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Music
October 27, 2009
Official Opening of Same Sky Productions
Boston was home to David Messier and Andrew Cantave …
David Messier and Andrew Cantave
Austin became home for their Same Sky Productions, a music recording business …
Kristina Lanuza and Brendan Kelley
In just a few months, they’ve established a reputation for polished professionalism …
Asa Kittfield and Christin Menendez
Saturday, they took their smooth moves out onto their office terrace, which overlooks Congress Avenue and downtown …
Kelly Vidovic and Nate Vargo
Everyone I talked to at the party came with an crunchy story, including Brendan Kelley, a Boston high school student whose new Same Sky recording is being compared to ones by Rod Stewart et al. Pretty heady stuff.
[For those of you counting, this was Party No. 19 out of 25 on this Big October Weekend. Six more posts to go.]
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October 22, 2009
Alpha Rev at Antone's
Music and politics make regular bedfellows in Austin …
Travis County Democratic Party ED Laura Hernandez and Austin Adams
Susan Antone hand-picked some buzzy bands to play for a Jack McDonald fundraiser on Wednesday …
Cathy Ziller and Ashley Ziller
McDonald’s campaign remains in the “exploratory phase” prior to a bid for the U.S. Congress against incumbent Michael McCaul …
Julia Genin and Matt Buford
I don’t generally cover political fundraisers for Out & About, — and I already run into McDonald at countless charity events — but this one at Antone’s on Wednesday featured Alpha Rev …
Jack McDonald and Anne Olson
I know, I know, I’ve lost my head over the Rev, but so did a lot of other people that night. They sound better than ever.
Jeff Rogers and Lana Coy
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October 21, 2009
Your A-List: Best Karaoke
Two clubs fought it out for the coveted A-List Best Karaoke crown. Nobody else even came close.
Winning outright was Beerland, the music venue on Red River Street, with 52 percent of the vote for its Rock ‘n’ Roll edition.
Fighting to the end was Common Interest, which specializes in karaoke and sports on Burnet Road. It dialed up a very competitive 42 percent.
Note the drop-off after that. Everyone else plugged in 2 percent or less: DK Sushi, Karaoke Apocalypse, Austin Karaoke, Rain, La Palapa, Baby A’s, Water Tank, Seoul Karaoke Studio and Too Much Music.
No cracks about that last entry.
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October 19, 2009
U2 in Austin?
Over the weekend, sharp-eyed and sharp-eared reader Deann Alford noticed that a U2-marked plane was parked on the tarmac in the charter area of Austin-Bergstrom International Airport.
Noting that the band, which by coincidence shares its name with a famous American spy plane, was headed to Norman, Okla. for an Oct. 18 “360 Tour” concert after its Oct. 14 Houston date, Alford wonders what the heck they were doing here.
Are the artists and crews flying in multiple aircraft, given the tour’s massive UFO-like set? Or did the Edge, Bono and crew sneak in a quick night in Austin?
We throw it out there for the masses … and promise to report anything credible.
Update 10/20/09: The main local guesses are Lance Armstrong (whose LiveStrong Rally is upon us) and Turk Pipkin (whose Nobelity Project has attracted Bono’s attention).
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October 14, 2009
Your A-List: Best Record Label
Here’s another contest with only two serious contenders.
Xylo was started in 1993 by musician Woode Wood: “My first release ‘Brothers”’ was cassette only and my latest on CD was ‘Be,’ released last year,” Wood says. “I’m half way through recording my latest, ‘Come On Sun’ which will be out by 2010.” Xylo won 40 percent of the vote.
Chicken Ranch Records was a tad easier to track down. Note that they back Knife in the Water, Willie Heath Neal, Beautiful Supermachines and other acts. The label came in a strong second with 30 percent.
Deep Eddy, New West and Texas Music Group/Antone’s exactly tied at just over 7 percent. That’s pretty neat. Taking 2 percent or less were Arc Light, Peek-a-boo, Sweatbox, I Eat Records, Dead Oceans, Australian Cattle God and Dorato.
Based purely on cool names, I’d pick Australian Cattle God. But I know little or nothing about recording, so don’t listen to me.
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October 12, 2009
Buju Banton gig at Aces canceled
Austin promoter Sascha Stone Guttfreund has canceled an appearance by controversial raggae artist Buju Banton at Aces Lounge. Banton’s notoriously anti-gay views — including song lyrics from the 1990s about execution of Jamaica’s gay population — had stirred up strong local feelings before the planned Oct. 21 concert. Aces owner Brendan Puthoff sought the advice of gay activists such as Mark Erwin and Bettie Naylor about deflecting the impact of the third-party booking, but Guttfreund avoided the collision through his cancellation.
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October 7, 2009
Your A-List: Best Music Venue
Austin claims more than 150 music venues. 150. Yet not all of them are ideal for consuming music. Blame lazy bookers, poor acoustics, chatty customers.
Stubb’s, alternating indoors and outdoors on Red River Street, pounded out 30 percent. Antone’s, originally home of the blues, now incredibly eclectic, fell far behind with 6 percent. Finely tuned the Parish got 5 percent, while critically acclaimed Emo’s drummed up 4 percent, Just ahead of indoor/outdoor La Zona Rosa.
Settling for 3 percent or less were Paramount Theatre, Momo’s, Elephant Room, One World Theatre, Beerland and Tim’s Porch at the Backyard.
Really, there’s not a bad spot on this list.
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October 4, 2009
#ACL Mud Report 3
I’ve come to the conclusion that Austinites love hordes of other Austinites, no matter the underlying conditions.
Bonnie and Eliza Mead
In just this past week, I looked on as more than 100,000 gathered in Royal Memorial Stadium for a game with UT-El Paso that was, by any stretch of the imagination, a foregone conclusion. Just a lot of people wanting to wear burnt orange together.
Emily and Dave Shaw
A few days later, 65,000 or so — on each of three days — gathered in Zilker Park for the Austin City Limits Music Festival. Granted, the first night was unadulterated paradise, but the rain on Saturday and mud on Sunday would daunt even the most fervid music fan.
Mandi Thomas and Chris Petersen
The rest of the year, we attend street festivals, political rallies, multi-various sporting events, enormous clubs. And each weekend night, the whole downtown turns into one big party.
What’s with that? I must ask some experts.
That’s my way of saying that, long before Pearl Jam takes the stage, I’m impressed enough with Austin’s fortitude, but I’m out of ACL for a thorough shower and long rest. Until next year.
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#ACL Mud Report 2
“Austin undaunted.” That judgment from Austin’s Dave Shaw says it all about the continued crowds at the Austin City Limits Music Festival.
Charlie, Harper and Stephanie Wood had no complaints of all three days. Tough campers.
Despite the membrane of mud that covers everything, Austin marches on to the music.
Eric Mowery, Amber Armstrong and Brett Hansen. “An hour and a half of rain was OK,” says Hansen. “Then that was enough.”
Now it’s just hot. And we know know how to survive that.
Daniel Berkowitz and Amelia J Loving
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#ACL Mud Report
It’s much worse than I imagined.
A fetid, steamy, barnyard pall hangs over the Austin City Limits Music Festival in Zilker Park. Blame the hay spread to keep down the mud, now mixed into an appalling stew.
Nella Robbi, Rachael Padgett and Tammy Lin
“The rain and mud was a great change of pace from the heat and the dust,” says lawyer Tammy Lin. “People paid good money for this mud.”
Merritt Fields and Jeremy Royce
“It’s a madhouse of music and mud,” says ACL staffer Jeremy Roye, catching his breath behind the scenes.
Joan Pratt and James Barnett
“You go from the best day ever at ACL on Friday …” says Joan Pratt.
“… hey, the rain wasn’t so bad, or the mud,” says James Barnett. “But that smell …”
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October 3, 2009
#ACL Rain Report 3
People got grumpy. The west parking lot was closed because of mud. Music lovers slid and fell into the muck. The rain returned again and again, finally driving some fest-goers from the field.
Big umbrellas kept Erin Beaudkofer and Adam Scott in big smiles
Still, I was able to find some merry folks who made the best of the mess. The musicians played on and some took the opportunity to feed into the wet masses.
Eric Marley and Caroline Duncan, at their first ACL Fest, were worried about the grass, which they cherished the blissful night before
Ticket holders were still streaming toward the park after dark. Scalpers wanted my wristband bad. Uh, no.
Matt Aderhold, Zane Weave, Chris Combs, Georgia Thomsen and Mark Hill ducked into the Rock Island football tent — full most of the day
Meanwhile, over at the ACL studios, we hear that Laura Dern, Meg Ryan and Lance Armstrong attended the Pearl Jam taping.
My favorite quote of the day came from former Mayor Will Wynn: “My 13-year-old daughter is out there in the pit having a safe Woodstock.”
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#ACL Rain Report 2
Music firing up on all the stages. Sounds especially celebratory now that the rain has stopped. People filtering out of the dry areas — food tents, football-viewing center at the Rock Island, makeshift shelters.
Lynn Brennan and John Semmens
How did festers survive the rain? “We just got wet,” says Vijay Ravula. “I thought we brought the right gear, says Sefaly Ravula. “She didn’t listen to me,” says Vijay.
Sin City Social Club’s Shilah Morrow and Bug Music’s Eddie Gomez
“Garbage bags,” says John Semmens of Califorinia, sojourning with Austin’s Lynn Brennan. “And Tito’s vodka.”
Clayton Harrell and Sarah Caddell
“The music keeps you in the spirit,” says Eddie Gomez of Bug Music, hanging with Sin City Social Club’s Shilah Morrow. “Rain or shine.”
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#ACL Rain Report
Scattered showers have not scattered the crowds at the Austin City Limits Music Festival. Ponchos on. Raincoats on. Umbrellas up. Bands blaring.
Sweet Leaf CEO Clayton Christopher and Paul Haybood, who runs a juice joint on Barton Springs Road
The mood has slipped from blissful to boggy. No panic. No bad behavior so far. But the hurried gaits will ultimately lead to some pedestrian smash-ups.
In the VIP Grove, children gather in tents like chicks under a hen’s wing. Coffee, probably for the first time, the most precious liquid. Mature pecans providing unexpected shelter for awhile, then laughing festers shoulder up under cafe umbrellas (and here inside Dell Internet Cafe).
