Crooks 10-22-11

by Kimberly Caterino for Live Music Capital Radio at LMCradio.org

Gosh do I love it when I catch a band from the beginning.  Of their career, I mean.  Well maybe the quartet Crooks is not brand-spanking new, but they only have one EP out – Lonesome, Rowdy, and Restless – and it’s a damn good one.  It’s just enough of a sampler to clue you in on what you’ll see live.

Crooks are considered Texas Outlaw Country.  The historically official (if I can call it that) Outlaw Country movement was a response to the growing recording industry, its formulas and standards- which Nashville came to represent-  in the 60’s and 70’s.  The Outlaw movement grew an organic home here in Texas, and frankly it never left.

 Crooks take some of country’s defining traditions – the rhythm of western swing, howling and high lonesome harmonies, forthright and jangly acoustic guitar, the thump of a stand-up bass, lyrics of drinking and traveling—and they blend these, thanks to multi-instrumentalist Sam Alberts, with splashes of mariachi trumpet, bluegrass banjo and mandolin, the mojo and roar of country rock electric guitar – all while befriended by Josh Mazour ‘s salt-of-the-earth vocals.  I dare say this: I have never heard anyone sound as much like Willie, in tonality and articulation.  Really, truly.  (And Josh doesn’t seem to be trying—it’s just naturally in his voice!)  Rob Bacak on drums and Andrew Vanvoorhees on stand-up keep an excellent rhythm section, which naturally had some folks swinging and two-stepping, and a few guests on stage added more instruments (more trumpet, percussive shakers) and vocals to fill out their sound even further.

We heard cuts from the EP, such as “Barstool” and “Downtown” – plus many others new to me – they have a new album coming out in early 2012.  They played a brand spanking and very upbeat new song, only rehearsed once, which was a climactic hit of their set.  Ironically Josh said “wish us luck” at the start of it.   .. this band doesn’t need luck!   We are lucky – to have them right here, driving the Outlaw flag more firmly into Austin soil.  

 Hear Crooks during The Happy Hour, 6:30 - 7:30pm CST daily on LMCradio.org.

ACL Music Festival 2011 - Part 2

by Kimberly Caterino for Live Music Capital Radio

Saturday morning started with an upbeat set by Aloe Blacc and the Grand Scheme on the fatty Bud Light stage (i.e. the stage Stevie would later adorn).  Their music is a blend of pop, R & B, funk, and jazz..  with strong fluid saxophone.. delivered to a fresh, clean, and awake crowd.  Aloe stood out stylishly with his sky blue button-down shirt, grey vest, sunglasses, and grey fedora, and he danced and bounced around the stage like it was Saturday morning-- because it practically was—and after teasing the crowd earlier with the opening to the hit “I Need A Dollar” (which Aloe stopped, saying it wasn’t time yet)..  they did finally bust it out, with crowd in tow.  They also did an interesting mix of Bob Marley’s “No Woman No Cry” and Hall & Oates’ “Maneater”, yes, together.  “Regardless of culture or color”, Aloe said, “it’s all soul music.”

True to the musical attention deficit disorder capable of being cultivated at ACL, I next followed my inner twang over to investigate the up-and-coming Jon Pardi.  For him and his band, I planted it for awhile, happy to take in some country, even if it’s from Nashville (just kidding) (not really).  Jon and his band have the rock-country machismo in the somewhat same vein as Reckless Kelly, with a little more honky tonk.  Their dobro player really stood out, and folks were two-stepping it throughout the crowd in pairs.  A couple of the songs we heard were “Empty Beer Cans” and “Does Anybody Want to Go Drinking with Me?”  Are you catching the theme?

After a lunch break I ventured into Iron & Wine territory – an artist/band (Samuel Beam) I’ve grown to appreciate.  Now a nearby-Austin resident, he plays here on a regular basis, but this was my first time seeing him live.  He and his fleshed out band (including horns, flute, and keys) delivered Sam’s ethereal and pulsing songs well, opening with a newer song “Rabbit Will Run”.  The ambience of Iron and Wine’s music doesn’t pair well with the sport of standing in a youngish and antsy crowd in the sometimes-sun at 4pm (the hottest time of the day)-- and the chatty crowd ruined it for me, so I moved on rather soon, but Sam Beam proved he can deliver in person what I hear in his recordings.  It did start to rain though, after I left. and with band, Iron & Wine ventured into musical folk-jazzy exploration.  Take that you twenty-somthings!

I cruised past Seattle’s The Moondoggies, briefly absorbing their blend of rock, Americana, and harmonies – with something a little dark about it all.  It involved guitar fuzz that I wasn’t ready for, and to be fair to them, I already had my circuits flipping switches in preparation for Stevie Wonder.  Stevie Wonder.  I wish I had kept tally of musicians who mentioned him – I know Jon Pardi did – musicians and fans alike were united in anticipation of this legend. 

I tried to see folk songstress Gillian Welch’s set, but her performance was delayed for one reason or another, setting me off directly into the direction of Stevie’s stage, albeit hours early.  I was determined beyond determined to hear and see well for Stevie’s performance.  This meant hanging at the fringes of rapper/songwriter Cee Lo’s set – a man whose band was comprised entirely of women in shiny spandex.  Mixed feelings on this.  Cee Lo was half of the duo Gnarls Barkley, known for the hit “Crazy”, which Cee Lo did deliver in a remixed style.  He did in fact have much of the crowd, whom he addressed as “sexy mother fuckers”, wrapped around his fingers.  His FCC-unfriendly solo hit “Fuck You” (also known as “Forget You”) was also a crowd pleaser, and also my invitation to make a bee line for the front of the sound board, as soon as it was over.  I was victorious.

