Thursday, June 27, 2024

Dogs Run Free Episode 4: Paul Marshall


In this episode, I talk with Paul Marshall about his work in The Strawberry Alarm Clock and I See Hawks In L.A., and also about the unreleased Brent Mydland album that he plays bass on. He tells some great anecdotes, and at the end of the interview, he treats us to a special acoustic performance of “If I Had You,” a song from his Weed And Water solo album.

Tuesday, June 25, 2024

Brief Notes On New Jazz Releases

Music provides the best reminder these days that humanity has not gone completely off the rails. Here are notes on a few new jazz albums you might want to check out.

Olivia Foschi: “A Window Within” – Vocalist and composer Olivia Foschi delivers mostly original material on her new album. Joining her on this release are Mauricio Zottarelli on drums and percussion, Matt King on piano and melodica, Vinicius Gomes on guitar, and Marco Panascia on bass. She opens with album with a seriously delicious number, “Caught Me By Surprise,” which begins with a great rhythm on bass, the drums soon coming in to join it. And her vocal work quickly becomes part of the wonderful rhythm too. It’s all so good and catchy and appealing, and then it turns out this is also a love song, which we need more of. A song about love at first sight, and a true story. While the rhythm is a big part of this track’s appeal for me, there is also some very cool work on guitar and keys, particularly in the middle when they engage in a little back-and-forth. An excellent start to the album, showing she has her own great style. That’s followed by a softer, gentler number, “Pieces Of Central Park,” a song of observations, a song that features a pretty and friendly vocal performance. This track also includes some really nice work on guitar. Percussion plays a prominent role on “Live With It,” with the vocals again creating part of the rhythm early on. This feels like a wonderful jam at times. That’s followed by the album’s sole cover, “Cun La Préma Stëla,” written by Cesare Martuzzi and Aldo Spallicci. Olivia Foschi delivers a beautiful and uplifting vocal performance. She then gives us a warm and heartfelt performance on “Nona,” a song of love and loss. “You cradled my heart/Made me feel from the start/That I’d never be alone.” There is a light, almost magical quality to the piano work. “East Wind” begins on percussion, and on this track too Olivia’s voice takes part in the rhythm near the beginning. The tone then changes as the lyrics begin, and she addresses the state of the world. “Something’s gotta give/Hard to find the simple pleasures.” And soon she sings, “There’s conflict in the air again.” Indeed, and it’s so tiresome. Life is so short, and I’m continually shocked at the harmful and odious things that people will dedicate their precious time to. But this song is not a downer. The rhythm makes sure of that. And Olivia sings, “Clearing out the rage/And making room for changes/Try to let our hearts shine through.” And check out that drum work toward the end! “Subtle Farewell” has a more contemplative air, and features another pretty vocal performance. “Lost in a dream/Bidding a subtle farewell/As I let myself drift away.” The album’s final track, “John John Joel And Joan,” begins with rhythmic vocal work, and also includes some delightful percussion. It leaves us feeling good. This album was released on June 8, 2024.