Danielle and Diego — A Rock & Recycle romance?
Ran into Maxine Labovsky and Martin Fay from San Francisco, Labovsky recently transferred to Austin. They wore ponchos over their raincoats and kept their umbrellas at the ready.” We came prepared,” said Labovsky. “We even brought toilet paper.”
Maxine Labovsky and Martin Fay
Wasn’t sure what that meant at first. Weather channel says it won’t stop raining until 6 p.m. Dave Shaw learns the difference between water proof and water resistant.
Heard inside the Dell tent: “It’s (expletive) (expletive) out there.”
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October 2, 2009
#ACL Second Report
The gentle weather made for gentle souls. Feelin’ groovy, the Austin City Limits Music Festival merrymakers treated each other with consummate kindness, even as the Zilker Park fields filled to capacity towards dusk.
Picking up parts of Coheed and Cambria, Phoenix, K’Naan and Raphael Saadiq, we roamed irrationally, luxuriating in the fresh, spongy turf. Others were doing the same. Didn’t seem to matter where you were in the park, music, forbearance and balmy weather banished every care.
Kim Power and Matt Garcia
Who knows if the bliss will hold up Saturday; weather-prognosticators are threatening 90 percent chance of rain. I imagine the good feelings will last through at least the first shower or two.
Melissa Fernandez and Amanda Lea
Side note: The skyline behind the Livestrong Stage has changed so drastically in the past eight years, fewer than five of the currently visible skyscrapers witnessed the inaugural festival.
Luis Otoya and Martha Livermore
We watched a little drama after returning to the VIP Grove. A young man and woman raced across the otherwise torpid scene under sheltering pecans. Two security fellows followed at a fast pace. The female tripped and her companion abandoned her. What in the world was going on? Theft of appetizers?
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#ACL First Report
Snippets from the first hours …
Outside the park: Scalpers and pedicabbers stationed further to the east this year, all the way along Barton Springs Road to South First Street. Full scalp press. More pressure for late tickets? Curious about those clearly dressed for the fest heading away from the park so early in the day (before 2 p.m). Mood ebullient outside the gates. Entry process smoother, happier this year.
Richard and Carissa Roper deployed their sail-like chairs into a protected cove, right in the middle of the field. This is their fourth ACL Fest. “Twenty degrees cooler,” says Richard Roper says. “Are you kidding? It’s fantastic.”
On the field: The breeze lifts every spirit. Shoes optional on the magical mystery turf. Masses shifting easily from one stage to another. Not much act loyalty at this stage. Flags of many nations leading brigades from spot to spot — Spain, Italy, European Union … Texas Tech?
Julie Mata and Allison Hall carefully calibrated their multi-hued ACL look.
The bands: The first act to fit the outdoor bill comfortably is the pop-friendly Dr. Dog on the Dell Stage. Waves of good feeling passing through crowd. Nobody inclined to leave. Communal bonding among fest-govers this year based on mutual pleasure, not shared survival of the elements.
Jennifer Wijangco of Texas Cultural Trust (though she’s moving to another post soon) and lawyer friend Bradley Coburn.
VIP Grove: Even cooler this year. I mean, actually cool, temperature-wise. Treats like bison tartare from Olivia. No lines at the bar tents. Impeccable restrooms. Some local celebrities, including former Mayor Will Wynn and activist-humorist Turk Pipkin. Will continue to report. Hear Phoenix in the distance. It’s a tough gig.
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ACL Pre-Party at Austin City Lofts
Not everybody with a south or west balcony in those downtown residences is upset about promised noise from the Austin City Limits Festival in Zilker Park or the Live at Seaholm After-Party …
Former Mayor Will Wynn and Laura Hodges compare ACL charts
One party last night in the Austin City Lofts was packed with people delighted by their proximity to these revels. By 10 p.m., you’d have thought the guests were about to descend on the street and start their own festival …
Shyana Golden and Andrei Martel
Our hosts were Texas Tribune’s Alisha Ring and her fiancee Jamie Lagarde. Look for a December wedding. They were drowning in happiness …
Greenling.com’s Mason Arnold and Ann Richards School Foundation’s Michelle Krejci
Left my satchel — with my ACL credentials!!! — at their loft. They kindly left it downstairs with the doorman. My good luck with satchels didn’t extend to ponchos, which cannot be had for ready money in Central Austin. I assume scalpers will sell them.
Off to show. Will post for 12 hours each day.
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October 1, 2009
Controversy on Sixth Street
Brendan Puthoff, owner of Third Base sports bars and Aces Lounge on East Sixth Street, called with a dilemma.
The singer now produces songs with anti-violence lyrics and has donated the proceeds of a 1993 song to AIDS charities. Others are not convinced Banton is reformed. A Web site, Cancel Buju Banton “Rasta Got Hate” Tour, is devoted to protesting his appearances.
Puthoff says he can’t break his contract with the promoter, but he wants to make it clear he doesn’t approve of Banton’s views.
He’s talking to respected Austin gay activists Bettie Naylor and Mark Erwin about an appropriate way to assure the gay community that he finds Banton’s lyrics abhorrent.
“What’s kind of ironic is my sister is a lesbian,” Puthoff says. “I walked her down the aisle at her wedding.”
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September 25, 2009
Interview: Live at Seaholm's Jason Hicks
Day-dreaming of a life in music, Jason Hicks waited a long time for a project this colossal.
“We never lost money,” Hicks says. “We rarely made much money, but in this business …”
Now he’s producing the biggest after-party in Austin City Limits Music Festival history. (For a full list of before-, during- and after-parites, go to my earlier post.)
Hicks, teaming up with WOXY Internet Radio and Voodoo Cowboy, has secured the iconic Seaholm Power Plant for a two-night bash. Friday, after ACL breaks up across Lady Bird Lake at Zilker Park, Broken Social Scene will headline a free, outdoor concert for up to 4,000 revelers on the Seaholm grounds Generationals and Corto Maltese will precede them. Another line-up, to be announced Monday, follows late-night Saturday.
Meanwhile, inside the vaulting post-war plant, fewer than 300 invited guests will mingle to the sounds of DJs and clinking glasses.
“I’ve been working 20 hour days,” Hicks, 33 and looking a bit like actor Paul Schneider on “Parks and Recreation,” says over iced tea at Cissi’s Market on South Congress Avenue. “So it better live up to its potential.”
For Hicks and his boss at Rare, publisher Taylor Perkins, this is the chance to break into the big-time Austin party scene. (Admission is gained through a complicated process that includes confirming an RSVP request at LiveatSeaholm.com, obtaining wristbands and tickets. People, mostly young, have learned how to navigate this process for major promotional events.)
“Just think of the site itself: Crowds watching Broken Social Scene, those famous smokestacks rising over their shoulders,” he says with transcendental gleam in his eye. “Everyone has always wanted to see some event at Seaholm. They finally have a chance to.”
Won’t the former industrial site — slated for mixed-use development when the economy heals — present insurmountable crowd-control problems?
“Nothing a little fence can’t handle,” Hicks jokes.
This is exactly what Hicks wished for while he was working day jobs and Dell, Inc. and other companies, and raising two sons.
“I didn’t think the music thing was going to happen,” he says. “But it became my obsession, my passion.”
Over the years, he learned a lot from giant Austin promoters, working with C3, for instance, on ACL and Lallapalooza. Joining Rare in June, as the magazine underwent a massive staff turnover, meant overseeing smaller events, such as monthly parties and the recent charity-geared Restaurant Week. The Seaholm project is his moonshot.
He says with a far-away look: “This is why I’m here.”
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September 24, 2009
ACL Before, During and After-Parties
Not everybody can make it out to Zilker Park for the Austin City Limits Music Festival. In fact, a fair number of people don’t want to brave the elements for the massive, three-day fest, no matter the weather. That’s why promoters invented after-parties, before-parties and during-parties. Ask those folks who have been doing the same during South by Southwest, almost since its inception.
Here’s a selective list of ACL weekend parties, presenters and acts. Some are free. Others charge cover. Check with austin360.com for updates.
OCT. 1
Emo’s: The Walkmen, Blitzen Trapper, Wye Oak (oustide); School of Seven Bells, Phantogram (inside)
Beauty Bar: “Art Disaster No. 9” (8 p.m.) DJ Tweedy, the Lemurs, the Steps, Speak, Wallpaper (outside); DJ Orion, Bright Lights Social Hour, the White White Lights, Whitman (inside) Scoot Inn: Charlie Hurtin and the Hecklers, Rick Shea, Dave Insley and the Careless Smokers, Jamie Shuey
FRIDAY
Seaholm Power Plant: “WOXY and Rare Live at Seaholm”: Broken Social Scene, Generationals, Corot Maltese
The Independent: “Imeem Live After-Party”: the Knux, Bird Peterson, Table Manners Crew, DJ Sober
The Parish: The Raveonettes, Here We Go Magic
Emo’s: Deer Tick, the Henry Clay People;(inside); Harlem, Neon Indian (outside)
La Zona Rosa: Devotchka, Los Amigos Invisibles
Stubb’s: STS9, Virtual Boy (outside); the Virgins (inside)
Scoot Inn: Sin City Social Club Presents Tim Easton and guests
Aces Lounge: Lotus, Evol Intent Live
Momo’s: Los Lonely Boys, Quiet Company, Whitman, Mechanical Boy, Stegosaur
Mohawk: The Intelligence, Dikes of Holland, When Dinosaurs Ruled The Earth, Woven Bones
Antone’s: Bob Schneider CD Release
Trophy’s: The Pursuits, OK Sweetheart, Audio Amore, the Beauvilles
Beauty Bar: Voxtrot, Ocote Soul Sounds
The Independent at 501 Studios: The Knux, Bird Peterson, Table Manners Crew, DJ Sober
SATURDAY
Seaholm Power Plant: “WOXY and Rare Live at Seaholm”: acts TBA
Emo’s: Grizzy Bear, Beachouse
Antone’s: Der Auerbach, Rodriguez, White Dress
La Zona Rosa: Bassnectar
Stubb’s: Thievery Corporation, Federico Aubele (outside); Rebirth Brass Band (inside)
Back Alley Social: DJ Rich Medina, Martin Perna, Peligrosa All-Star DJs, DJ Chorizo Funk
Scoot Inn: “Localability”: Kevin Jack, Kid Slice & DJ Digg (Table Manners), Mixed Use Media, Kill City, Mutual Trust
Aces Lounge: Lotus, Evol Intent Live
Saxon Pub: Black Bone Child
Lamberts: Funky Batz
Beauty Bar: “Dancefloor” with DJ Mel (inside); L.A.X. Motel Aviv, The Laughing, ISHI (outside)
SUNDAY
Paramount Theater: Iver, Megafaun
Stubb’s: Ghostland Observatory
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September 23, 2009
Your A-List: Best Singer-Songwriter
You knew this would grow into a long list. Ask Austinites their favorite singer-songwriter and they’ll shout out various rockers, folkies, country storytellers and Americana mavens. They are among Austin’s most common musical species.