The wonderful thing about some of the huge headliners at ACL is they usually draw fans from multiple generations.  Someone who is 62 dances next to someone 26 and both know every lyric and note by heart.  Precious.  It is.

I had zero expectations of Stevie Wonder.  I never imagined seeing him live, let along in the park of the city where I live.

The band started without him on the stage, setting an upbeat and rhythmic groove-- creating a kinetic frenzy in the crowd – because you could hear Stevie, but you couldn’t see him—from somewhere offstage came a signature and synthesized keyboard riff.  This isn’t a great visual video, but this Youtube captures the frenzy: http://www.youtube.com/watch?v=OWEZENLpuEA

It was the beginning – or at least Stevie’s version of--  “How Sweet It Is”, a Marvin Gaye cover.  Stevie slowly made his way from behind the curtain, left side of the stage, towards the middle, arriving at the mic, without missing a note and without his hands ever leaving the keytar .  Thanks to the screens flanking the stage, I could see he looked exactly as I remember him – with beaded braids, sunglasses, and brightly patterned shirt.  “You know I love you right?” he said soon after beginning the song – meaning us, the crowd.  For crying out loud, we loved him too.

 

Stevie sounded as good as he ever did, both vocally and on the keys.  He moved like Stevie, sang like Stevie, smiled like Stevie, and talked politics like Stevie – giving props to Obama, reminding us the importance of children, the need to make things right in this world-- with love.  Of course he did this between songs..  including oldies that I seriously could not believe I was hearing.. like “Master Blaster”, “I Wish”, “Living for the City”, and “Higher Ground” (during which he divided the crowd into three groups: alto, tenor, and soprano- giving us each a part to sing in rounds).  He threw in a few covers, like Michael Jackson’s “The Way You Make Me Feel” (with some strong props to MJ) and Nat King Cole’s “When I Fall in Love”, and delivered his hits “My Cherie Amour”, “I Just Called to Say I Love You”, “Signed, Sealed, Delivered, I’m Yours”, and yes: “Superstition”.  

For dancing room, which I take very seriously in the presence of a funk master, I left the front of the Sound Board area and moved my way back, with full memory of seeing the band Muse last year, my hair standing up from the volume, even halfway down the field.  This is my only complaint: something was wrong with the sound- Stevie wasn’t loud enough.  It didn’t discourage me from dancing so hard to “I Wish” that I pulled a neck muscle.  Best injury ever.  

Bouncing down 5^th Street days later, I ran into a coworker on the street, also giddy.  “I’m still in a good mood from seeing Stevie Wonder!” was all we could muster for conversation.  There was no need for more.  Experiencing the legend of Stevie Wonder performing live, now age 61, is as uplifting as it gets.

..  so it’s hard to follow that up, but I still dove in on Sunday afternoon, with a sore and stiff neck, ready to take in the last of this annual Austin ACL-fest world.  I have to admit, for someone who had artist passes in previous years and was now a regular civilian in the park, the concert grounds were operated smoothly enough to not harbor serious complaints.  Yes it was damn crowded- but not oversold like last year.  And I think ACL Fest has gotten the hang of how many food booths and plastic potties to bring in.  There was free filtered water for those who brought a container, and volunteers picking up trash constantly.  At the food court, there were nonstop volunteers advising how to separate our true trash from compostables and recyclables – and almost everything (plates, forks, etc.) was compostable.   

Because of a work commitment, I couldn’t make it into the thick of things until Ryan Bingham and the Dead Horses performed at, yes, the sunniest stage at the hottest time of day.  I toughed it out, and it was well worth it.  I first started spinning the Texas-bred, former rodeo rider Ryan Bingham in 2007 when his debut album Mescalito was released.  Ryan and the band played so many of these ‘older songs’- perfectly – but not exclusively..  we heard “Dollar A Day”, “The Other Side”, “Sunrise”, “Sunshine”..  and what was then a targeted single, “Southside of Heaven”- which Ryan busted out the harmonica for.  From his latest release Junky Star we heard “Depression” and “Hallelujah”..  If we heard the Grammy-winning “The Weary Kind”, I don’t remember – it is a great song – but I wasn’t missing it in the late afternoon of a dusty field.  Ryan Bingham has the lyrical wisdom and weathered vocal grittiness of someone twice his age.  The Dead Horses were tight, complete with fiddle and keys, and Ryan seemed more talkative and outgoing as a performer than he did 3 years ago, when he hid beneath a cowboy hat.  As a closer, they played what I hoped they would – the triumphant, traveling, and reckless “Bread and Water”.  Yee haw!  This one was a rodeo winner.

Manu Chao was spot on as he was three years ago at 2008’s ACL Music Festival.  The internationally touring and internationally bred bandleader (raised in France, of Hispanic descent) was as infectious as ever, leading the band, and the crowd, through waves of reggae, ska,  punk and splashes of other genres..  while slipping in and out of French, English, and Spanish.  He and the band can shift their timing instantly, often into double time, that inspires a jumping, hand-pumping audience.  This does and will go on for as long as Manu plays – which he only had an hour this time, but he packed every minute, stopping to address the audience frequently.  Some cuts we heard were “Clandestino”, “Politik Kills”, and “Eldorado 1977”..    Pounding the microphone on his chest, on top of his heart and mimicking a heartbeat, is an effective way to triply get everyone’s attention, but this time the big screens also showed us he drew blood through the pounding- which he either didn’t notice or didn’t care, and kept on with “La Primavera”.  First Charles Bradley, then Stevie Wonder, and now Manu Chao stirred us into a pious frenzy.  With Manu on guitar and a full band plus trumpet, every one of his sixty minutes were buzzing- whether a momentary reggae bounce or a lightning-speed punk thrash.

