantastic energy, and then "Beg, Borrow And Steal," which had great power, particularly in that steady beat. After that song, Nubs told the guitarist to turn up, which shocked and delighted the band. Jeff responded by saying that we are indeed living in unprecedented times. "Rock And Roll After All" had two false starts, but Jeff promised, "Third time's a charm, everybody." And he was right. The song was a lot of fun. "I hope that was worth the wait," he joked afterward. Yup! And that is something I loved about the night, that there was a loose, fun, friendly atmosphere, just the sort of thing that often leads to those special and memorable shows. "Smoke 'Em If You Got 'Em" featured some cool work on bass, and "The End" followed. "It's not the end of the set, but the song is called 'The End,'" Kevin clarified. Kevin introduced "It's Not Alright," saying he wrote the song twenty-five years ago, but that this was the first time it was being played. He'd been going through old demos, and thought this song would be a perfect Tailpipe song. No argument from anyone in the audience. That was followed by a fairly new song titled "Crash And Burn" and then "Outside Lookin' In," which featured a nice lead on guitar and Tim Jimenez switching to mallets for the song's final moments. By the way, both Jeff and Kevin were sporting Glimmer Stars buttons. That was followed by "The Boss," which led straight into "Suspicious Minds." As the trio started that final number, Kevin said the band is going to do a different cover at every show and never repeat it. It was a rocking rendition, and the set ended at 9:42 p.m.

Analog Saint

Analog Saint, the only band of the night that wasn't a trio, was up next. This band got right to the music, not offering any sort of introduction, and opening with "New World," a song that rocked but also was catchy. That was followed by "Argentina," which featured some fantastic drumming. There was a surprising, mellow moment in the middle, and then, bam, they were back into the power. Then "Feeling Like You're Done" featured some very cool bass work, and then some wild stuff on guitar. One of my personal favorites was "Saturdays," which began with a delicious beat and contained some good, catchy vocal work. It was a highlight of the set. "It would be better if we played it tomorrow night," the band acknowledged afterward. That was followed by "She's A Weapon" and then "Stacey," the latter another catchy number. Then in "Outta Control, they sang, "You're getting that funny feeling/Like everything's outta control." I think we've all experienced that feeling lately, and the song clearly connected with folks in the audience. "I like it," someone shouted out at the end. "We are so glad you approve, sir," the band responded. The set also included "Nails," "Big Muff" (which is as fun as its title suggests), and "Werewolf," which just fucking rocked. They wrapped things up with "In The Moment," a high-energy number featuring some delicious drumming.

The Livingstones

The final band of the night was The Livingstones, led by Mike Livingston of The Mau Maus, with John Grant on bass and Boomer Bearman (who is also in The Oddity) on drums. These guys opened with "Lizard Brain," some good solid rock, the vocals having the right amount of attitude. They followed that with "Mad Cruel Woman," which featured some great stuff on guitar, coming from that special place where all the best rock and roll originates, the beat driving everything forward. Then "Migraine Cafeteria" contained some really good work on bass. Just as I was digging that bass line, the bass cut out. It was fixed just before the end of the song. Mike then mentioned how he was in The Maus Maus, and that the next song "is a Mau Maus song." That song was "Family Jewels," which was very cool and featured delicious stuff on guitar. "This is another song," Mike said in introducing "Queen Of The Tweekers." "It's not about my wife. She wanted me to mention that." Again, the night had a wonderful, loose vibe, and featured some good humor. That song contained a great groove, with some excellent drumming from Boomer, and a fantastic lead on guitar. This was one of my personal favorites of the set. It was followed by "Middle Class Crazy" and then "Meltdown," the latter a seriously fun instrumental number going into surf territory. This one also contained some excellent stuff on guitar, Mike bending notes, riding the crest of a wave. It was another highlight. "Car Bomb," which followed it, was also a highlight. A totally delicious number. The bass cut out again, but was fixed quickly. That was followed by "Yee Mee Loo," a song about a bar that used to be in Chinatown. They wrapped the night up with great pounding renditions of Vince Taylor's "Brand New Cadillac" and Chris Spedding's "Hurt By Love." The show came to a close just before midnight.