Roadhouse rouser and part-time Flatlander Joe Ely tamped down 11 percent. Revisionist Iron and Wine, otherwise known as Samuel Beam, took 10 percent. Hugely talented Patty Griffin followed with 8 percent. Musical family man Bruce Robison secured 7 percent, while still-young-sounding Ricky Trevino held strong at 6 percent.
Virtually tying at 4 to 5 percent were Alejandro Escovedo, Ray Wylie Hubbard, James McMurtry and Adam Carroll. Three percent or less: Eliza Gilkyso, David Garza, Ruthie Foster, Carolyn Wonderland, Slaid Cleaves, Matt the Electrician, Patrice Pike. Jimmie Dale Gilmore, Jon Dee Graham, Kevin Russell, Jimmy LaFave, Bill Callahan, Terri Hendrix, Jimmy Smith and Sam Baker.
Austin’s overwhelming riches.
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HAAM Benefit Wind-Up at Paggi House
Everybody loves HAAM, the group that brokers health insurance and clinical help for Austin musicians …
Jackie Campbell and Jory Hanus
That’s why HAAM Benefit Day spreads all over town like a good feeling to music venues and unconventional spots, all to raise money and awareness …
Paggi House owner Tori Tinnon with Emily Emmerich and Tyler Guthrie
When all is said and done, HAAM volunteers, staff, backers and guests gather for a happy hour, this year at Paggi House …
Ram Vela and Marissa Alemany
One could hardly pick a better place, as long as the weather holds out, and Tuesday evening, the rain had left behind the cool …
Chad Smith, Elizabeth Smith and Michael Bepko
A good chunk of the radio and TV music press were there, along with the usual do-gooders, event-planners and word-spreaders …
Ali Johnson, Taylore Cunningham and Erin Connolly
Also, these last three pictured ladies who were not there from HAAM, I discovered, but were celebrating a birthday. Congrats to you, too.
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September 13, 2009
2009 Fortunate 500: Music
2009 FORTUNATE 500
MUSIC
For a previously posted micro-profile of Rose Reyes, go here.
Susan Antone. Antone’s, Help Clifford Help Kids
Ed Bailey. KLRU, ‘Austin City Limits,’ Texas Hill Country Wine & Food Festival
Marcia Ball. Health Alliance of Austin Musicians, Sweet Home New Orleans, Charity Partners of Austin, ‘Peace, Love & BBQ’
John Bernadoni. The John Bernardoni Production Group
Suzanna Choffel. suzannachoffel.com, Austin Music Foundation
Amy Corbin and Charles Attal. C3, Stubb’s BBQ, Austin City Limits Festival
Melissa and Kevin Connor. ME Television, KUT
David Cotton. Saxon Pub, CottonAustin, Threadgill’s
Dave Dart. Dart Music International
Ihor Gowda. Star Making Machinery
Sara Hickman. The Roots Agency
Charlie Jones. C3, Stubb’s BBQ, Austin City Limits Festival
Andy Langer. KGSR, Esquire
Terry Lickona. ‘Austin City Limits’
Dean and Jeff Lofton. I Buy Austin, jefflofton.com
Griff Lundberg. Cactus Cafe
Martie and Gareth Maguire. Dixie Chicks
Harold McMillan. DiverseArts
Marsha Milam. Solar Power Concerts, Milam & Company
Casey Monahan. Texas Music Office
James Moody. Transmission Entertainment, Fun Fun Fun Fest, Mohawk, Club DeVille, Red 7
Nakia. ‘Water to Wine’
Tim Neece. UT Performing Arts Center
Tim O’Connor. Direct Events, Austin Music Hall, La Zona Roza
Paul Oveisi. Momo’s, Austin Music Commission
Bob Schneider. Bob Schneider Music, ‘Tarantula’
Shawn Sides and Graham Reynolds. Golden Arm Trio, Rude Mechanicals
Nada and Hartt Stearns. One World Theatre
Roland Swenson. South by Southwest
Stephen Tatton. Launch787, Sea Change Records, SureFire Media + Promotion
Greg Vendetti. GV Evolutions, GV Music Enterprises, GregVendetti.com
Charlie Walker. C3, Stubb’s BBQ, Austin City Limits Festival
Steve Wertheimer. Continental Club
Annetta and James White. Broken Spoke
Graham Williams. Transmission Entertainment, Fun Fun Fun Fest, Mohawk, Club DeVille, Red 7, Lambert’s
Eddie Wilson. Threadgill’s
COMPLETE 2009 FORTUNATE 500 LISTS:
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September 10, 2009
Guest Blogger: Phillip Bradshaw
Last year I spent a great deal of my Thursday nights at Polvo’s on South First Street for four reasons. 1. I enjoy socializing. 2. I enjoy margaritas. 3. I live down the street and don’t have to drive home. 4. End of an Ear record store is almost right across the street.
So last week, my friends and I re-established our Thursday night margarita ritual. And today, I reinstituted my End of an Ear day, night, and pretty much anytime I have half an hour to spare.
Walking into End of an Ear is a little nerve-racking the first time. You cannot see into the store. The door is old and wooden and probably doesn’t lock completely. And you really can’t hear anything going on in the inside. You must be curious and willing to find out exactly what is inside.
Most of the time you are not disappointed. End of an Ear does not boast the largest selection of records, or even the most up to date. However, if you are in the mood for browsing in an easy-going, no-pressure environment, End of an Ear is the place.
As you browse the columns, make sure to flip through the records one by one, even if you know what you are looking for. The tangible aspect of record shopping is one thing that really appeals to me. I flip through each row and enjoy the artwork on each vinyl cover, many I’ve never seen or heard of, but I enjoy nonetheless.
Another aspect that I enjoy is the space you are given by the employees. To me, browsing records is not really a social thing. I am in the store to find music for myself. And if I feel like an employee is waiting for me to ask them a question, I become preoccupied with that thought.
The selection does not take long to browse, so I appreciate that I can probably look at every section in the store in a reasonable amount of time.
I almost always leave with something, whether it is a new record I had been waiting for, or a record I simply don’t have. I might be the only one who is attracted to this sort of shopping environment, but End of an Ear has a loyal customer in me.
For more of Phillip Bradshaw’s entertainment journalism, visit “The View from Austin.”
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September 7, 2009
Fortunate 500 Top Picks: Music
The Top Picks for the 2009 Fortunate 500 list of socially active area citizens were published in Glossy on Friday. In Out & About, we’ll mete out those Top Picks over the next few days. Then, beginning Tuesday, we’ll release the full lists and galleries.
Top Pick: Rose Reyes
This Edinburg native threw down deep roots when she moved to Austin in 1984. Some of those roots related to business (Hispanic Chamber of Commerce, Texas Department of Commerce); others dealt with music and the arts (Texas Folklife Resources, Tish Hinojosa). These tendrils sprouted four years ago into an ideal job for the busy promoter when she was named director of music marketing for the Austin Convention and Visitors Bureau. Meanwhile, she has served on boards for La Peña, National Academy of Recorded Arts Texas Chapter, Cine Las Americas and the Live Music Task Force. She’s consulted for Americans for the Arts, Library of Congress, Lainto USA, the Alejandro Fund, Ballet Austin, ALLGO and the International Accordian Festival, serving on deliberative bodies for Fund for Folk Culture, National Endowment for the Arts and Texas Commission on the Arts. And, oh, she’s out hearing music all the time. All kinds. Wave when you see her.
For more 2009 Fortunate 500 updates, follow the category link below.
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September 6, 2009
Guest Blogger: Ryan Lester
I retain a fond affection for the MP3 format and the economic model that it advances. Stores like iTunes, Amazon, and streaming services like Napster, Rhapsody, and Lala have made discovering and obtaining new music easier than ever.
Despite the MP3’s varied uses and strengths, I still buy at least two to three CD’s a month from record stores if I have the money. I am one of the few people that I know who still prefers albums over singles, and I don’t mind paying a few extra dollars to more thoroughly support a band. Although I do admit that buying music online and getting albums from my friends is extremely convenient and easy, there are several reasons why a trip to the record store still has its place in a digitally dominated society.
First, buying a CD requires a certain commitment that downloading a single will never have. When you buy a song off of iTunes, you can do it from almost anywhere. Whether it is on your laptop at a coffee shop, at home on your television, or on an iPhone in a busy airport, if you have a connection to the internet you can have your music. Going to a record store requires planning to make a special outing, the time to escape from the house or the office, and the desire to want a full album rather than a single song that had a catchy synth line. This makes the trip itself a sort of special occasion, something that can be looked forward to at the end of a long week. When the music is delivered to you through fiber optics, that sort of magic is taken away, and buying music becomes more of a habit than a cherished moment in time.
Perhaps the most important arguments for independent record stores come from the feelings going to one. There is something about the thrill of going to a place like Waterloo Records the morning an album comes out and holding the physical product in your hand. It is almost as if you holding a piece of art.
Additionally, these stores have their own unique qualities. Whether it’s the knowledgeable staff, the funky atmosphere, or the plethora of in-store performances, there are many endearing qualities that can be had at a record store. Then, there’s the epic struggle to break the shrink wrap off of a jewel case, which only amplifies the amount of anticipation to hear the packages’ contents. One feels a great a sense of triumph when at last the case can be opened. None of these feelings can be replicated when music is bought on a computer.