Social Distortion began playing just seconds before Manu Chao finished.  In the middle of my workweek, I had to keep my visit brief (and had to skip out on Arcade Fire- boo).  For a band that first started in 1978, Social Distortion sounded like I remember them:  raucous, loud, and emblazoned with the uniquely growling vocals of original band member and frontman Mike Ness.   Mike gave a shout out to the Texas hospitality he received here, and proceeded to dis the manners of his home state California.  Social Distortion may have aged and rotated some members, but with no less leather or spit.  

Once again the ACL Music Festival introduced me to artists I may never otherwise know, and shockingly brought me to the comfort: musically, yes, you can go home again. 

ACL Music Festival 2011 - Part 1

By Kimberly Caterino for Live Music Capital Radio (LMCradio.org)

Part 1 of 2

This is a drive-by ACL Festival post, because LMC Radio is moving into its studio space— and the move is not over yet.  Writing has had to take a back seat, but ACL was sincerely substantial, and deserves props.  What freaks me out after every SXSW and ACL—no two people go to the same concert, yet we were all there.

Traditionally, Austin’s Asleep at the Wheel kicks off the ACL Festival from what was the AMD stage this year—this was year 10 for the festival, and year 10 for Asleep at the Wheel.  (And by the way, they’ve been around 40 years.. what?!  Yes!!)  Bringing Bob Wills’ school of Western Swing alive regularly doesn’t get old for them, or the crowd—because Asleep does it so well.  Ray Benson’s and Elizabeth McQueen’s vocals, Jason Roberts’ fiddle and Eddie Rivers’ steel guitar.. the whole band is tight and were anything but asleep this pleasantly lightly-cloudy Friday afternoon.  Asleep’s dedication to preserving this genre for decades stirs up nothing but smiles (and the occasional aaaaa-haaaa) in the crowd every year.  Asleep is squeaky clean at it, and only make you more excited to discover what other perfection you might witness the rest of the festival. 

Laura and Lydia Rogers make up The Secret Sisters, a new country duo from Muscle Shoals, Alabama.  Their biggest influences are the Everly Brothers, Doc Watson, their grandfather, and The Church of Jesus Christ.  Most songs they delivered were either a capella or softly acoustic, and their harmonies are heavenly.  The Secret Sisters are a sweet testament to decades long gone past, to Southern culture, family picnics, and life in the country.  We heard songs from The Louvin Brothers and Willie, songs like the country tune “Four Walls” and the gospel “In the Sweet By and By”.  The sisters were real chatty between songs, explaining their background with the songs (many of which were originals too), and simply brought us to a place of stillness and bliss.  

Bobby Long is a guitar-slinging English singer-songwriter-- and a darned immersed performer-- the kind that doesn’t try to perform..  but just gets wrapped up in passionate delivery.  Floppy-aired and donning sunglasses, he actively poured out songs from the soul, whether they were about the depths of a relationship or a soldier’s mind.  With crisp picking, slightly raspy vocals, and sometimes-aggressive rhythmic strumming, he switched it up between electric and acoustic, and wrapped us all around his bleeding heart.

From this point I got antsy and non-committal, ready to play the field.  No pun intended.  I caught the first few songs of folky, slightly bluesy sing-songwriter Ray Lamontagne—who adorned the stage with a brown velvet vest, white buttoned shirt, and full band (the Pariah Dogs) including bass, drums, guitar, keys, and pedal steel guitar—not to mention The Secret Sisters as well!  I’ve always been lured by Ray’s songs—unfortunately overplayed by mass media, they are but authentic enough to make me not change the channel many times.  There’s a weathered, desperate quality to his voice, and sometimes his lyrics, that are only his own.  I always wondered if I was a victim of simply great sound production, and that there was no real talent beneath.  Well, in person he was exquisite.  One of his newer songs “Beg, Steal, or Borrow” has a way of lassoing my heart to the earth, and he played this one early on.  He also ventured into Merle Haggard’s “Mama Tried”, and the hit “Repo Man”—a little mojo to stir things up. 

As much as I appreciated Ray, it was peak sun hours at 4pm and time to run and hide a bit—I traversed the field, passing Beardyman, the electronic-looping beat-boxer who had the crowd kicking.  I almost stayed, but was too curious to see Big Boi, who had his own party going on—throw your hands in the air..