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

Fernando Perdomo: "Clouds 7" (2026) CD Review

Fernando Perdomo is now on the second half of his second year-long musical project, Clouds, and continuing to make music that transports us, taking us to unexpected places, both within ourselves and outside of ourselves, music that is soothing yet also stimulating. On each of these albums, he plays all the instruments. He also composes all the material, and produces each release. He did everything on Clouds 7, the latest entry in the series, except take the photo on the cover. That photo, which was taken by Keith Kaufman, has a pleasant, relaxed spirit, and it reflects the music of the album.

The album opens with "Droplets," and yes, right away we get the sense of steady droplets, falling slowly enough that we can watch them individually, can experience them, finding ourselves reflected in their movement. There is something soothing here, and something uplifting. When we can focus on one moment, one act, one movement, the world begins to make some sense. And here we are without distraction, the music offering a sort of meditative vibe. In the second half, there is a subtle change in emotion, as we shift, or slip, into slightly more somber territory, if only momentarily. Perhaps memories intrude at that moment. Yet it's all right, even as things slow and reach their conclusion, the piece having a hopeful and soothing final moment. That's followed by "The Happy Day." There is a happiness expressed, and so experienced, here. It is a gentle, soft joy, at least at the start. Then it finds a certain rhythm, and explores it with some excitement, before then taking another breath and falling back into a more tranquil space and mood. There is no need to rush anything here. The day is ours, as the sunlight plays upon our faces.

There is something wonderfully youthful to "Swell Season," like we are taking our first steps and seeing what the reaction is, what the result is to our movement, what the result of our own existence is in a strange world, and finding that creating a pattern can be a joyous thing. We humans naturally look for patterns, but what a thing it is to find that we can create them too. Before the end, the pace increases, as if we are excited to find where this pattern might lead, where it might take us, eager perhaps to complete the pattern. That is followed by "Tranquility." As its title promises, this piece has a relaxing effect. This track creates a gentle beauty, a place where we can slow our pace, let go of tension, momentarily let go of obligations, and just breathe and smile. Here even memories don't overtake us, at least not at first. Rather, there is a sweet absence of relations, of associations. Until we near the end, and then memories begin to play before us, hazy hints of the past rising to be contemplated.

As "Texture" begins, a thick light breaks over the horizon. The trees' branches feel the weight of it, bending, and we reach up to touch it ourselves, finding a certain perch closer to the sky, to the source. There is a blues element here, and it is like we offer up a song or offer up our own blues, and are met with a certain tension before the piece relaxes at the end. Then, with "The Ether," it is a wonder to find the light now comes from the blues, a celestial blues that spreads itself across the heavens, and then focuses on us as individuals. Gentle fingers play upon our small piece of reality, and mold it into something pretty. The motion of "Up" is upward, as the title suggests, starting from below and rushing up. And then again. And then again. Yet it is no chore, no work of Sisyphus. In fact, we take pleasure in it, even in the repetition. There is something comforting in that. And we turn to face a place of light, a place of beauty. With "Daffodil," we experience a gentle movement in a warm breeze. There is something soothing about that movement, a letting go. Isn't that what we want these days? To let go, at least for a moment? To find ourselves untethered to the world's stress and hardships.

As with "Up," there is a repeated upward movement to "Patterns" too, at the beginning, done without hesitation, without concern of it being the wrong motion or direction. Rather, it is done with joy of the pattern, and soon increases in pace. Then when a certainly lightness of spirit is achieved, we find ourselves on a different plateau, and so the pattern changes. After all, we have a different perspective now. Have we achieved a certain wisdom? Or would it be foolish to think that just because we are in a different place that we've attained anything special" For before the end we are repeating the initial pattern, though for a briefer time now. There is a pattern to "At Heaven's Door" too. We humans are conditioned to seek and find patterns, and so we do. In the sky, and in our motion through the heavens. We see them even in places where they might not exist. Partway through this track, a pulse from the distance finds us, and changes the way we view our surroundings, touching us in the darkness, where we feel alone. But that sense of loneliness soon begins to disappear, or perhaps to not matter as much.