At the end of the day, even though I will continue to download music online and establish friendships via a portable hard drive, I will always have a soft spot for my local record stores. They are places that you can spend hours by yourself, or with good friends, browsing through their collections, taking in the overall aesthetic of the place, or see an up and coming artist. Until the online stores and services come up with a way to accurately replicate the qualities that are unique to brick and mortar establishments, I will continue to make my trips to Waterloo, Chaeapo, End of An Ear, or any other of Austin’s many record stores at least twice a month.
For more of Ryan Lester’s entertainment journalism, go to Musings on Music.
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September 5, 2009
Guest Blogger: James Bingham
I first heard about “The Incident” from a message posted on the Porcupine Tree Web site. Along with some stand-alone tracks, their new album would include a “35-minute song cycle” written by band frontman Steven Wilson.
I first got into Porcupine Tree back in 2003, after they had done a stint with Dream Theater, playing opening sets on the World Tourbulence Tour. All I had really heard about them was that they had opened for Dream Theater. Other than that, their album “In Absentia” was a complete blind buy. I had no idea what I was going to get. With my money, I’m stupid like that.
My impulsiveness paid off. The album was great, and Porcupine Tree has since become one of my favorite bands EVAR. But I digress … What is The Incident? In an interview with Roadrunner Records, Wilson explained the concept behind the album…
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to rubber neck to see what had happened … Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. And then I had the sensation that the spirit of someone that had died in the accident entered into my car and was sitting next to me. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news. I wrote about the evacuation of teenage girls from a religious cult in Texas, a family terrorizing its neighbors, a body found floating in a river by some people on a fishing trip, and more. Each song is written in the first person and tries to humanize the detached media reportage.”
That description really sets the mood for the album. It’s deep and complex. I have to liken it to Dream Theater’s “Octavarium.” It took a few spins before I could appreciate everything the band had done, and how each individual track contributed to the larger whole. It’s the same here. Fans of Wilson (and Porcupine Tree by extension) will know that for the most part, they don’t really release records-they release concepts. A group of songs that, when taken together, will convey a certain meaning. In this way, The Incident marks a departure from albums like “In Absentia” and “Deadwing,” and a return to some of their earlier work, like “Voyage 34.”
There’s going to be a large group of casual fans who probably won’t dig this album, but the hardcore folks will definitely have fun with it. Aside from a few missteps, Porcupine Tree has brought together a great mix of both the hard and the soft, heavy rhythms and soaring melodies-another worthy addition to their catalog.
You can preorder “The Incident” at amazon.com. The album will be released on Sept. 15.
For more on “The Incident,” and other entertainment journalism by James Bingham, go to Working Title.
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September 4, 2009
Guest Blogger: Chris Saad
A couple of months ago, I received an e-mail from Marty, the director of a teen cancer organization called “The Sunshine Kids”. He asked me if my theatrical percussion group DrumJam would be available to perform for the 19th annual “Teen Lake Escape” in Lago Vista on July 10.
July 10, I gathered 40 different types of percussion instruments that we use in my band, including djembes, dirbekis, a concert bass drum, cowbells, cymbals, snare drums, trashcan lids, wood blocks and various kitchen utensils. I drove almost an hour and a half to the other side of the lake, where the event was being held at an incredible mansion. The kids had been enjoying themselves on the lake all day, taking part in activities such as jet skiing, para sailing, tubing, water skiing and swimming. I was a bit nervous about meeting all these children with a terminal illness.
I knew I had to be careful about what I would say, but I also felt that I was on a mission to inspire these kids to not give up, and to keep fighting against their sickness. Apprehensively, I rounded up chairs and put them in a circle on the patio, then placed the bass drum on a stand in the very center.
Shortly, all the kids migrated towards the patio, sat down, and waited quietly to see what was in store for them. I stood at the center of the circle and introduced myself. I proceeded by saying, “you may not have known this previously, but all of you are drummers. Since you all have hearts beating inside of you, you all have natural rhythm, and all you need to do is figure out how to communicate that rhythm to the outside world.”
For more of Chris Saad’s story about his time with the Sunshine Kids — and to read more of his entertainment journalism, visit “Got Entertainment?”
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September 2, 2009
Your A-List: Best Country Singer or Group
You thought this would be competitive? Austin’s best country singer or group? Really? Really?
Western Swing vets Asleep at the Wheel boogied into second place with 12 percent, while hard-working Kevin Fowler took third with 10 percent. Jack Ingram and Dale Watson stayed pretty close with 8 and 6 percent respectively.
It drops off rather steeply after that: Pulling 4 percent or less were Derailers, Mother Truckers, Dale Watson, Heybale!, Kelly Willis, Alvin Crow, Pauline Reese and High Country, Jon Emery, Sunny Sweeney, James Hand, Wes Hayden, Cornell Hurd Band, Jesse Dayton and Roger Wallace.
Sounds like a music scene all to itself.
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Kat Edmonson at Vino Vino
I had heard Kat Edmonson in passing …
Kat Edmonson and Alice Banks
Usually on MP3s, or at loud locations, which don’t match her soft, distinctive voice …
Joe Gavin and Devyn Marzuola
But no mistaking it: Edmonson possesses one of those offbeat instruments that, combined with jazzy phrasing and expert arrangements, produces a sound like no other …
Nicole Willis and Jeanne Jordan
I caught her working through the American Songbook at Vino Vino, an ideal spot for wine, food and an intimate chat …
Laurie Viault and Heather Leahy
But not exactly right for listening carefully to a softer grade of jazz …
Dan and Kimberly Renner
That didn’t stop the full house from appreciating Edmonson when they could hear her. For a sense of what she can accomplish, sample this video taken at the Elephant Room …
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August 29, 2009
Ear Candy: Austin Music Vol. 8, The Flatlanders, Porterdavis
For our freshly revived “Ear Candy” micro-picks series, we offer more Austin music, some of which has been out for many weeks …
The Flatlanders. “Hills and Valleys” — Weatherbeaten West Texans Jimmie Dale Gilmore, Butch Hancock and Joe Ely never sounded more trustworthy than under producer Llloyd Maines’ guidance in this New West blend of politics, guts and rootsiness. (References to Woody Guthrie can’t be ignored.)
Porterdavis. Self-titled. I’ve worn down the digital coding on this deep imprint of Austin Americana from this five-year-old act. I can tell, too, from this and MP3 downloads that they are a dynamite live act. But I still haven’t seen them! Missed the listening party at the Gibson Guitar Showroom and the CD release gig at Saxon Pub, both by my own fault. The omission will not be repeated.
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August 27, 2009
Music feeds the soul at the Squirrel Ranch
Music assumes a commanding role in the lives of Dan Bullock and Annette Carlozzi. Their Jester Estates house, which they wryly dub “Squirrel Ranch” for its treetop views, rings with it, as with art and opportunities for entertaining.
So naturally the business leader and the museum curator wanted to share the gift of music with others. So they regularly invite a dozen or so friends over for an evening of listening. But not just ordinary listening.
Bullock, who takes the part of emcee at these parties, invites the guests to choose, in advance, a CD with a song that holds special meaning for them. When the time comes, each guest explains their attachment to the music. And their choices scatter all over the map to include jazz, classical, rock, pop — anything that touches the soul.
Early Wednesday evening, I attended one of these sessions. Bullock talked about his West Texas roots and played two cuts from the soundtrack of “Giant.” I picked a cut from an Alpha Rev album, after explaining that my favorite Austin band represents the “Open City” sentience in Austin and how, at each concert, I felt connected to everyone in attendance, in part because of the complexly symphonic sound of the band. (I promised to alert the group when Alpha Rev’s first major-label album is released with better production values.)
All other revelations were off the record, but suffice to say they were touching, funny and uplifting in turn. These gatherings take on the characteristics of party game, spiritual testimonial and meet-and-greet. I’m sure Carlozzi and Bullock wouldn’t mind if you borrowed the notion.
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August 26, 2009
Ear Candy: Suzanne Abbott, Black Joe Lewis, Phoenix Down
After many months absence, we revive “Ear Candy” micro-picks with three Austin CDs already long on the market.
Black Joe Lewis & The Honeybears. “Tell ‘Em Your Name.” The volcanic soulfulness of Lewis’ performances are a throwback to the golden days of R&B. How much is ghetto and how much is satire in this hugely popular act?
Phoenix Down. Self-titled. This quiet Austin band deserves more attention, and this bare-bones recording documents the promise of its pop-rock building blocks.
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August 20, 2009
Willie Nelson's 'American Classic"'
Don’t do many record reviews. Yet when the American-Statesman music department asks, I oblige.
Willie Nelson once again stamps familiar standards with his ineradicable musical personality on his new album, “American Classic.” Nelson simplifies and slows down the tempos, then applies his tawny, world-weary voice to mostly melancholy lyrics, as he interprets songs from the mid-century catalog.
He leaves it to Joe Sample, Diana Krall and Norah Jones on piano, Christian McBride and Robert Hurst on bass and Lewis Nash and Jeff Hamilton on drums - along with dashes of sax, harmonica and organ — to supply the welcome jazziness.
Nelson had perfected this stripped-down strategy on 1978’s “Stardust,” recording immortal versions of “Georgia on My Mind,” “Blue Skies,” “September Song,” “Moonlight in Vermont” and the title song. Nothing on “American Classic” matches those intense refinements.
Nelson is weakest here in the duets with Krall and Jones, whose zesty playfulness contrasts with his drifting vocal responses. He regains his storytelling balance on “Angels Eyes” and he unspools homespun joy for “On the Street Where You Live.” Nelson saves the album altogether with his last two cuts, a soulful version of “Since I Fell for You” and a bigger-band retake of “Always on My Mind,” which he canonized in 1982.
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August 2, 2009
The WhoDo at Jovita's
Who suspected Lawrence Wright rocks out?
The WhoDo (or some of them)
The Austin author of substance (“The Looming Tower,” The New Yorker) slapped the keyboards (quite well) and sang (well enough) with the roots band, the WhoDo, at Jovita’s on Saturday.
Claire and Katie Breihan
Must be his alter ego, “Larry.” The South Austin assemblage delighted in the tunes, including a jazzy version of “The Eyes of Texas.”
Heyden and David Walker
Many in the crowd go back to Armadillo days (1970s). Others trace their Austin credentials even further back to Giant Armadillo Days (1950s).