Natalie Jacob: “Sooner Or Later” – This is the debut full-length solo release from vocalist Natalie Jacob. She is backed by some talented and accomplished musicians, including Tamir Hendelman on piano, Carlitos Del Puerto on bass, Clayton Cameron on drums, Scotty Barnhart on trumpet, Anthony Wilson on guitar, and Kevin Winard on percussion. For this first release, Natalie Jacob focuses on some of the great standards, opening the album with a good rendition of “Exactly Like You,” and her vocal approach tells us she knows just exactly what she needs, exactly what she wants, and exactly what she has. This track features some really nice stuff on bass, and then there is a wonderful moment when the trumpet takes off into a delicious lead. The piano lead also has a great energy, and contains some surprising and delightful touches. That’s followed by “Wave,” the first of three Antonio Carlos Jobim songs, all three featuring the work of Anthony Wilson on guitar and Kevin Winard on percussion. It isn’t just the wonderful percussion, but the sense of rhythm in Natalie Jacob’s vocal delivery that is part of this track’s appeal. Yet, the heart of this piece is Tamir Hendelman’s work on piano. Then “I Could Write A Book” features excellent work on bass right from its start, and also contains a strong lead on piano. A highlight is her touching rendition of “Smile,” a song many folks are turning to in these unsettling and divisive times. Natalie Jacob delivers a beautiful and moving performance, backed by equally moving work on piano. Another highlight is “What A Little Moonlight Can Do,” with that wonderful pace set at the beginning by Clayton Cameron on drums. And the first couple of lines are delivered with just drums backing her. Then the others come in, and the song flies along with joy, and features some fantastic work on bass and trumpet. Plus, there is a drum solo toward the end. What more could you want? That’s followed by another stellar track, ”Corcovado,” the second Jobim number, which features a gorgeous vocal performance, as well as an instrumental section you just want to wrap yourself in. The band creates a sexy bluesy atmosphere for “Sooner Or Later,” one of my favorite tracks. The trumpet is a big part of the appeal, along with the strength of Natalie Jacob’s delivery, sultry and certain. The album then concludes with the third Jobim song, “No More Blues (Chega De Saudade),” a somewhat playful choice to follow that blues song. This album is scheduled to be released on August 2, 2024.

Jazz At The Ballroom: “Flying High: Big Band Canaries Who Soared” – On this album, Jazz At The Ballroom celebrates some of the great female jazz singers. For most of the tracks, the band is made up of Champian Fulton on piano, Fukushi Tainaka on drums, and Neal Miner on bass, and they are joined by several female vocalists, including Vanessa Perea, Olivia Chindamo, Jane Monheit, Carmen Bradford and Gretje Angell. Yet the album opens with an instrumental rendition of “On The Sunny Side Of The Street.” It is a cheerful, sweet rendition featuring some wonderful work on piano. Seriously, there is such a good vibe about this track, and it does a good job of setting up expectations for the album, even without any vocals. That’s followed by “Secret Love,” which contains a delicious bass line and a strong and bright vocal performance by Vanessa Perea. There is also a cheerful instrumental section that features some great stuff on piano and excellent short drum solos. Then Olivia Chindamo takes over on vocals for “I Don’t Know Enough About You.” There is a wonderfully playful quality to her delivery. Just listen to the way she delivers lines like “And isn’t it a shame/I’m so sure that you’d be good for me/If you’d only play my game.” Vocalist Jane Monheit puts her own spin on the romantic number “I Only Have Eyes For You,” a track that also features Charles Ruggiero on drums and Mike Gurrola on bass. Champian Fulton provides the vocals, as well as plays piano, on a fun rendition of “All Of Me.” Am I the only one who still thinks of the Lily Tomlin movie whenever he hears this song? Anyway, Champian Fulton shines on this track. By the way, Champian Fulton is also the musical director and bandleader on this album. Then Carmen Bradford delivers a strong vocal performance on this disc’s rendition of “Lullaby Of The Leaves,” which also features some really nice moments on piano. I love the way Carmen works in bits of scat. And when she sings, “Don’t I feel it in my soul,” we all feel it too. She also does a great job on “Tea For Two.” Olivia Chindamo returns for a cool rendition of “Sweet Georgia Brown,” in which she cuts loose, with some fantastic results. This track also contains some delicious work on drums. Charles Ruggiero and Mike Gurrola play on “Why Don’t You Do Right,” which features Gretje Angell on vocals. Her vocal approach is seductive and cool, and this track is one of my favorites. Gretje Angell also delivers a beautiful rendition of “You Belong To Me,” which features some wonderful work on piano. Charles Ruggerio and Mike Gurrola also deliver some wonderful stuff on this track. The album closes with a delightful instrumental rendition of “Exactly Like You.” This album was released on May 3, 2024.