Besides Stevie Wonder, the other artist I was all about this year was Charles Bradley.  Practicing his moves and pursuing soul singing since he was a teenager, he spent most of his life working in the restaurant industry and elusively pursuing happiness, and part time nightclub gigs, from coast to coast.  Charles Bradley did not get a break until recent years, and now, in his 60’s, is making music for a living.  True to the style of James Brown, Charles’ band played a long instrumental introduction before Charles took the stage, and when he finally did, he had arms open wide, a sequined vest, purple cumberbun, and what could have been tears in his eyes.  (I was planted front and center.)  Charles’ R & B and soulful songs are about loving, despair, hard times, and questioning—he even added the surprise cover “Heart of Gold” (Neil Yong).  His band, the Menahan Street Band, included a small but full-sounding brass section (sax & trumpet) and guitarist who takes after the likes of Trey Anastasio in sound and style.   They backed up Charles perfectly- leisurely, tight, and right on time.  And when appropriate—all got funky, and Charles unleashed some of his moves.  No he’s not James Brown, nor is he trying to be— he’s older and lived a different life than James.  Charles’ style bears a lot of resemblance though- as a teenager, Charles saw James perform at the Apollo in NYC, which had a lasting effect on him.  If you want to experience real soul music from the source, Charles Bradley should be on your list.  He’s the real deal.

 

I made my way out of that crowd and scurried over to the BMI stage, arriving just in time for the end of a set by Austin’s Gary Clark Jr.  This may have been the most crowded I have ever seen this stage—Gary played us a nice fat rendition of his current hit song “Bright Lights”.  That man went to work on a complex and verbose solo in the middle, and left us all a little shredded in a good way.  Gary Clark Jr. gets compared to a mix of Stevie Ray Vaughn and Jimi Hendrix sometimes, and now I see why.

Shuffling quickly back over to the BMI tent, I caught a few gospel number by the legendary Mavis Staples.  The lady is a class act and still going strong—belting it out-- at age 72.  Nevermind the ACL tent—we were in church.  61 years of making music publicly.  Holy sh*t.  Saving myself for Stevie and 2 more days of ACL, I called it quits for the day.

Part 2 in next post..

Jean Caffeine 9-4-11

by Kimberly Caterino for Live Music Capital Radio

I don’t know if it can get more South Austin than this.  I attended Jean Caffeine’s CD release party at Roadhouse Rags, a shop that by day offers men’s vintage western shirts, cowboy boots, women’s party wear, and vintage sleepwear.  By night Roadhouse Rags can turn into a backyard venue and/or recording studio.  There’s a wooden covered stage with a crafty blackboard behind it—and a hand-drawn poster of Doug Sahm.  

Jean recently released her 4^th solo album, and in addition to celebrating the release of Geckos in the Elevator, we were also celebrating the first Austin evening, in several weeks’ time, under 100 degrees.  Sitting in one of the many lawn chairs amidst the many BYOB coolers, I was perfectly comfortable to settle my feet in the gravelly dust and take in the changing sunset sky. 

Jean opened her set with the first tune on Geckos, “Lucky Penny”, reminiscent of The Velvet Underground’s anthem “Rock and Roll”— different rhythm, but similar swagger and attitude.  The song works perfectly as both a set and CD opener, because although Jean has musical roots in a few different genres (folk, pop, indie, honky tonk—a self-proclaimed “huge Buck Owens fan and honky-tonk-wanna-be”), “Lucky Penny” is a declaration that this musician is a rootsy rocker with an ear-catching alto voice.  Backing up Jean was Ned Dogherty (Mushroom) on bass, John Kovach (Eggmen) and Paul Martinez (Chelle Murrey band) on guitars, and Rob Gaines on drums.

Jean’s songwriting has the charm of pure authenticity— part poetry, part politics, and part quirky insights and details of life—you never quite know where the lyrics, or story, will turn next.  Geckos is what she calls a collection of “travel logs and girls names”.    We heard a handful from the new release, appropriately:  including “Hey Austin”, a song she wrote upon moving away from Austin to the Great White North (Dundas, Ontario) a few years ago, “Sadie Saturday Night”, one teenager’s weekend adventures pursuing punk rock-- yet the song is musically structured as a waltz, and “Mary O’Shea”, an urban legend ghost story that has the flair of a slightly Celtic rock ballad.

Some of my favorites (also from the new CD) are “Jane Rearranged”, a self-conscious and sweet, pop-rock nod to Suzanne Vega’s “Luka”, and the psychedelic nod to The Doors in “Love Letters from Laos”.  Local songwriter Chelle Murrey stepped up to join Jean in singing another of my favorites, “Baby I’m Wrong”, the chorus of which has the backup vocal style from 1950’s rock.  Jean also lashed out with one cover: “Rock, Salt, and Nails” by Joan Baez but also covered by Utah Philips.

Jean’s an original songwriter who smoothly draws from different artists and genres—her recent release hints of coffee-shop intellect, but more enjoyably marches forth with the poetry of an artist who belongs here in Austin--  we’re so glad to have her back!  And this just in: you can catch Jean Caffeine and Friends at the Front Porch (patio) at Jovita’s the first and third Saturdays over the next few months – if you missed the CD release, you can still see her in the South Austin in a folksy, scaled-down atmosphere.  Cheers! 

King Corduroy & many guests cover Exile on Main Street 8-18-11

By Kimberly Caterino for Live Music Capital Radio (LMCradio.org)

I knew not to miss this.  King Corduroy with many guests covered the Rolling Stones’ Exile on Main Street from beginning to end at Momo’s, with a bonus round that followed.   After witnessing Phish cover Exile from beginning to end on Halloween 2009 (Indio, CA) with Sharon Jones, Saundra Williams, and some of the Dap Kings on horns, I knew.  As if the album doesn’t speak enough for itself, I had already witnessed its live recreation from beginning to end, with full memory of the double-album’s emotional peaks and valleys, its rootedness in the blues, its raw venture into rock and roll, and its 3-way marriage between longing, grit, and redemption.  