Jim Hightower and Susan Demarco
One sweet lady coasted up to me, saying “Must be a slow weekend, if you’re covering this …”
Laura Castro and Daphny Dominguez
Truth is, I live spittin’ distance from Jovita’s, a short stroll across the steaming pavement, so a natural choice.
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July 18, 2009
Betty Soo and Fate
How often does this happen?
It’s a version of Jimmie Davis and Hank Williams’ “Lonesome Whistle.” My ears prick up.
In a hurry, I fail to find out the singer’s name. Oh well.
An hour later, I’m tapping away in the newsroom. I plop in a CD randomly selected from the promotional drawer.
It’s Betty Soo, an Austin singer-songwriter I’d admired, but never closely followed.
It’s lovely. Really lovely. Then the final track of “Heat Sin Water Skin” — a welcome title in this weather! — is Soo’s rendition of “Lonesome Whistle.”
The one from the radio.
The record, produced exactingly by Gurf Morlix, is a giant step up for Soo.
Go here for Joe Gross’ review (B+).
By the way, she’s the rare musician with a cool, accommodating Web site.
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July 15, 2009
Charlie Faye at Saxon Pub
In Austin, I fall in love every night …
Last night, it was with Charlie Faye …
Luke Fontenot, Mary Flynn
She’s an accomplished Austin singer-songwriter associated with the upgraded Americana line …
Mike Wacker, Lisa King
Faye introduced her CD “Wilson St.” at Saxon Pub — and the multivarious crowd could not be more pleased …
Ruby James, Ruby James (daughter, mother
This city is supremely blessed with talent. And this one was backed by a six-member band including over-arcing Will Sexton on guitar. Abra Moore contributed back-up vocals.
Deanna Kuykendall, David Holmes
This was my first Faye gig. It won’t be my last. Imagine adding one Austin act every week to one’s favorites list. How soon the musical wealth would pile up.
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July 9, 2009
Res Publica at Mohawk
A story unique to the Facebook Age …
Res Publica
Late Wednesday afternoon, Facebook alerted me that a Michigan band was playing at Mohawk that night at 8:30 p.m. Working on my iCal additions, I realized I could squeeze the gig in between two other social events. I made that whimsical decision because of the band’s name: Res Publica …
Heather Beckel, Alan Luecke
That means “commonwealth” or, in rougher Latin, “the civic thing.” Any band that employs ancient languages is OK with me. So I swam through the balm from my first party on Lower Congress Avenue to Red River Street. Paid my 6 bucks. Part of which went to Sudan relief. The band had started. And …
Brad Yeager, Shelley Ralph
They sizzled. Afro-Caribbean influences on a firm rock foundation. Tight rhythms. And lead vocalist Connor Ralph was channeling Jim Morrison ecstatically.
Audrey Huntsberger, Zach Ralph
I found out from Dell Inc.’s Alan Luecke, who greeted me on my arrival, how Res Publica made it to our fair burg. Turns out Alan knows the parents of one member of this Lansing act, and he passed along the word to James Moody of Transmission and Mohawk that these young musicians had dreamed all year of playing Austin.
Sloan Foster, Elise Flick
Magic. The artists even get to see Pinetop Perkins at Antone’s for his 96th birthday party. In the presence of legends.
Spencer Ralph, Peter Nelson
Connor — along with lead guitarist Sean Stynes, bass player Spencer Ralph, percussionist Peter Nelson and saxophonist Royce Phillips — are not ready for a formal review for such a short set. But keep an eye on the road from Lansing. You could be seeing another visitation during a future South by Southwest.
Guys, take heed from your final number: You are welcome here / There’s no need to fear
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June 26, 2009
"Thriller" or "Smooth Criminal" for choreography? You decide.
My response: “Thriller” broke new ground. Although it relied on the Bob Fosse triangle for core structure, the moves were revolutionary, influential. “Smooth Criminal” is sleek, more creative in it use of space and props, but more conventional, too, in the tradition of MJ heroes Fred Astaire and Gene Kelly. MJ adds his astonishing little pops, kicks, leans and shimmies, but it remains firmly in the mainstream of theatrical dance.
Which is better? Depends on if you value impact and innovation (“Thriller”) over complexity and sophistication (“Smooth Criminal”).
You?
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June 25, 2009
Dart Music International Happy Hour at Tiniest Bar
Even when the temperature hits 100 degrees …
Kirish Dirkson, Melody Lemonds
Dave Dart can attract a decent crowd …
Fred Ensminger, Alan Benavides
for a fund-raising happy hour — competing with the final College World Series game — at the Tiniest Bar in Texas …
Beena Thomas, Sheetal Malhotra
to support Dart Music International …
Alexis Hanson, Kyle Pollard, Candace Copeland
the nonprofit group that promotes and helps international acts …
Haley Oyler, David Markaverich
during SXSW and year-round.
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June 17, 2009
Moment of Silence: Tina Marsh
For decades, Marsh was identified with experimental jazz through Creative Opportunity Orchestra and with the dance community through her collaborations with Sally Jacques and others. She was inducted into the Austin Arts Hall of Fame in 2008.
I recall a lunch with Marsh. She, like many established artists, couldn’t understand why the media didn’t produce more standard reports — previews, reviews, profiles, etc — about her and fellow artists. By the end of the lunch, what was obvious to everyone else dawned on Marsh, that her story never conformed to standard press formulas. She was an artistic law unto herself — and that was tough to cover in a conventional way.
Her death has lit up the online networks among Austin artists and fans. “It’s a profound loss for the arts and for so many of us who loved her dearly,” said philanthropist Carol Adams. “What a gift she was!” says fellow artist Lauri Raymond.
Jan Hill recommends joining the bclub in Marsh’s memory. The group raises emergency funds for breast cancer survivors, similar to the highly successful Octopus Club.
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May 31, 2009
Alpha Rev at Antone's
Am I going to become one of those annoying fans who insists that every live set from a particularly favored artist sound like the Platonic Ideal of my youth?
Set aside the obvious fact that my youth has long since passed. (In fact, one polite young man at Antone’s late Saturday asked, in essence, why an decrepit guy like me would show up for an Alpha Rev concert. He was reallypolite. As was everyone else I talked to before and after the midnight set.)
Katie Ferguson, Tyler Guthrie
Back to that Platonic Ideal. Saturday’s playlist — with a few additions — was exactly what I want to hear 20 or 30 years from now, no matter how many dozens of orchestral pop albums Alpha Rev releases.
Brian Chavez, Henna Bixler
That will not please Casey McPherson and crew. They are artists, after all. Like Joni Mitchell, they won’t want to paint “Starry, Starry Night” over and over, metaphorically.
Did not give their real names. Grow up.
Maybe they can include some of these songs — first recorded live more than a year ago and soon to be released on a national label with improved orchestrations — in their inevitable encores when they play arenas and such. And when somebody films their concerts in 3-D.
Brandon Gibbs, Rachael Gibbs
I’m getting ahead of Alpha Rev’s ascent. Roomier Stubb’s next. The wall-to-wall crowd at Antone’s predicts it.
Bryan Lambert, Emily Krol
BTW, I saw that Rare magazine picked the Rev as Rarest Austin band. Rare is way ahead of some scribes in the press scrum.
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The Belleville Outfit at Momo's
Every so often, a band comes along that radically renews one’s joy in Austin music.
Admission: I’m late coming to the Belleville Outfit. Rightfully, they’ve already been lionized by the music press.
Jessica Spence, Ian Villamin
Better late than never, don’t you think? After their CD-release set at Momo’s on Saturday, I eagerly joined the Outfit’s ragtag army of fans.
Becca Gonzales, Celeste
Austin likes artists who can’t be categorized easily. Just try to count the number of influences on this band that starts out with a bluegrass flair, then branches out into jazz, classical, Eastern European, Middle Eastern and honky-tonk in the space of a few songs.
Bas Rokers, Molly Cummings
The Outfit’s followers, who snapped up copies of “Time to Stand,” are suitably heterogeneous. A good number of the grayer folks may have heard the band’s playful appearance on KUT, or maybe they were family friends of the sprightly Fire Ants, the teen group that proceeded the headliners on stage.
Katy Larkin, Miranda Dawn, Mary Derosa
Anyway, don’t take my word for it. Sample the Belleville Outfit, then get in line to follow them where ever they go.
Jeremy Cohen, Stephanie Hunt, Dick Jarrell
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May 30, 2009
Jeff Lofton at the Driskill Hotel Bar
I nominate Forrest Preece and Linda Ball as Best All-Round Downtown Residents.
You may recall that I posted about Jeff’s wife, Dean, earlier in the week. Soft-spoken, extravagantly dreadlocked Jeff’s a phenomenal jazz trumpeter, playing with a bassist and a drummer at the Driskill. Keeping the tone soft and the song selections drawn from the ballad repertoire, the trio matched the room optimally.
I watched the faces of the bar and hotel guests, astonished to find such a snazzy act in what essentially operates as an over-decorated hallway for the establishment. As Preece and Ball kept saying, “In New York, you’d be paying a stiff cover for this!”
You bet.
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May 28, 2009
Dean Lofton at Matt's El Rancho
If you are at all connected digitally — e-mail, Facebook, Twitter, etc. — you know Dean Lofton.
She linked up with me at Matt’s El Rancho, however, to discuss IBuyAustin.com, the nonprofit that spreads the word about local businesses and business districts. She knew in advance I didn’t need conversion.
After all, I live two blocks from South Congress Avenue. There’s only one national chain there: American Apparel, and I can’t fit into their skinny clothes.
Lofton’s from South Carolina. She’s spent time in California and Colorado, too, but she seems more closely suited to Austin, which she calls “peachy.” (Her only linguistic concession to the Deep South.)
She had met — or rather re-met — Jeff after many years and other other relationships because they had played in the same school horn section at one time. Now, Dean is helping to raise Jeff’s child; all three are thriving in Austin.
It’s largely thanks to Jeff’s professionalism and Dean’s grassroots marketing skills that jazz has bumped up its Austin profile in the last year. Catch him at the Driskill Hotel, Elephant Room and elsewhere soon.
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May 20, 2009
Your A-List, Best Album from the Last Year
Austinites produce scores of albums each year. So one might guess that the A-List vote on “Best Album from the Last Year” would be split among many artists.