CD Track List

1. Droplets
2. The Happy Day
3. Swell Season
4. Tranquility
5. Texture
6. The Ether
7. Up
8. Daffodil
9. Patterns
10. At Heaven's Door

Clouds 7 was released on July 1, 2026.

Peter Parcek: "Most Of The Time" (2026) CD Review

Who doesn't have the blues these days? Peter Parcek is here to help, because it is with blues music that we can most assuredly combat the blues in the world around us. Peter Parcek released his first album, Evolution, back in 2000, that album containing a mix of original material and covers. He has continued to mix original songs and covers on subsequent releases, including The Mathematics Of Love, Mississippi Suitcase, and his new album, Most Of The Time. Joining him on this one are Marc Hickox on bass, Tom West on organ, and Tim Carman on drums and percussion, along with several guests on various tracks. The album was produced by Peter Parcek and Patrick DiCenso.

The disc gets off to a great start with "Twistified," an original rocking blues number, with a sound that at times is in the same ballpark as Cream, and contains some cool stuff on guitar. It touches upon that perennial blues subject, losing a woman, when he sings, "My woman quit me/Went off with a younger man." But this song is particularly about aging. "Don't go gray/And don't never grow old." And it features horns. Mark Earley is on the horns, and did the horn arrangement. That instrumental section in the middle is fun, and it features some excellent stuff on guitar. Duke Robillard joins Peter Parcek on guitar on this one. That's followed by another original composition, "How Many Times," this one beginning by establishing a good groove. And, yeah, here another woman is doing her man wrong. "How many times/You gonna treat me like you do/Took all my money/All my love too," Peter sings. This one also contains some strong guitar work, and it too features horns. We are into some serious blues, some delicious blues.

The first cover of the album is Bob Dylan's "Most Of The Time," a song from his 1989 album Oh Mercy. It's a wonderful song, and Peter Parcek does an excellent job with it. "Most of the time/I keep both feet on the ground/I can follow the path/I can read the signs." And this line strikes us: "I don't even notice she's gone." And right after that line, Danielle Miraglia joins him on the line "Most of the time," like the woman who's gone is still present, and also keeping him honest, which is fantastic. Adding to the appeal of this version is Kevin Barry on lap steel and acoustic guitar, delivering some wonderful work. "Most of the time/I'm strong enough not to hate." I like how Peter and the band stretch out on this one a bit, not in a rush, turning in a version that is eight minutes long. That's followed by another cover, "I Don't Worry About A Thing" (here titled "I Don't Worry 'Bout A Thing"), this one written by Mose Allison. This version has a cool, mean, heavy vibe. The song is from the early 1960s, but the lyrics speak to us right now: "I don't worry about a thing/Because nothing's gonna be all right/The world is one big trouble spot/Some have plenty, and some have not." I love Peter Parcek's approach to this song. A slow strong pulse that becomes our own. This track also contains some nice stuff on keys, and, yeah, it features some delicious work on guitar.

"Just Play Rhythm, Baby" is an original song, and with a title like that, you just know it's going to have a good, fun groove. And it does, helping to shake our blues away. This instrumental track also features the horns, as well as a nice lead on keys. Then Peter Parcek's rendition of "Mississippi Phone Booth" begins with the beat, and then kind of eases in, with a soulful vibe. This song was written by John Hiatt. It is followed by another cover, "Stranger Blues," this one also speaking to us now, with lines like "I'm a stranger here/I just moved in your town/And because I'm a stranger/Everybody doggin' me around" and then "Sometimes I wonder why they treat a stranger so." These days it can be dangerous, even deadly, to be a stranger in certain parts of this country (the U.S. government is now the enemy, the villain, something it's still difficult to accept). This track contains some beautiful, passionate guitar work.

