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.