Yet only two ended up in the serious running: Spin Alley’s “Victims” (34 percent of the vote) and the Gourds’ “Haymaker” (30 percent). Critically acclaimed Black Joe Lewis and the Honeybears’ “Tell ‘Em What Your Name Is” and Alejandro Escovedo’s “Real Animal” lagged far behind at 12 and 11 percent, respectively.
Populist Reckless Kelly’s “Bulletproof” swung for 9 percent. Kat Edmonson, whose set at the recent Paramount Gala excited a full house, came in fifth with 6 percent. Infectious Grupo Fantasma’s “Sonidos Gold” and Los Lonley Boys’ “Forgive” virtually tied at 9 percent.
Clustered together below 4 percent were Del Castillo’s “Del Castillo,” Riverboat Gamblers’ “Underneath the Owl,” Balmorhea’s “All Is Wild, All Is Silent,” Ruthie Foster’s “The Truth According to Ruthie Foster,” Eliza Gilkyson’s “Beautiful Word” Ian McLagan and the Bump Band’s “Never Say Never,’ Ocote Soul Sounds and Adrian Quesada’s “The Alchemist Manifesto,” Ume’s “Sunshine,” Seth Walker’s “On the Outside,” Rapid Ric’s “What It Dew 5” mixtape, and Nakia’s “Water to Wine.
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May 11, 2009
Walt and Tina at The Crossings
I accepted the invitation because I had never been to The Crossings. Heck, I’d never even been to Volente, the village of 300 souls on the north shore of Lake Travis.
The buildings leading to an eye-catching view of the lake are arranged like a summer camp. The place radiates wellness and good will. I can see why people look forward to retreats at this holistic resort.
The Treehouse Cafe lies to the rear of the dining hall. Its high ceilings allow for a relaxation niche up among the treetops. Beer, wine and sparkling water can be had at a narrow counter downstairs.
Here I came to see Tina and Walt Wilkins, who host fellow musicians on the shallow stage. At first, they seemed like any other duo I’d heard while wandering the parks, lodges and resorts of the West. Both sported long, straight blond hair; to that, Walt added a Michael Murphy beard. Their patter spooled out, sweet, soft, as if delivered on public radio.
Yet as the set progressed, I heard more distinction in Tina’s piping voice and Walt’s resonant guitar-picking. Their songs, some written by Walt, revealed a purity of vision along with a largeness of heart.
This husband-and-wife duo are Americana music industry vets and know the entrapments of Nashville as well as the joys of singing for an ever-expanding circle of friends and family.
The two dozen guests looked supremely relaxed in lake-wear, golf-wear and western-wear. I imagine these free Sunday concerts will remain a treat for those in the know. And someday, I’ll return the The Crossings for another event among the scent of the cedars.
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May 4, 2009
HAAM Benefit at Congregation Agudas Achim
Joshua Newburger is a lucky Austin student.
Kristina Winters, Joshua Newburger, Ora Shay
Not only has he earned an excellent musical education, as evidenced by his violin performance on Sunday at Congregation Agudas Achim.
Sandra van Tilburg, Kees van Tilburg
But he also is receiving a socially connected education at the tiny Khabele School in Central Austin. Part of that program insists students devote two weeks out of the year to special projects; one of those must count as community service.
Mary Wood, Robin McKeever
Newburger chose the Health Alliance for Austin Musicians as his beneficiary, and staged a fundraiser with silent auction and reception, besides the concert. Now how many times does a high school student do all that?
Claire Nassaux, Micah Sutton, Aubrey Boozer, Theresa Woodsong
The concert was delayed a bit as the audience searched for the venue at the Dell Jewish Community Campus. I took the time to explore the synagogue. This Lake/Flato masterpiece is one of the finest buildings in Austin, a symphony of wood, concrete, metal and, of course, Texas light. Acoustics crisp. I could spend all afternoon there, if there weren’t other events …
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April 22, 2009
Your A-List, Best Rock Singer or Group
Almost tied with Ghostland was Americana act Reckless Kelly, also at 21 percent. Austin mainstay Bob Schneider came in third with 13 percent. Indie rock band Zykos took 6 percent, closely followed by singer-songwriter Alejandro Escovedo and Boxing Lesson. Okkervil River snuck up behind this tight cluster with 5 percent.
The list is long of those earning 3 percent or less — a good thing if you like democracy. They include Broken Teeth, Vallejo, What Made Milwaukee Famous, Black Angels, White Denim, Octopus Project, The Strange Boys, Patrice Pike, Shearwater, Gulf of Mexico, The Mercers and Tammany Hall Machine.
Lots of talent on parade.
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April 15, 2009
Your A-List, Best Recording Studio
Years ago, to record a really hot disc, musicians were forced to camp in Los Angeles or New York, or at the very least, Nashville. Now Austin is home to numberless high-quality recording studios, along with domestic improvisations that, because of the digital revolution, can equal the top products of the past.
Bismeaux stomped with 38 percent of the vote. Nelson’s own Pedernales Studios — with its magnificent equipment — came in second with 18 percent, while Xylo, unknown to this writer, picked up 16 percent.
Congress House came in fourth with 6 percent. Receiving 3 percent or less were Ohm, The Finishing Studio, Sweatbox, The Bubble, Wire Recording, Addison Studio, Cacophany, Murray Music, Music Land, Premium, Top Hat and Flash Point.
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April 14, 2009
DrumJam booms at Stubb's
Over the course of months, I continued to check in. Late Friday, I caught them inside at Stubb’s after the sold-out Blue October concert (outside). At my suggestion, theatrical director Dave Steakley, along with his partner, Tony Johnson, met me there. I also ran into SureFire Media’s Stephen Tatton, a sure spotter of emerging talent. He appeared to be on his way out after the marquee act, but stayed for the entire set instead.
DrumJam has evolved. Zack Attack, the charismatic guitarist, is now way more than a metal hair act in the making. He adds a controlled layer of wiry melody to the mix. Chris Saad remains the magnetic core of the band, focusing the audience’s attention and leading his cohorts in frenetic drum play. They all contribute, though, equally and with disciplined frenzy.
The band closed their set with mass audience participation, Saad bringing guests up on the stage. Steakley, king of such things, must have loved that.
(Later, Steakley, Johnson and I repaired to the Rusty Spurs and the attached bar next door. We ran into the owner who promised good news soon.)
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April 5, 2009
Austin talent galore: The Soldier Thread, 'Shooting Star'
Sometimes, I break down and do what I want to do. And that often means luxuriating in Austin’s bottomless pool of talent.
Late Saturday night, I caught the CD release party for the Soldier Thread, now among my top Austin bands, at La Zona Rosa. The artists kept apologizing for technical difficulties. Somebody must be an obsessive perfectionist, because this blend of alt and ambient — symphonic in its own right — was just right for me. (Before they took the stage, Pompeii, a longtime crush, proved they still have the stuff.)
Sunday afternoon, I strolled down to Zach Theatre to catch the very last performance of “Shooting Star,” a wise comedy about a former couple stranded in an airport. Austin is supremely lucky to have artists with the goods such as writer/director Steven Dietz, as well as actors Barbara Chisholm and Jamie Goodwin. You knew it was going to be worthwhile, but still … fantastic when they all deliver.
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March 19, 2009
O&A SXSW 33: Exclusive Perez Hilton Interview 2
For Part 1 of the Perez Hilton interview, see earlier post…
How do you know when an act is going to break?
It’s definitely something I’ve thought about. If the right opportunity presents itself, hopefully it will happen. Things don’t always go at the pace you’d like. I’m used to working on the Internet where everything is “now, now, now.”
Your party was the talk of last year’s SXSW. What drives this intense interest in your presence?
It’s not about me. it’s about the music. If I picked really bad people, nobody would show up. Because I’m passionate, because I have supported these artists in the past, they want to be involved. They hear, “So and so is going to do it, I’ve got to do Perez’s show. That’s a priority.” That’s great to hear as well.
But you will be there. That’s a draw.
I’m going to show up and be very Perez. I’ve chosen the most over-the-top outfit. The music industry people will cover the event, but I want the mainstream publications to talk about it as well. I want to get on some worst-dressed lists.
So many breakthroughs — technically, legally, tonally — have made you the gossip columnist of our time. To what do you credit this ascent?
Just hard work. I work harder than anyone. I don’t sleep much and I don’t have much of a life.
Are you still having fun?
Absolutely. Tons.
How long can you keep up this pace?
Another four years. Till I’m 35. I’ve given myself a limit. Not that I will retire. I’ll just work 8 hours a day, rather than 16. If I cut my work hours in half, I’ve gotta hire people. I don’t think it’s healthy to work like this for a more than a decade.
Hilton will sign “Red Carpet Suicide” at Bookpeople 2 p.m. Saturday.
“One Night in Austin” party is 7 p.m. Saturday at the Dell Lounge. Very limited access.
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O&A SXSW 32: Exclusive Perez Hilton Interview 1
Lining up a phone interview with Perez Hilton, Queen of All Media, is only slightly less complicated than scheduling an audience with the pope. But once offered — through several filters of publicists and handlers — one can’t resist the temptation.
Our first telephonic attempts on Wednesday were frustrated by the late arrival of his Austin flight and the SXSW curse on iPhone connections. But eventually, we spoke with the ultra-hardworking columnist on Thursday.
Went to a couple of shows, and to a bar for one drink. Because my flight was late, I missed a lot of earlier shows. I did catch The Temper Trap and Aqualung. And I went to Oilcan’s. For a little bit. I can’t rage because I have to get up at 6:45 Austin time for East Coast radio shows. Good thing I don’t need booze to have a good time.
Your “One Night in Austin” event during SXSW on Saturday complements your informal role as musical tastemaker. What’s the guiding principle of your musical tastes?
What connects all them is they make good music. That’s it, really. Their genres vary, but the songs connect with me. A good song instantly catches your interest. There shouldn’t be much thought involved. You like the first time you heart it.
Looking at your lineup on Saturday, what connects Kraak & Smaak, Solange, Lady Sovereign, Margaret Cho, Ladyhawke, Little Boots, Ida Maria, Thunderheist, Rye Rye and Natalie Portman’s Shaved Head?