In the dog days of Austin’s hottest summer since 1925, (we’re 4 days away from breaking the record..  69 days over 100 degrees)..    what better album to stay sweaty and revel in the grime with? 

Kurt McMahan, harmonica player and songwriter of King Corduroy, organized the evening, hosted it, and performed harmonica and vocals throughout much of it.  The players shifted a few times, or were added to many times, and made this crowd member happily dizzy..    but the core of the music was primarily held steady by some of the members of Wisebird & Noble Dog & pals (Jonah Kane-West – keys, Will Webster- guitar, Preston Wimberly – guitar, Joe Beckham- bass, Jeffery Bouck - drums).   Mad props to these players, who never un-Stoned themselves for a minute all night.  From the album’s opener “Rocks Off”, with Kurt taking the first turn to sing with a good dash of guttural raunch, the band’s vibe—including the horn section--  was base, loose, and seemingly unaware of itself—and stayed that way all night.  I have a feeling, if you try too hard to be the Stones, you won’t be the Stones.  It has to be something you ease into.

Will Webster made an excellent Keith Richards, with relaxed, jangly, yet precise riffs just where they needed to be—although it was not he, but others who were smoking while playing.  (In a smoke-free bar.  Rock and roll!)  Big shouts out to Mick Taylor, i.e. Preston Wimberly, and the horn section too-- Ponder East on tenor saxophone and Shane Pitsch on trumpet (Smokestack Revue).  

Some standout performances happened right away:  T-Bird and the Breaks came up for “Shake Your Hips”..  (Tim Crane on vocals and harmonica, Sam Patlove – drums, Cody Furr – bass, John Allison – guitar), Jeremy Nail sang for “Casino Boogie”, and then Emily Hello and Kelly Galvin (T-Bird and the Breaks) stepped up during “Tumbling Dice”.  Adoniram Lipton (Slowtrain) sang with the ladies in “Sweet Virginia”, Adam Raven and Dave Meservy (Wisebird) did "Sweet Black Angel", and Nathan Singleton (Sideshow Tragedy) alongside Dave Meservy on keys/vocals led us all through an emotive, climactic “Loving Cup”.  

Nate got comfortable as the evening’s resident Mick Jagger for “Happy”, “Turd on the Run”, and the show-stopping “All Down the Line” (Nate must have studied how to dance like Mick too)..  Emily and Kelly kept up strong background harmonies when fitting, and Kurt took his turn again at Mick for “I Just Want to See His Face” and a duet with K. Philips for “Let it Loose”. 

The album’s Robert Johnson cover, “Stop Breaking Down” gave Jonah-Kane West on keyboards a chance to shine, and Preston Wimberly got to show off some slide guitar.

Another climax of the evening was “Shine a Light” featuring Kurt and Drew Smith on vocals..  and an invitation for all the evening’s singers to join on stage.  Click here for the youtube!

And as if Exile on Main Street  from beginning to end wasn’t enough, the Stones fever—literally, it being so hot—kept going after a midnight set break.  Exile played in continuum brings you to another level, and we all kept letting it hang out, especially on the dance floor..   to classics like “Jumping Jack Flash” and “Honky Tonk Women” (which takes on a whole new flavor in Texas)..   

At one point I was talking to Kurt during this midnight mash-up all-star jam, and said to him: “Look what you started.  We’ll be doing this until sunrise.” What a tribute to a stellar band and album!  If the bars in Austin stayed open all night, we would have been getting our rocks off til sunrise..

Cuchillo e Palo 8-12-11

by Kimberly Caterino of Live Music Capital Radio (LMCradio.org)

If you enjoy Latino music, or the dances under that musical umbrella, you should keep your eye on the event calendar at Esquina Tango (which translates to “Tango Corner”).  Normally, you would keep your eye on their class schedule, as the house-turned-dance-studio normally hosts a variety of dance classes as its day and weekday evening job (Samba, Salsa, Tango, Brazilian Street Dance..).  Esquina Tango is a non-profit organization that emphasizes culture, health, and dance as students and teachers celebrate Latino cultural heritage, at times with an Argentine focus.

By night however, this East side house on Pedernales Street can transform into a movie house, a meeting room—or better—a music venue where live bands perform and dancers have the space to practice their moves (and, bring their own drinks!).  The décor of the studio/venue is warm and charming..  the wooden dance floor and stage are its central focus, but there’s plenty around that to make you know this is meant to feel like a cultural home away from home.  The walls are a vibrant yet calm orange-red, decorated with international show posters, Christmas lights, and even racks of homemade ladies shoes for sale (stylie dancing shoes!..).

This past Friday night a bit of a new Austin supergroup took the stage:  Cuchillo e Palo (“Knife and Stick”…  which sounds more beautiful in Spanish..)  Cuchillo e Palo’s members are a mix of players from other Austin Latin bands: O Positivo, Los Vigilantes, Ritmo Tres, and Son Five.  Players include Luis Angel Ibanez (vocals, guitar), Raul "Wawi" Cabrera (tres), Noslen Cabrera (bass), Noah Mosgofian (percussion), and Greg Jones (guitar).

The band played a mix of traditional Cuban son and Colombian cumbia favorites, and they had a full dance floor from the first minute to the last.  Wawi stepped up to deliver what were practically some freestyle raps in Spanish, as well as articulate playing on the Cuban tres (like a guitar, but tuned differently and the 6 strings are grouped in 3 pairs).  Angel sang masterfully as always, and although, this a relatively ‘new’ band, not a note seemed out of place.  These are players who know their tradition, and how to keep the dance floor continuously spinning.