Brian Landrus: “Plays Ellington & Strayhorn” – As the title says, this album features material written by Duke Ellington and Billy Strayhorn, some of it composed individually and some of it together. Brian Landrus plays baritone saxophone, bass saxophone, bass clarinet, contra alto clarinet, piccolo, C flute, alto flute and bass flute on this release. He is joined by Dave Stryker on electric guitar and acoustic guitar, Jay Anderson on acoustic bass, and Billy Hart on drums. Brian Landrus kicks off the album with “Agra,” which has a wonderfully dark vibe, immediately transporting us from whatever reality we might normally call home to a strange desert landscape. And as we traverse this area, in no hurry, we are wrapped in robes and warm winds. At the end, the drums seem to announce that we’ve reached our destination. That leads to “Chelsea Bridge,” which was composed by Billy Strayhorn and recorded by Duke Ellington. The track eases in, with Brian’s work having a soothing quality early on. There is a strong sense of mood and atmosphere to this one as well. That is followed by another Billy Strayhorn composition, “A Flower Is A Lovesome Thing,” with that work on saxophone having an intimate and very human quality, like a contemplative voice. The guitar work adds a sweet texture. It’s interesting how this music gently commands our attention. “Prelude To A Kiss” is a beautiful piece written by Duke Ellington, and this rendition opens with some pretty work on guitar before gently sliding into the main body of the song. Brian Landrus delivers some gorgeous work, which is the heart of the track and which makes this one of my particular favorites. That is followed by another moving Duke Ellington composition, “Come Sunday.” I love the way Brian Landrus and Dave Stryker work together at the beginning, like taking these beautiful breaths together. The mood turns lighter and more playful with a delightful rendition of “The Telecasters,” the first of two pieces chosen from Duke Ellington’s Shakespeare-themed album Such Sweet Thunder. “Lush Life,” one of Billy Strayhorn’s most beloved compositions, is another of this disc’s highlights. As it begins, it takes us back in time, Brian’s work having a dreamlike quality in this opening section. And then once we are firmly in the musicians’ hands, they engage us in a timeless dance. “Star-Crossed Lovers,” the other piece from Such Sweet Thunder, begins with some really nice work by Dave Stryker, and features gorgeous stuff from Brian Landrus, and then another wonderful lead on guitar halfway through. Brian Landrus wraps up the album with a solo take on Duke Ellington’s “Sophisticated Lady,” which he delivers on bass saxophone. This album is scheduled to be released on July 12, 2024.

The Steve Luciano Quartet: “Under The Covers” – As you might deduce from the album’s title, this release finds guitarist Steve Luciano delivering covers of some of his favorite songs. In addition to Luciano, the quartet includes Mike Avila on piano, Charlie Siva on bass, and Walt Hubbard on drums. Dan Jordan joins them on saxophone and flute. The quartet opens the album with a rendition of Duke Pearson’s “Chant” that, as indicated on the CD case, was inspired by a performance by the Ed Cherry Trio. It features some excellent guitar work during that early lead, the guitar feeling like it is dancing. Dan Jordan soon takes over on saxophone, keeping the dance going during a relatively short lead. Mike Avila’s lead on piano feels a little more relaxed, at least at the start, but features some wonderful work. I love the energy and joy as this track reaches its conclusion. Then Mike Avila begins “I’ll Take Romance” on piano, and as the other musicians come in, it is clear that romance is always the right choice, whether or not your heart is young and arms are strong, for the music gives us all the feeling of youth and strength. The music encourages us to take romance. I love those brief solos on bass and drums toward the end. Steve Luciano starts “Like Someone In Love” with some good solo guitar work. It is almost a minute and a half into the track before the others come in. This one also features some delicious moments on drums and bass in its second half. During Steve Luciano’s excellent lead on “Hammer Head,” the music starts to swing and groove.  Dan Jordan also delivers some strong work here, and this ends up being one of my personal favorites. Another highlight is the lively rendition of “Everything I’ve Got,” which begins on drums and soon is moving along at a good clip. The guitar is flying along with a joyous force that is certain to get you smiling. “Love You Madly” also features a wonderful lead on guitar that moves with a sense of freedom and pleasure. That track also contains a really nice lead on bass. That’s followed by “On The Stairs,” which opens with a burst of energy and then moves at an energetic pace, and includes a cool drum solo. The album concludes with “The Bad And The Beautiful,” delivered as a solo guitar piece. This album was released on June 7, 2024.