"Poor Boy" is a delicious, slow blues number that features some excellent stuff on harmonica, as well as some really good drumming. That's Marco Anthero Silva on harmonica. This one was written by Peter Parcek and David Herwaldt, and it features Duke Robillard on guitar, delivering some great work. "I'm a poor boy/In a world full of lies," Peter tells us, and sounds so weary from it, just like many of us feel. "Just a poor boy/In a world gone wrong/Strange things are happening/I can't last here long." This is one of my personal favorites. That's followed by "When I'm Dead & Gone," which has a great rhythm. Marco Giovino is on drums and percussion for this one. There is a kind of urgency to this song, to that rhythm, and so we take these lines as being urgent too: "Yeah, here's my picture/Put it in a frame/So when I'm dead and gone/You can see me just the same." And that is interesting. Is death lurking right around the corner? Perhaps. That delicious rhythm continues, even as that great guitar work takes over. Luther Dickinson joins Peter Parcek on guitar for this one. And there is some really strong work on harmonica too. That's Mickey Raphael on harmonica. I love the great raw power to this song. This one ends up being another of my favorites.

"Cold In Hand" also begins with a good beat, one with a New Orleans flavor, and it features some interesting guitar work, the track feeling like a blues party with a lot to say, and saying it all without any words whatsoever. This is the album's second instrumental track, and an energetic one at that, the guitar crackling. That's followed by "Three Feet In Back Of My Head," a blues song that surprisingly describes an out-of-body experience early on, and then urges us "Don't look back." That makes me think of Orpheus and Eurydice, but this song mentions a different myth, that of Lot and his wife (did she ever get a name?). Yeah, it's an unusual song, playing at the edge of darkness. It contains some good stuff on keys, and then in the second half there is a fantastic instrumental section, creating its own compelling landscape and taking us there, perhaps leaving us there. This is another of the album's gems.

The final four tracks are all covers, beginning with a good rendition of Fred McDowell's "61 Highway." I love that first section, with vocals and guitar. And when the others come in, there is a strong pulse. "And if you see my baby, tell her she's all right with me," Peter sings, and that guitar tells her, tells all of us, that things are all right, that we're all right. That's followed by a very cool rendition of Bill Withers' "Grandma's Hands." I especially love the drumbeat that was chosen for this version, and the bass line. Peter delivers a soulful, passionate vocal performance. He and the band stretch out on this one a bit, and the track contains a nice lead on keys and then a wonderfully expressive guitar lead in the second half. Then we're treated to a haunting, hypnotic and compelling instrumental rendition of "Lord Help The Poor & Needy," a song writen by Jessie Mae Hemphill. Helping Peter Parcek create the great atmosphere of this song is Daniel Kellar on violin. And the guitar says what needs to be said. The disc concludes with "Swooshy," a fun instrumental number that features the horns, as well as some excellent guitar work. Duke Robillard again joins Peter Parcek on guitar. This track will have you feeling good before too long, perhaps even dancing. Why not?

CD Track List

1. Twistified
2. How Many Times
3. Most Of The Time
4. I Don't Worry 'Bout A Thing
5. Just Play Rhythm, Baby
6. Mississippi Phone Booth
7. Stranger Blues
8. Poor Boy
9. When I'm Dead & Gone
10. Cold In Hand
11. Three Feet In Back Of My Head
12. 61 Highway
13. Grandma's Hands
14. Lord Help The Poor & Needy
15. Swooshy

Most Of The Time is scheduled to be released on August 14, 2026. 

I See Hawks In L.A. at Tuning Fork, 7-19-26 Concert Review

"Live And Never Learn"

I See Hawks In L.A. returned to Tuning Fork in Studio City last night, delivering two magnificent sets of music, just the sort of thing to help one regain his or her faith in humanity. It was that kind of evening, the room having a wonderfully relaxed and friendly vibe. And in fact, the band started a few minutes earlier than scheduled. Why not? Things were loose, and everyone was ready. They opened the first set with "Live And Never Learn," which had a sweet vibe, Dan Wistrom delivering some nice work on pedal steel. Rob Waller was seated for this show, so the only band member standing was Paul Marshall (and he'd joke about that partway through the first set). There was a sound issue with Rob's guitar, but that was soon sorted out. And, really, everything was right with the world the moment these guys started playing. "Thanks for being here for the soundcheck, everybody," Rob joked after that first song. "We were pretty eager to get started, so we jumped right in."