And for anyone who wants to technically learn the dance chops formally or show them off socially, Esquina Tango’s class schedule and event calendar are two pages to keep an eye on.  The vibe is warm and joyful, whatever reason you step into the building, and you won’t regret it!

Pehr Smith w/ Dony Wynn 7-21-2011

by Kimberly Caterino of Live Music Capital Radio

Well, either my eyeballs had it wrong or the online Austin Chronicle had it wrong— I thought I was headed to Maria’s Taco Xpress to see Dave Insley’s Careless Smokers, a country band I play on The Happy Hour.  What I arrived to was a seated pair of musicians in sunglasses, one playing blues on a resonator guitar and the other backing him up on a stripped down drum set, enduring the Austin heat stylishly in a fedora.  

Pehr (pronounced “pear”) Smith on guitar and Dony (yes, “Donny”) Wynn on drums/percussion were presented by the Sin City Social Club series, which means free music at Maria’s Taco Xpress on Thursday evenings.  (Don’t forget the tip jar!)  Pehr played a range of covers, I mean a real range of covers, from Dobie Gray to Furry Lewis to Lou Reed and beyond.  At times the covers were improbable enough, and musically translated with Pehr’s style enough, that I needed help from others identifying them.  

The variety of covers showed off Pehr’s flexibility in genre without ever straying too far from what must be a tried-and-true low, rhythmic, and bluesy signature style for Pehr—at least when playing to a sit-down crowd—but not without impressive melodic solos and slide work.  He also has a unique enough voice that had me guessing if the mic was intentionally distorted.  Dony, the former drummer for Robert Palmer and one who has played with a host of established musicians,  was right there with Pehr in variety— mixing up the rhythm patterns, at time interestingly syncopated, and never holding the same set of percussive toys twice, including: a miniature tambourine, mallets, brushes, maraca, a small family of tom-toms, the bass drum he used as a drum stool, an interesting shekere I’ve never quite seen before, and the metal shaker sometimes added to a West African djembe, called a Tsink Tsink.  There might have been a plain old drumstick and snare in the mix too..

We heard a twangy and electrified, yet somehow rootsy, version of “When the Saints Go Marching In”, a rockabilly and breezy take on Doc Watson’s “Nashville Blues”, an upbeat and danceable (really!) “Amazing Grace”, and Lou Reed’s “Walk on the Wild Side” weighing low, dark, and hypnotic, except for when it crescendoed in both volume and a sweet light solo.  Of course I couldn’t help but appreciate Lead Belly’s “Turn Yo Radio On"..

Pehr Smith, an instructor of 2D Design and Painting at Texas State University, and Dony Wynn, not only a super drummer but also extremely creative writer too, have an impressive repertoire of covers they perform and made their own.  And if you’re up for some nachos and a cold one under grass umbrellas next to artistically hand-painted walls, Maria’s Taco Xpress is the place to be.

MilkDrive 6-16-111

by Kimberly Caterino at Live Music Capital Radio 

MilkDrive’s players are no strangers to the road, to their instruments, or playing in/with well-known Austin bands (such as the South Austin Jug Band and Asleep at the Wheel).  Noah Jeffries on guitar, Dennis Ludiker on mandolin, Brian Beken on fiddle, and Matt Mefford on upright bass are the 4 members of this relatively new group that makes a progressive yet timeless sound.  

The progressive part is how they superbly weave vastly disparate genres together—bluegrass, jazz, folk— it’s unfair to simply label them Americana.  The timeless part is the nostalgic aura that is created by an all-acoustic, drummerless sound—although the band was plugged in for amplification, the same music could be easily performed on a peacefully remote lawn under the shade of a giant Oak.  Look Ma, no wires.   This is outdoor music, summer music, ageless and plain old feel-good music..  Reminiscent of Bela Fleck, and for those familiar, The Jazz Mandolin Project.

MilkDrive had no microphones tonight—not sure why!  (At times they did lip sync into the empty mic stand, which was rather hilarious..)  They do sing, but this evening at the Driskill Hotel had them playing all instrumentals—clear compositions that each tell a story, with movements that sometimes invoke a quietude and reflection, a stillness-- but more often than not the tempo and mood are swingingly upbeat, with sudden sprays and cascades of heartening, explorative solos.  The thoroughness with which each of these players knows his instrument (and sometimes other instruments) cannot be understated.  Intricate fingerwork was showcased by all 4 players, and the nature of the different pieces gave them each ample opportunity to individually highlight their..    yes, I’ll say it: mad skills.  

A word on the Driskill Hotel: what a unique music venue in Austin!  The bar area has a dark Victorian atmosphere with ornately carved furniture/ceilings/architecture..    meets Texas:  with frontier/cowboy themed paintings, a steer head over the mantle, and cow skins on the backs of chairs.  Two great tastes come together.  

I recommend MilkDrive on several levels--  enjoying the journey of the compositions, simply watching their mind-boggling motor skills, and succumbing to the world they create.  I imagine they are a bit folkier and grounding when singing songs, but this instrumental evening was a nice escape— to listen is to enter their movie, to be escorted to certain heights, and then beautifully floated back down.  

Pachanga! Latino Music Festival 5-21-11

by Sophie Block at Live Music Capital Radio

Saturday marked the four year anniversary of Pachanga Latino Music Festival. Despite the looming storms (which never came, of course), it was a beautiful day at Fiesta Gardens, full of wonderful music and good food. If you have yet to explore Fiesta Gardens, get to the soonest event you can! The grounds are grassy and peaceful, with a lot of places to sit and enjoy the beautiful calm water.