Sunday, June 23, 2024

Americana West Music Festival 2024, Day 2 Concert Review

Last night was the second, and final, night of the Americana West Music Festival, held at the Hotel Café. As on the first night, I started my evening in the main room. I also had parked my car in the exact same spot on the street and ordered the same beer, because I was ready for the night to be just as good as the previous night, and was doing my part to help it along. Or maybe it’s just because Guinness was the only really good beer available at the venue. That might have been it. Anyway, the lineup was excellent, and the evening needed no help from me. It was going to be spectacular no matter what I did or didn’t do, and no matter which stage I chose to visit at any particular time.

Ben Reddell
Ben Reddell was scheduled to go on at 7 p.m., and right at 7 he was on the stage, and at 7:03 was ready to go. He played acoustic guitar, and was joined by Brian Whelan on electric guitar. He opened his set with “Tumbleweed,” a song from his 2021 EP ¡LA Baby! and a sweet choice to begin the show. He then picked up the pace with “If You Love Her And You Need Her,” a fun country number that was also included on that EP, where it had something of a Cajun flavor. This delightful tune had a cha-cha-cha ending. Ben then told the crowd that it was good to be back in Hollywood, that he’s been spending his time on the east side. It’s interesting to me how folks can end up sticking to one area or neighborhood of a city, but I suppose we all do that to varying degrees. He did a short set, only four songs, but all four were excellent, and the final song he played was beautiful. It was a great start to the night. And while I would have liked to hear more from Ben Reddell, his playing a short set meant that I was able to catch a good chunk of Grey DeLisle’s set on the second stage. She was accompanied by Eddie Clendening, of the Blue Ribbon Boys, on guitar. Her song “I Missed You,” had folks (including me) laughing out loud. She said she wrote that song instead of running her husband over with the car. Probably a good choice. Her set also included “Don’t Let Go Of My Hand,” a sweet song that had me nearly in tears. It was written about her grandmother, who had raised her. She and Eddie ended the set with a good cover of “Jackson.” Grey DeLisle’s set ended at 7:40 p.m.

Zoe Sky Jordan
Zoe Sky Jordan was up next on the second stage, where I was going to spend most of the evening. She opened her set with “Just Fine,” playing solo electric guitar to a recorded beat. She then dispensed with the beat for her second song, which had a more intimate feel. Liam Russell joined her acoustic guitar, and the two delivered a nice rendition of “If I Were A Carpenter.” Michaela Slinger then joined her on backing vocals for “Selfish,” the title track to her album. Michaela also sang on “Never Baby.” Zoe Sky Jordan’s set ended at 8:12 p.m. She was followed by The Morning Yells, who immediately impressed me with their vocal work. The second song of their set, “Hummingbird,” was particularly pretty. These guys didn’t bother with stage banter, and instead were all about the music. Which was fine, particularly as the music was so good. Probably my favorite song of their set was “Coma State,” its first surprising me, “I was hoping to lose you.” They wrapped up their set with “Our Garden,” which featured beautiful harmonies. “No nothing grows here anymore/At least we tried.” Their set ended at 8:43 p.m. Breezers followed, with only five of the six musicians being able to fit on the small stage. From their first song, their music had a wonderful, soothing and friendly vibe. The second number was more energetic, and with a cheerful sound. My favorite song of the set was “Cemetery,” but the whole set was enjoyable and featured some catchy rhythms. They finished at 9:18 p.m.