Well, it’s all female performers and all guy DJs. It just sort of ended up that way. I definitely have a preference for female vocalists and I’m thrilled they will get a chance to rock out on Saturday. I think it’s the hottest lineup at SXSW ,if I can toot my own horn. I mean, there are acts (at the fest) like Tori Amos, but not this much talent at one place at one time. And they are from all over the world.
Why female vocalists? Is it because they express emotions more easily?
I tend to prefer solo artists over groups. When guys become musicians, they tend to be in bands. There are solo male singers, but they prefer groups.
More to come…
Hilton will sign “Red Carpet Suicide” at Bookpeople 2 p.m. Saturday.
“One Night in Austin” party is 7 p.m. Saturday at the Dell Lounge. Very limited access.
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O&A SXSW 31: Austin Music Awards
If anyone needed a full-immersion preview of the chthonic SXSW nights ahead, the 2008-2009 Austin Music Awards would have done the trick.
Jacquelin Innes, Ray Boyd
The mussy ceremony really does belong in the equally raw Austin Music Hall. Guests — some showing their years of hard living, others who have hardly lived — poured onto the main floor, spilled over into the balcony, crushed onto the terraces and slipped into semi-private VIP enclosures.
Julie Choffel, Jason Chang, Lizzie Choffel
In many ways, the ceremony, with its themed musical performances and endless acceptance speeches, reflects its origins in the Austin Chronicle — jumbled even as it is rigidly programmatic, endearingly opinionated if not always rhetorically effective, always in need of one last edit.
Kivett Bednar, Jennie White, Hudson Mueller
The Doug Sahm tribute attracted the most attention from close observers of the music scene.
John Sanchez, Lauren Gaines
The Awards, like the Chronicle, have always done an admirable job honoring certain slices of Austin’s cultural inheritance.
Tracey Ramsey, Karen Peterman
In many ways, the Hall of Fame is its finest contribution — all the inductees deserved permanent honors this year — but the Awards also recognize what’s happening on the street and with the critical community, thus the multiple nods for the Black and White Years and Alejandro Escovedo.
Emily Hoover, JD Cronise
Like many guests, I grew restless in the auditorium, and spent much time scanning the lobbies for familiar faces.
Noël Conley, Christine Ann, Raven
Most precious moment: Recognizing but not believing I had just photographed Ruthie Foster. Halfway through the spelling-of-her-name ritual, I yolwed: “I know who you are! I adore you! I’ve just never seen you so close up!”
Ruthie Foster, Katie Hostettler
Like many performers, Foster’s persona expands for the stage.
Zach Stetson, Ashley Schiltz
Then it was off to Mulberry, the wine bar across the street, which has doubled its capacity with outdoor seating. Out & About experience: At least one person from every group that entered knew me — or met me.
Mark Groutas, Stephanie Groutas
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March 18, 2009
Your A-List, Best Latin Group or Singer
Ages ago, the musical category “Latin Group or Singer” would have naturally attracted a long list of Tejano artists. No longer. Austin’s Latino music scene has diversified in a dizzying manner, leaving A-List voters with a hemisphere of candidates.
No. 3 on these particular charts was an old Austin hand who still retains a boyish charm — David Garza with 11 percent. No. 4 is one of the city’s ecstatically embraced bands — Grupo Fantasma with 9 percent. Critically lauded Alejandro Escovedo took 7 percent, while large-sound Del Castillo snapped up 4 percent.
Salvaging 1 percent or less were Brownout, The Brew, Manejo Beto, Patricia Vonne, Lila Downes, Los Bad Apples, Ocote Soul Sounds, Charanga Cakewalk, Kanko and Latin at Heart.
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March 11, 2009
O&A SXSW 2: Selling Mishka through Matthew McConaughey
A very professional firm has been pitching to anyone who will listen an interview with Mishka, a reggae singer signed as the first act on Matthew McConaughey’s Just Keep Livin’ recording label.
Well, the artist is virtually unknown in this part of the world. And his patron is Austin royalty. Why not a short interview with McConaughey to pump up interest?
Nothing doing, says the firm. A phoner with the nebulous singer or nothing. Predigested compliments from MM will be available.
Well, both parties will be in Austin for SXSW (official showcase, Stubb’s indoors March 19), so we’ll see who actually lands a credible interview with McConaughey about his fondness for Mishka. Meanwhile, we’ll borrow this quote from TwentyFour Bit Music News, which we assume graciously took the publicist’s bait.
“He’s intense,” Mishka said of the Hollywood star turned hit record producer. “Like I say, he’s a very grounded person, but he can be very meticulous. Going over everything with a fine-toothed comb. He wouldn’t overlook a single millisecond of recorded sound.”
Tip Jar: Out & About had planned to cover 100 parties during the 10 days of SXSW. Not gonna happen. Not with these roasted gams. Yet your social columnist promises to post 100 juicy SXSW reports with your help. Send news tips, street anecdotes, celebrity sightings and party pics (only the best) to mbarnes@statesman.com and check my Facebook, Twitter and austin360.com blog accounts for updates on your own good reporting. It’s my party and I’ll post if I want to …
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March 1, 2009
Jonas Brothers thrill Austin fans with surprise visit
When metal meets metal at a high speed, the collision produces a screech that could pierce a concrete bunker.
“I just touched Nick Jonas’ hand!” shrieked Ashley Volk, 15, into her cell phone.
Well, it wasn’t completely unexpected.
Early Sunday, reporters were bussed out to Austin Bergstrom Airport to meet the “Surprise Theater Invasion” entourage as they reclaimed earth from their Marquis Jet. The expertly managed press conference inside an airline hangar lasted only five minutes, then it was back to the theater as part of a police-escorted motorcade.
During those five minutes, though, the assiduously wholesome New Jersey siblings revealed a few details about the foibles of fame as Disney-fueled pop stars.
“In Spain, one crowd was so enthusiastic, we had to run through a mall to escape,” said Kevin, the eldest, side-burned brother. “And I read once that I was married to a Pakistani woman.”
“I read we were breaking up,” said Joe, the quieter, middle brother. “That didn’t happen. We did receive, as a gift, a dead shark in a glass tank.”
The Jonas clan has made several sneak attacks on fans during their movie’s opening week, including Los Angeles, New York, Atlanta and Dallas.
“We also are doing some smaller towns like Austin and Charlotte (N.C.),” said Nick, the youngest, most theatrical member of the band. Nice to be included.
They called their Grammy Awards ceremony appearance with legend Stevie Wonder “inspiring,” then spun off some musical influences — Elvis Costello, Prince, Kings of Leon.
Later, at the theater, social temperatures rose in anticipation of the Visitation.
“I love it!” said Meredith Warren, 11. “I love Joe!”
“I love Kevin!” countered Avery La Rue, 11. “I love them all! When I get to school tomorrow, I’ll rub their noses in it.”
Addie Bueide, 8, burst out with a series of responses: “Excited. Nervous. Shaky. I’m going to scream. Loud.”
Sabrina Arispe, 8, likes the team’s music, movies and inherent cuteness, but her brother takes a different tack: “They’re funny,” says Ricky Arispe, 12.
Oh, kind of like the Monkees? Reference lost.
When the act entered finally entered the room, three hours after the first fans lined up outside in 40-degree weather, they spoke for less than a minute, then waded into crowd, buffeted by heavy security.
“It’s for the love of fans,” Nick said. “We wanted to make sure they were a part of this.”
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February 25, 2009
Stray Austin celebrity news, including one last Clinton item
You might already know the emerging band No Show Ponies, whose CD, “The End of Feel Good Music,” arrives April 7. One of the Ponies, Ben Brown, caught up with Pres. Bill Clinton at the big initiative here, along with his fiancee, Courtney Spence, of the celebrated Austin Spence family. All three pictured.
Marshall Kuykendall dropped us a note saying that Haley Haiser, his granddaughter by the late Karen Kuyendall, is performing in the Kids Acting Theatre . Recall that Haiser is also related to humorist John Henry Faulk (Karen’s uncle) and movie actor Guich Koock (Karen’s brother). “It’s in the genes,” Marshall says.
Belated congratulations to Michelle Polgar and her team for “Cyrano de Bergerac” at Mary Moody Northen Theatre. It all the right romantic notes. Especially keen was MMNT’s new artistic director, David M. Long, as the panache-plashing Cyrano.
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February 20, 2009
IT'S WAR!
The sovereign state of Out & About declares total and permanent war on the outlaw tribe of music-club babblers, bags of wind, bigmouths, blowhards, chatterboxes, gabbers, gasbags, gossipmongers, jabberers, loudmouths, motor-mouths, windbags and yappers.
(Yes, that’s a synonymal selection from thesaurus.com.)
From now on, I vow to confront them with more than freezing looks and discreet remonstrations. They are the canker sores on Austin’s smooth-featured music scene.
And yes, I know Austin columnists far more brainy and influential than I have battled this biblically proportioned plague with little apparent success, but for me, it’s once more into the breach.
I sat on the “music side” of bar, aware from previous visits that the north section was more chatty, bleeding into the pressure-valve pool hall and always-occupied smoking perches outside.
In between sets, a couple of sandal-clad young men were hitting on two expertly groomed young women (“The Sandia Mountains are off the charts, man!”) to my left, while a clutch of co-workers mourned the end of a colleague’s relationship (“I want to fall in love with a woman — for a week.”)
All well and good. They were stationed just far enough away that, once the Hyland launched into his first plaintive song, I could ignore them. But just before his arrival, two ladies squeezed into the tiny zone between my bartsool and the one occupied by one of the well-groomed young women.
“We’re taking over this space, OK?”
Animated does not begin to describe their conversation (“I knew when I moved to Austin, I’d get a divorce!’). They chattered vigorously, then invited various unattached men to join their party, even as Hyland slowly cranked up his vocals in response.
At one point, an Earth-goddess of a woman — bless her — came over, smiled, hugged the women, then begged them to move to the other side of the bar. “We’re listening to the music,” she rather obviously explained.
They declined. No amount of head-craning or stool-scootching from my end helped. There was no place to sit otherwise, and I needed to sit at the end of a long social day.
Later, one of the chatterers disappeared, leaving her high-volume friend in conversational despair. So she turned to me — of all people! — to complain that some tall man was now blocking her view. What could I say?
I boiled. I fumed. Now I declare open hostilities. This outrage must end.
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February 18, 2009
Chatting up Madonna's DJ Enferno, Part 2
For Part 1, see post below …
So tell me a little about your Live Remix techniques.