The first act I saw was Chingo Bling on the Hierbia stage. Chingo Bling has lots of ridiculous videos with ladies in booty shorts serving up tacos and shakin’ it and such. Many of Chingo Bling’s songs are parodies of other songs, including “Still Mexican” to the tune of the Big Tymers’ “Still Fly” or “Taco Shop” to tune of 50 Cent’s “Candy Shop”.  I think if I were a high school boy I would have liked Chingo Bling better. I do give him props, though, for his signature rooster dance. Although he had recorded backup instrumentation playing behind his words, there was a live band playing along with the tracks. The drummer and guitarist tore it up--best part of the whole set.

Next I saw Mariachi Las Alteñas on the main stage. This is an all-female mariachi band. The women looked so beautiful in their matching dresses and had amazing stage presence... not to mention talented musicianship! They played violins, trumpets, vihuela, guitar and guitarron. The crowd went wild for the band. Mariachi is so much fun not only to listen to, but the show is so entertaining and upbeat that you can’t help but smile and dance.

In addition to the main stage and Hierba stage, there was a tent with DJ music and the patio stage. Chico Mann, a electro/freestylist, played the patio stage to a dancing crowd. He sang over hypnotic beats and worked up a sweat over his computer in the sun. Pachanga represented a large, luscious range of Latino music--Chico Mann is so vastly different Mariachi Las Alteñas, but shares a common thread. And supporting all kinds of music and cultures in Austin is what it’s all about.

Los Skarnales brought the energy up bounced around the stage with copious amounts of energy and catchy Spanish and English anthems. This band, dressed to the nines, played unique but oddly familiar Latin/Ska music. They played to a crowd filled with adults and children, but gave a special shout out to kids and their parents, giving them props for coming out and experiencing music and culture from a young age.

Lastly I was delighted to immerse myself if the musical stylings of the Echocentrics on the main stage. The band was formed by Grammy award winner Adrian Quesada, and fronted by two famous Latina singers, Tita Lima and Natalia Clavier. Lima was dressed in gold and spandex, while Clavier looked classic in a sundress. Although their wardrobes were so opposing, their voices sounded wonderful together in front of the complex yet dancey music.

If you missed Pachanga this year, make sure to treat yourself to the experience next year! There are so many great bands to check out and festivals to attend here in Austin... but you must add one more to the list!

Sunset & Black Pistol Fire 5-7-11

By Kimberly Caterino at Live Music Capital Radio

After seeing the film Echotone last week, a music documentary about Austin that features Bill Baird of the band Sunset (among many other artists), the next live band I stumbled upon was.. Sunset.  

At the Pecan Street Festival, Sunset played, well, as the sun set—providing a perfect orange-gray atmosphere for Bill Baird’s gently haunting songwriting.  Sunset had only two members tonight, each with guitar, singing in 2-part harmonies that lured me in.  The essence of Bill’s songs are subtly magnetic, reflective in a both a contemporary and timeless manner.  Especially when singing in the 2-parts, and this is meant in the most honorary way possible: they reminded me of an electric Simon and Garfunkel.  I heard 3 songs before they closed—and one that caught me was “Civil War”, a personal identification with Samuel Clemens (Mark Twain).  I said timeless.  (Click here for a solo version.)

Sunset was the crème brulee before the whiskey. The whiskey..

Black Pistol Fire lives up to the name.  From the first crack of drum sticks against the skins, I was stunned.  

They are a duo, which in itself is striking.  No need for more.  I would actually consider any musician trying to intelligently insert a third instrument in that conversation a brave soul, a talented artist, or a fool.  Kevin McKeown (electric guitar/lead vocals) and Eric Owen (drums) have it together tight.  Real tight. 

They’ve been friends since kindergarten, and after playing in a trio in Toronto, Canada, they hauled it as a duo down here to Austin to..   kick our ass.  In anything I read about this band, no one compares them to Led Zeppelin. Never in my life have I heard a kit player precisely and ferociously drive the music John-Bonham style the way Eric Owen does.  (You don’t throw that comparison around.)  It doesn’t come across in the recordings—you have to have your brain fluids shaken in person to understand.  I texted to a music-loving friend after: “Raw southern Led Zep on speed in their 20’s.  Wow.”

The intentional phrasing of McKeown’s guitar reminds of Jack White of The White Stripes, as does the flow of drums/guitar turn-taking.  Throw in some Black Crowes raunchiness, some Black Sabbath urgency, even some slight Smashing Pumpkins dreamy-chord hypnosis..

So who would have guessed that their second song on the main stage would be the cover “I Shot the Sheriff”?  It wrapped the crowd around their finger.  Their version exampled their ability to fluctuate between focused delicacy and downright explosion.  ..Not to mention their ability to rock the reggae.

Each half of the band articulates as clearly as the other, and it raises the question who’s driving, who’s following?  The leader is ever-changing, because of the energy exchange, or simply due to the composition of the piece at hand.  Yet together, they can turn the pace and direction of the music on a dime.

This band is so new, with their first CD released this past winter (called simply Black Pistol Fire), that names of songs are evasive.  I’ll take a guess: two we heard were “Black-Eyed Susan” and the encore “You’re Not the Only One”.  (Click here for a YouTube of this song, played a couple of hours later at a second gig.  Is that electrified bluegrass in the middle?)  