Miranda Lee Richards
Miranda Lee Richards is someone I had seen in concert before, and whom I was excited to see again. Clearly others were too, for she drew an enthusiastic crowd to that second room. She opened at 9:29 p.m. with “Blood On My Hands,” which had a great vibe.  This next one is called ‘Tried To Run Away,’ but don’t try to run away now,” she joked. That song featured some nice work on electric guitar. Elements of that song, including the vocal rhythm at times, reminded me a bit of CSNY’s “Ohio,” and the song featured a passionate vocal performance. She followed that with “Worth,” a song she apparently has never released officially on an album. It’s such a good song, it’s a wonder why it hasn’t been included on a CD. “Desert Queen” featured some nice harmonies. Her set ended at 9:55 p.m. She was followed by Rah Rah Rabbit, with Gilbert Louie Ray on bass. This group was one of my favorites of the night. They opened with “Doin’ Time,” a totally delightful number. There was a great sense of joy to the music, and in the delivery. Vocalist Laura Anne Lacy then ripped into the second song, a wild and fun number. The set also included “When You Get It,” “Game You’re Playing” and “Checkered And Blue.” Before their final number, “Wolves,” Laura Anne Lacy joked, “We’ve been Rah Rah Rabbit, and we still are.” This is a band I’m going to keep an eye out for. The set concluded at 10:29 p.m.

Lee Gallagher
I headed back to the main room, and caught the last portion of Emily Rose And The Rounders’ set. Fun music featuring some good work on pedal steel. She closed her set with “Wild Fire.” And then Lee Gallagher And The Hallelujah took the stage. Of the night’s entire lineup, which was outstanding from beginning to end, this was the group I was most excited about. Lee Gallagher opened with “Planes,” the lead track from The Falcon Ate The Flower. His voice is really something; it has electricity when he belts out a line. And the band was jamming almost immediately. It was a fantastic start.  He followed that with “Half Lit (The Future’s Ours).” And it got me wondering, How is this guy not already a rock star playing at large arenas? He certainly has that power, and also volume. It was loud in that room. At the end of that song, he delivered some great stuff on harmonica. Justin Smith, who played with Miranda Lee Richards, was on drums for Lee Gallagher’s set too. The whole band delivered some energetic music, and the set was over all too soon.

Wyman And The Wolves
I then finished off the night in the second stage room. I caught the very end of Deb Morrison’s set. She finished up with a song titled “Blackbird,” a very cool tune. The band then led the crowd in wishing happy birthday to a band member’s girlfriend, who was in the audience. While Wyman And The Wolves were setting up, I heard some folks talking about how they’d been enjoying Lee Gallagher’s set, but that it had been just too loud. I get it, but I hope that didn’t turn away too many people. I saw Wyman And The Wolves at a special concert last summer celebrating Mick Jagger’s 80th birthday. At that show, they did a really good rendition of “Paint It Black.” They opened their set last night at 12:15 a.m. with “Throwin’ Shade,” which featured some nice stuff on guitar. Their song about rolling blackouts contained elements of funk and disco, and was fun. They wrapped up the set, and the festival, with “Deep Dark Blue.” “We’re going to end with a weird one, ‘cause that’s what we do,” they announced before starting the song. A nice way to close out the show, send us back out into the Hollywood night with a little weirdness.

Here are a few photos from the night:

Grey DeLisle

The Morning Yells

Breezers 

Rah Rah Rabbit

Emily Rose

Deb Morrison

Saturday, June 22, 2024

Americana West Music Festival 2024, Day 1 Concert Review

The Americana West Music Festival opened last night at the Hotel Café, the first of two nights of fantastic music and great vibes. The Hotel Café has two stages and both were in action, so choices had to be made regarding who you wanted to see at any given moment. The great thing was that whatever you choice you made, it was the right one. There were no mediocre artists at this thing. Whoever you were watching, you were certain to be enjoying the music.

Francis Blume
The doors opened a bit late, but that actually didn’t affect the schedule, as Francis Blume, scheduled to go on at 7, went on at 7:05 p.m., as close to on time as one could expect. He did a solo acoustic set. This was in the larger room, which is where I started the evening. I immediately dug Francis Blume. With his first song, “One Way To Omaha,” he created cool, dark atmosphere, and included some whistling. He followed that with “Kills Me.” “It’s a real upper,” he joked after telling us the song’s title in his introduction. His set also included “Can’t Pretend,” “Now That I Care,” “Daydream” and “Gone For Good.” When introducing “Daydream,” he said that he wrote it about hating his day job. “But, good for me, the company I worked for went bankrupt.” His set ended at 7:31 p.m.