"White Cross"

"Me And Paul"

"White Cross" followed, with Dan switching to electric guitar and delivering a really good and interesting lead, so good that Rob urged him to extend it, which he did. How about that for only the second song of the night? It was clear even then that this was a special night, the band having tapped into a rare vein of joy that must have been running along just below the venue. That song also featured a great groove, helping everyone's mood. "Well, I saw that Willie Nelson is out there on the road again," Rob said while introducing "Me And Paul," a song that Willie Nelson wrote. I'm glad I got a chance to see Willie in concert a couple summers ago. He's getting up there in age, but still puts on a damn good show. At Rob's encouragement, Paul Marshall told his Willie Nelson story. The song is a sweet country number, Dan back on pedal steel, and after it, Rob mentioned, "That song always reminds me of Paul Lacques, of course." He then added, "And Paul Marshall," and told an anecdote about dropping Paul Marshall off at Ed King's house in Nashville. That was followed by "Beautiful Narcotic Place I Reside," a song from the band's first album, which was released twenty-five years ago. To celebrate the anniversary, the band has a special show scheduled for September 19th at McCabe's, where they'll be playing the entire album (by the way, Rick Shea & Tony Gilkyson are opening that night). Last night they delivered a really good rendition of "Beautiful Narcotic Place I Reside," featuring great harmonies and an excellent bass line.

"Salvation"

Next up was a cover of Clarence Carter's "I Stayed Away Too Long," though first Paul sang a little of "Slip Away" to help refresh people's memory of that artist. Because, while not everyone might remember "I Stayed Away Too Long," there isn't anyone who hasn't heard "Slip Away." Dan's guitar lead during "I Stayed Away Too Long" received some deserved applause from the appreciative audience. Paul Marshall then sang lead on "Salvation." Nearly a year had passed since I last saw them do this song, and I was happy to find it back in the set list, for it's an excellent song. It was before that song that Paul joked about how in twenty-five years of playing in I See Hawks In L.A., this was the first time he was the tallest guy on stage. He delivered a particularly good vocal performance. I loved the gentle way he sang, "It's there for you." That was followed by "Ohio," which was a whole lot of fun. The song features a delicious rhythm, and Dan really delivered on electric guitar. I love the line "Because I was poisoned by the California dream," which was delivered with so much joy. And Victoria Jacobs attacked that tiny splash cymbal at the end, which just added to the great cheer of the song.

"Ohio"

"I Fell In Love With The Grateful Dead"

If you've been to Tuning Fork, you've likely noticed the Grateful Dead posters on the wall and the Dead stickers behind the bar. Surely that is part of the reason I feel at home there. And while the band was setting up last night, some Grateful Dead songs were playing on the sound system, something everyone in the room at that time appreciated. So it felt natural that "I Fell In Love With The Grateful Dead" would end up on the show's set list. The song featured some great stuff on bass and some excellent drumming, and it got me fondly replaying my own memories of falling in love with the Grateful Dead. The band kept things moving then with "Skipping Stones," featuring Victoria on lead vocals. This song has become a favorite of mine, and it is always fun, certainly in part because of its rhythm. And this is another that brings fond memories to the surface. Rob then mentioned the band's upcoming tour. Before that special concert at McCabe's, the band has shows up in northern California, Oregon and Washington. I highly recommend that folks in those areas make it a point to catch this band. Thinking about this tour led Rob to suggest ending the first set with "Hippie On The Road," and the song had a delicious energy. "Ride this thing out," oh yes! The first set ended at 7:55 p.m.