The players of Black Pistol Fire are clearly channeling every note to the point they can’t help but also be good performers.  When not singing, he’s dancing or jumping—and when McKeown turns his back to the audience to play at the shirtless, thrashing Owen, which happens quite a bit, as an audience member you feel not annoyed, but honored to witness such severe symbiosis.  If you are a rock fan: Run, do not walk, to see Black Pistol Fire in person.  These guys are the bomb.

Echotone, A Music Documentary on Austin 4-26-11

by Kimberly Caterino

Echotone is a film that started out as a series of portraits of some of the director’s favorite musicians, but a second thematic story emerged, one that became the essence of the film:  Echotone captures the lives of several local musicians in relation to the recent urban development growth in downtown Austin.  Without giving too much away—the film opens with a black and white snapshot of a wide dirt road and some one-story buildings..   which then fades into an image of the currently-recognizable electric outline of downtown 6^th street (Old Pecan Street) in Austin.  The span of the film does not cover centuries of time as this comparison suggests, but geographically Echotone does focus specifically on Austin’s downtown and the area known as the Red River District. 

Some of the artists featured are Austin’s Black Joe Lewis and the Honeybears, Dana Falconberry, and Sunset/Bill Baird..   the film takes you through daily slivers of their lives both making a living and making art, as well as chronicling their paths towards success.  The definition of “success” is questioned..  and the artists’ stories are juxtaposed to the perspectives of local residents, venue owners, and urban planners.  Echotone lets all these folks have their say in the daily politics that make a difference in a vibrant music scene: noise ordinances, parking meters, etc.   With a similar, if not same, story emerging across the USA, director Nathan Christ hopes to follow up Echotone with a mini-series that captures the struggle of artistic versus not-exactly-artistic values, of urban development (i.e. usually literally building construction) versus the artist-next-door, happening in several other cities. 

The most important aspect of this film, to me, is that it opens the door to discussion and invites citizens to be more aware and active.  After the screening I viewed, there was a panel of local figures, including Paul Oveisi of the organization Austin Music People, who took questions from the audience. In the past few years of development in the city, Oveisi acknowledged, the creative class was not invited to the planning table.  We can’t undo the past, but Echotone brings awareness to:  What do we do now?  How does Austin grow going forward?

The editing sequence of many speakers, the live music footage, and the panoramic scenes of downtown construction was often enough in itself to evoke applause, tears, or laughter.  The sequence that stayed with me, choked me up a little, was a series of shots of Black Joe Lewis on his daily (unglamorous) day job.  When someone asked Joe why he was being filmed, he gave a forthright answer before the scene immediately cuts to him performing at a venue—one of the funkiest songs Austin has known: “Sugarfoot”.  

What was Joe’s answer?  Why was he being filmed at his delivery job? 

 I’m a musician.

The Austin Reggae Festival 4-15 to 4-17-11

by Sophie Block

The Austin Reggae Festival (known as Marley Fest in years past) took place this past weekend. It was three smokin’ hot days and chill nights at Auditorium Shores on the banks of Town Lake. There were concerts on the main stage, a Dub corner, vendors of Bob Marley memorabilia and such, and fields of tents that concert goers made their homes for a few days. Walking the grounds also meant walking through a cloud of smoke the entire length of the festival. A very diverse gathering of people--hippies to club hoppers, young and old, seemed to gravitate to the festival not just for its music, but to smoke grass out in the open. There were a lot of distractions that made the festival what it was--hula-hooping, dancing, people watching... and did I mention Bob Marley t-shirts? So many Bob Marley t-shirts.

But all marijuana prevalence and scattered trash and turkey legs aside, I’m here to talk about music. Due to other responsibilities I only got to participate in the festivities on Saturday and Sunday night, but one day was eventful enough in itself! The first band I caught was Don Chani, an Austin Latin/dub/reggae band. Lead singer Mark Shaddock was deeply influenced by reggae music when he spent time in Jamaica as a teenager. Other members of the band come from a Latin music background. This blend of musical influences makes for a unique sound. Both genres are apparent in their songs. Shaddock’s voice is reminiscent of Nick Hexum from 311. The show was in the afternoon, and the number of people walking the grounds and watching the show was about equal. Many concert goers ambled around the booths and a good number more were hanging out in tent villages.

Next, I saw Az One. The band, fronted by Elisha Israel, is based out of Kansas City. Israel fine tuned his reggae skills working with musicians when they passed through his home town. Az One is more roots-based than Don Chani, which is the kind of reggae I tend to like more. Az One rocked. The songs have a more classic reggae beat, thicker bass lines and altogether beachier feel than Don Chani. More people began to focus more on the stage as the night progressed.

The last band I caught that night was Taj Weekes, who drew the Saturday night to a close. His thoughtful lyrics, along with the chill atmosphere of the evening allowed me to return home at 11:30pm feeling full of good music and ready for sleep. Visit Taj Weeke’s website for a free download of “Drill” through next week to mark the one year anniversary of the BP oil spill.

Israel Vibration closed out the festival Sunday night with a full band whose singers harmonize in many of their songs. Cecil Spence (Skelly) and Lascelle Bulgin (Wiss) met when they were in a rehabilitation center for polio as children in Jamaica. They formed a roots group in the 70s and continue to produce new music today. They killed it. Not only is their music strong, but the band is inspiring for overcoming their physical challenges. They were the highlight of the festival and the perfect note to end on.