Alex Jordan
Then, as Alex Jordan was setting up, Ted Russell Kamp joined him on stage. It turned out that Ted was part of the house band backing several of the artists over the course of the evening. Very cool. Ted Russell Kamp is one of those musicians who get me interested in projects just through their involvement. Another of those musicians is Carl Byron, but more on him in a bit. At 7:38 p.m., Alex Jordan was ready to go. How’s that for a quick changeover? He opened his set with “Queen Kerosene,” which had a great country rock sound. That song is the title track to his new album, and his set focused on that release. Before going into “Blue,” the Jayhawks song, which he also included on that new CD, Alex said, referring to the musicians backing him, “I met these guys about ninety minutes ago.” Talented musicians can pick up things quickly, and though these guys weren’t Alex Jordan’s regular backing band, you’d never know it if he hadn’t mentioned it. Their rendition of “Blue” featured a nice lead on guitar during the jam. They also jammed on the next song, “Emily,” a fun number. After it, Alex said, “This is a fun day.” Indeed. His set also included “Made To Fall Easy” and “Saving Grace.” His set ended at 8:06 p.m.

Ryan Hahn
Ryan Hahn was up next, using the same backing band. Ryan Hahn was someone I’d seen last summer at a special concert celebrating Mick Jagger’s 80th birthday, where he played with his band The Believers. At that show he did only one original song, “Alright,” which he also played last night. But he opened his set with “Little Town,” which mentions “the hills of Kentucky,” where he was originally from. And in introducing “Farmers Son,” he said that a lot of his songs are about coming from Kentucky, from a small town, and coming to Los Angeles. Though every once in a while you’ll meet a native of this city, most of us have come from elsewhere and can relate strongly to this material. He followed “Farmers Son” with “Dead Man’s Mine,” a powerful number that found the band jamming again, and wrapped up his set with “Evil Girl.”

Shane Alexander
Ryan Hahn’s set ended at 8:38 p.m., and I rushed over to the other stage to catch Shane Alexander’s set, which had been scheduled to start at 8:40 p.m. I got there at 8:39, and found that he was already playing. I mentioned earlier that I tend to pay attention to projects that certain musicians get involved with, and that Carl Byron is one of those musicians. Well, a couple of days ago, he had posted that he was going to be playing with Shane Alexander, which is why I was determined to catch his set. Carl hadn’t steered me wrong yet, and that perfect track record continues, for I immediately connected to Shane’s music. When introducing “A Heart Like Mine,” he said that Carl Byron plays on his new album, and that is a disc I want to add to my collection. “A Heart Like Mine” was a beautiful song. “This is not our first goodbye” was a line that stood out for me. He followed that with “You Make Your Own Luck,” which he had written with Danny McGough. “You find your own way/It’s never too late.” “Ballad Of The Troubadour” was a song he wrote because his father-in-law didn’t understand why he does what he does, and in it he sings that a song can make the world just a little bit better. Obviously, everyone who attended the festival last night agrees with that. He wrapped up his set with “Front Porch Serenade,” finishing at 8:58 p.m.

Los Rock Angels
I stayed at the second stage to catch the next three acts, beginning with Los Rock Angels, a band that has been around since the late 1980s, and last night was introduced as the “most elusive band” in southern California. Could that be why I had never seen them before? I don’t know, but I’m so happy that I saw them last night. They opened their set with “Hole In My Heart,” and immediately had the whole crowd smiling. “There’s a hole in my heart where there used to be you/I loved you so much, I don’t know what to do.” “Happy Friday night, everybody,” they said after that song. Well, these guys were making sure it was a happy Friday night for everyone in the room. This band was certainly delivering the most cheerful music of the night, at least thus far. They encouraged dancing, and some folks moved tables to create a little room. Their set also included “Mexicajun Baby” and “Heartaches, Tears And Water,” along with a few others whose titles I don’t know. There was some delicious work on accordion, and, at one point, some great stuff on harmonica. Their set ended at 9:50 p.m.