"Turn That Airplane Around"

Approximately twenty minutes later the band was back on stage. They opened the second set with another song from the first album, "Turn That Airplane Around," one I was excited to hear again. It had been maybe three years since I'd seen them perform it. And they delivered a wonderful rendition, with Dan on pedal steel. That was followed by "California Country," a song that always hits the right spot, a song that is always a crowd-pleaser, beloved by those of us who have come to call California home. This song makes us feel we've made the right choice, you know? Actually, getting to see this band fairly often makes me know I've made the right choice. Then they gave us a fairly new song, "Global Pandemic," which Rob introduced as one of Paul Marshall's favorites. A lot of songs came out of the recent pandemic, but this one is certainly the most fun. The "Psycho Killer" reference makes me smile, but the whole song is a delight, and last night's rendition was excellent. They switched gears then for "Jug Of Misery," a beautiful song that featured a moving vocal performance from Rob Waller.

"California Country"

"St. James Infirmary"

Paul Marshall sang lead on a cool rendition of "St. James Infirmary," adding Robert Rex Waller to the lyrics and delivering a lead on bass that had the audience applauding. On a night full of stellar performances, this song still managed to stand out. It was followed by one of my favorite songs, "If You Lead I Will Follow," the last track from the New Kind Of Lonely album, and one that was written by Rob Waller and Paul Marshall. It is another of the band's songs that I hadn't seen performed in a while, in probably two years. I hope it finds its way into sets more often, because it is a beautiful song. And last night it featured a great vocal performance, plus a pretty lead on pedal steel. Before "Poour Me," the band mentioned how the last time they were at that venue, the place ran out of beer. Rob joked that it was all due to Dan, but then Dan mentioned how he had only one beer and was incredulous when, upon ordering another, he was told they'd run out. Well, they didn't run out last night. "Poour Me" has certain lines that make me laugh every time, including "The 80s was his peak" and "Wednesday I ate a bad burrito."

"Poour Me"

"My Parka Saved Me"

Then it was story time with Victoria Jacobs, who led the band in a delightful rendition of "My Parka Saved Me," a song that had me smiling from the moment it started. There is much to love about this song, but perhaps my favorite element is the idea of backing vocalists taking over the story while the lead singer tries to reel them in. "All right, Rob, that's not true," Victoria playfully scolded. The band wrapped up the second set with "Good And Foolish Times." Is there a better set closer? I'm not sure there is. Before they started the song, bartender Josh handed Dan a fresh beer, a kind of adorable response to the earlier story of the place running out of beer. You have to love that. That the bartender was paying attention, and that he added to the joy of the set. "Good And Foolish Times" featured a great bass line. There is something so cheerful about that bass part. It was a good rendition, though it lacked that extended ending that the band does sometimes. And maybe that was why the crowd demanded more. Or maybe it was just because the night was so fucking good that no one was ready for it to end. The band decided to do one more song, a short one, and invited Gloria Delgado and Sophia Delgado of The Firkins to join them on vocals for it. That song, which The Firkins are known to cover from time to time, was "Stop Driving Like An Asshole," a song that gets in my head nearly every time I'm on the road here in Los Angeles. And having that song to sing helps me in those moments, a way to turn anger to humor. The band delivered a particularly good version last night, with The Firkins on backing vocals. A fun way to conclude what was an absolutely superb show. It ended at 9:11 p.m.

Dan gets his beer

"Stop Driving Like An Asshole"

Set List

Set I

1. Live And Never Learn
2. White Cross
3. Me And Paul
4. Beautiful Narcotic Place I Reside
5. I Stayed Away Too Long
6. Salvation
7. Ohio
8. I Fell In Love With The Grateful Dead
9. Skipping Stones
10. Hippie On The Road

Set II

1. Turn That Airplane Around
2. California Country
3. Global Pandemic
4. Jug Of Misery
5. St. James Infirmary
6. If You Lead I Will Follow
7. Poour Me
8. My Parka Saved Me
9. Good And Foolish Times

Encore

1. Stop Driving Like An Asshole

Tuning Fork is located at 12051 Ventura Place in Studio City, California.

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 Jodi 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.