Wolftrap 
Next up was Wolftrap, another group I had not seen before, and another that I loved right away. They opened their set with “Fucked Up Blues,” featuring some sweet vocal work. They followed that with “Angeline,” folk rock that really rocks. After that, they mentioned how they moved to L.A. just a couple of years ago, and said that Los Rock Angels are their new favorite band. I get that, but I bet Wolftrap’s next song made them a new favorite of everyone in the room. It was a delightful song about gangrene that had many folks laughing out loud, yet also had a beautiful, sweet sound. That was followed by “CRISPR Blues,” which began with some good blues guitar work and included the line “Cookin’ up some new DNA.” Yes, I absolutely love these guys. Their set ended at 10:28 p.m.

Gilbert Louie Ray Band
Earlier I mentioned the Mick Jagger birthday concert which was organized and hosted by Jay Souza of Patrolled By Radar. Another of the groups that played that show was Gilbert Louie Ray Band, and that group followed Wolftrap last night. I had enjoyed their short set last year, and was excited to hear a little more from these guys. I wasn’t the only one excited about their set, for the room got even more crowded as they began, and most of the people there were familiar with the band’s material. Their set included “What I Have Left,” a cover of Marty Robbins’ “Doggone Cowboy” (with Jordan Hook joining them on guitar) and “Allegedly,” along with a few others. And apparently the band has an album coming out this summer, so that’s another release to keep an eye out for.

Al Dual
It was already after 11 p.m., and I rushed back to the first stage to catch Matt Axton’s special set. But, fortunately for me, they were a little behind in that main room, and Al Dual was still on stage. Holy moly, what a performance! The energy and joy were tremendous, and the music featured some phenomenal guitar work. I caught only a couple of songs, but they were enough to make me want to own everything this artist has put out. So when the set ended, I asked them if they had any records and CDs for sale. They assured me they did have a record out in their car, and that they’d bring a copy back for me. And indeed, they did. While Matt Axton was playing, a member of the group handed me a copy of Reel To Reel. It was my only music purchase of the night, and I can’t wait to enjoy it.

Matt Axton singing "Joy To The World"
Matt Axton put on a special set to close out the first night. Labeled “Americana Joy,” the set featured several artists joining him for two songs each, the first a song written by Hoyt Axton (Matt’s father) and the second being an original. Molly Kruse was the first artist to join him, and kicked off the set with “Boney Fingers,” with the crowd singing along. It was a total delight. Matt stepped off the stage then for Molly’s original number, “Out Of My Hands,” which featured a lead on bass by Ted Russell Kamp and even a short drum solo. Regina Ferguson then joined Matt for a nice rendition of “Evangelina.”  Regina played guitar on her original song, “Carolinas,” with Matt stepping off again. Matt then mentioned the title of the set, “Americana Joy,” and said the “Joy” was because of his father’s most famous song, “Joy To The World.” Taylor Hungerford, of Tar & Flowers, played “The Pusher,” a song recorded by Steppenwolf and featured in Easy Rider. Taylor was on electric guitar as well as vocals, and Matt did not play on this one. It was excellent rendition, with a particularly good jam. Taylor followed that with his “Spinning In Gold,” which was also fantastic. Matt did not play on this one either. Nena Anderson joined Matt for a wonderful rendition of “Little White Moon.” Her original was “One More,” on which she played guitar. Jordan Hook was the final guest of the set, and he chose “Never Been To Spain,” another of Hoyt Axton’s well-known compositions, and then played his own “Dancin’ Fool.” Matt did not play on either song. That was the end of the guests, but not the end of the set. In fact, Matt had planned on playing another six songs, but perhaps because things were running a bit late, he cut it down to only two. The first, “Bad Moon,” featured some delicious work on guitar, with the two guitarists trading licks. “Who do you think won that battle?” Matt asked someone in the crowd. The night concluded with “Joy To The World,” with the audience singing along. The show ended at 12:46 a.m.

The fun continues tonight at 7 at the Hotel Café.

Los Rock Angels

Wolftrap 

Gilbert Louie Ray Band

Al Dual

Molly Kruse

Regina Furgison and Matt Axton

Taylor Hungerford and TRK

Nena Anderson and Matt Axton

Jordan Hook