What will you try to accomplish with the Pangaea crowd next Friday? Is it all planned, or do you respond to the audience’s physical cues?
The Pangaea gig is my straight club set-up, not Live Remix. These are never planned out and are always based on give-and-take between myself and the audience. You learn you’re not there to shove music down people’s throats, but you’re also not there to play jukebox. If you do it right, you can control the crowd, sure. Music touches on so many emotions, especially if people are drinking. (He laughs.) It becomes a dance between the DJ and the crowd. You can take them on a ride, take them to places they’ve never been.
I ask every DJ this: Short or long tracks?
It’s a matter of what’s relevant at the time. Sometimes it’s right to just play snippets, or mix quickly, or to give the audience a quick adrenaline boost. But then you just don’t cut them off. You have to know when to let it go, to let the song take its course. Still, nothing works all night. You have to watch the crowd and feel it out and know if you’ve gone too far. You can get the audience to listen to something they didn’t want to listen to in the first place, and you can see it in their faces: ‘Hey, I’m really getting into that.’
Photos by Douglas Sonders.
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Chatting up Madonna's DJ Enferno, Part 1
Eric Jao, spinning as DJ Enferno, will manipulate the crowd at Pangaea Feb. 27. The D.C.-bred spinner, 33, recently finished playing a key role in Madonna’s “Sticky & Sweet Tour.” (He was discovered at an Orlando club by her music director, Kevin Antunes.) During his debut with the hard-driving pop star, Jao didn’t just show off his turntable tricks, he was asked to help remix some of Madonna’s classic songs. Pretty cool by any standard.
We talked to Jao by phone. He sounded more like a serious, conservatory-trained composer or performer than your average DJ. Personally, I’m awed by what these guys can do when they get it right. You can bet I’ll drop by Pangaea that night.
Eric Jao: It was definitely sweet. Actually, it was an epic experience. It spanned a period of eight months, four months longer than the actual tour, including rehearsals and promotional tour.
Big change in your life?
Before that, I was doing all right with my own solo work. It’s a big change playing in a club environment for a couple thousand people, then being on stage — with the band the entire time — and with the biggest star in the world, performing for 75,000 people. It’s a different type of animal. At the beginning, there was the shock factor. I couldn’t believe I was there. Once I was there, I realized I’m working among the best at whatever it is they do — drummer, keyboard player, staff member, accounting … On one hand, it made me feel comfortable, but since it was my first experience of this type, I thought ‘I hope I can live up to what everyone else is doing.’ Eventually, I started to really realize I belonged here. Until you actually do that, you never know.
But you did more than that…
After the promo tour, another part of me was tested. Madonna’s manager, Guy Oseary, was on phone saying: ‘We want to keep getting your input on the creative process.’
What do you think Madonna was listening for?
She never said exactly what she wanted. She just said: ‘Keep talking, we want your input. Work directly with Kevin (Antunes).” I went from doing something performance-based, then I had this added responsibility of doing something creative, something vital to the flow of the show. I don’t do that for a living, so for her to see me in that role, it was a big deal. You can’t help but learn more about what you are capable of doing in such circumstances. That was another emotional boost.
More to come …
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February 15, 2009
Mandy Lauderdale at Aces Lounge
How to describe Miss Lauderdale of “Temptation Island” repute? (Oh, you thought we forgot? Never.)
A fine-featured Atlanta belle turned scandalous by New Orleans dixieland? A New York stage gypsy determined to scratch her way into the national limelight, one sculpted fingernail at a time? An accomplished vaudevillian who can turn any page from the songbook into a novelty number?
All of the above?
Lauderdale’s is the most theatrical cabaret act I’ve witnessed in Austin, replete with audience participation that would make Zach director Dave Steakley blush with envy.
Let’s see, she set up a kissing booth, staged a toenail-painting session, shimmied with her mom and sis, blasted “Boogie Woogie Bugle Boy” with an endearing clown in a kilt. Come to think of it, she’s like an early, less raunchy, less sassy Bette Midler, caressed by class.
Her material is shaded light blue — woman-proud, man-crazy, faintly campy, slipping right into the Aces aesthetic. Lauderdale helped prove that Aces is one of the liveliest music stages in town. (Thrilled to hear the new club will be a SXSW venue.)
Lauderdale, you’ve got it.
Note: Photo is of Lauderdale at an earlier Belmont gig.
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February 4, 2009
Your A-List, Best Newcomer to Austin's Music Scene
The raw rockers, the Steps, gained entry into the Austin City Limits Festival — not once, but twice — the second time by winning the fest’s battle of the local bands contest. They do well at contests, drumming up 42 percent of the vote in a hotly contended A-List rally.
SXSW-headed songwriter Ben Mallott and his band came in second with 31 percent of the tally. Indie rockers Built by Snow took third with 18 percent.
After that, the vote drops off precipitously. T-Bird and the Breaks lead a parade receiving under 2 percent: Bellville Outfit, Harlem, Foot Patrol, Dana Falconberry, Goldcure, Joanna Barbera and Gospel Truth.
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January 30, 2009
The Hold Steady to play for Rachael Ray SXSW party
Last year, guests raved about a hot time at the Beauty Bar with Ray and the band-of-the-moment Raveonettes as well as the Cringe and Holy (Explextive).
She’s also throwing a pre-SXSW party in New York on Feb. 25 at Santo’s Party House, rocked by Semi-Precious Weapons, the Orion Experience and the Cringe.
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January 28, 2009
Ear Candy: Jonathan Sacks, Jon Lord, Cameron Carpenter
Three micro-reviews that don’t fit into any category:
Jonathan Sacks “Fifth (S)eason” (Navona) I was thinking: This sounds like high-end soundtrack music. Then I remembered Sacks writes for the movies. Craggy and spare at times, orchestrally fulsome at others. The seriousness of the packaging is a little off-putting.
John Lord “Boom of the Tingling Strings” (EMI Classics) The Deep Purple artist pulls from whatever disparate sources — musical and emotional — that his life has provided. The title composition and accompanying “Disguises” pull more from classical than blues/rock.
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January 26, 2009
One World Gala
It’s easy staging a gala if you’re One World Theatre.
David Hubbard, Lidya Wati
You’ve got the right place. Performing arts venue upstairs. Lobby downstairs. Banquet tent in the plaza. Views of the green valley below.
Gloria Ward, J. Rene Ward
You’ve got long-lasting relationships with national and international artists, which is why high-note crooner Michael McDonald played One World’s fundraiser on Sunday.
Creek Ford, Cassie Ford
You’ve got a worthy cause, since the group, better known for its Bee Caves Road facility, educates schoolchildren about global arts. (That was its original mission.)
Peter Rehme, Harper Ford
You’ve got an unusual social mix, which includes folks from Lakeway and Barton Creek you don’t often see at Austin events, as well as stragglers from out of state. (I once compared the One World crowd to the Malibu set — tall, tanned, yoga-smoothed — but that’s not quite right.)
Gabe Young, Danielle Young
You’ve got the potential for an efficient catering affair, although, I must say, Sunday the nodal buffet strategy stretched out the dinner hour.
Ashwin Ghatalia, Bhanu Gatalia
You’ve got hardcore supporters who not only donate premium auction items, they also bid on them. (A classic guitar signed by all the Rolling Stones when for three or four times another signed by Brooks & Dunn. Not a big Brooks & Dunn crowd. Designer Marla Bommarito-Crouch and Vignette’s Neil Webber were big bidders.)
John D’Acierno, Jill Skinner
You’ve got certifiably adorable auction items, such as the Coton de Tulear named Muffinhead (later renamed Doobie), which went to a bidder who already owns two of these lap toys.
Nada Stearns, Muffinhead, renamed Doobie
You’ve got a natural audience in the attendant social media. (Note to organizers: Don’t seat the press together. We already know each others’ stories. If we are to report, we need fresh meat.)
Claire Winslow, Matt Pfohl
You’ve got a lovely hillside location that’s immeasurably improve by valet parking. For once, I was delighted to leave a fat tip to avoid navigating out of One World’s lower lot.
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January 24, 2009
Bass Concert Hall social scene with Estelle Shine & John Legend
The hype did not match the Long Center’s — by a long shot. But then again, the alterations were not as dramatic. Except out front, where Bass Concert Hall is a completely transformed building, ripe for social engagement.
Mindy Graves, UT Pres. Bill Powers
For the John Legend kick-off concert, Austinites flocked to the five lobbies, doubled in size. The welcome began in the capacious ground-floor lobby, continued to the third-floor cafe and fourth-floor private club. As one guest put it, the modern lounge feel of these areas felt “metropolitan.”
Dean Doug Dempster, Kath Anderson
UT President Bill Powers spoke, although the corner conversation nooks in the members club echoed every competing conversation. College of Fine Arts Dean Doug Dempster also addressed the mob, which included former Performing Arts Center Director Pebbles Wadsworth.
Paul Beutel, Cliff Redd
Dempster announced the incoming director of the PAC (for that news and more, go to Jeanne Claire’s blog).
Ann Butler, Michele Baylor
Representatives from the major Austin presenting houses were there: Cliff Redd and Paul Beutel from the Long Center; Ken Stein plus board members from the Paramount.
Andrew Heller, Mary Ann Heller
Ready for the entertainment were Zach Theatre’s Dave Steakley and partner Tony Johnson. (Later, Steakley interacted ecstatically with the opening singer.)
Kathryn Garvey, James Gorski
We ran into Mary Ann and Andrew Heller, both glowing from their inaugural ball experience (Andrew sang with the Austin Community College Jazz Band). Joanne and Chris Crosby huddled with Wadsworth, who looked beautifully relaxed in retirement.
Dr. Netsanet Hopkins, Quincy Hopkins
So were politicos past and present, such as Texas Rep. Dawnna Dukes and her predecessor Wilhelmina Delco, who shared stories, gleaned from a Wildflower Center gathering, of supreme politeness during the presidential inauguration in D.C. (She watched from the comfort of her home.)
Beverly Silas, Rob Lippincott
Also everywhere was former Mayor Roy Butler and his wife Ann, who has served on the PAC’s board for ages. I asked the mayor if he remembered the Bass opening in 1980. He smiled wisely and said, “I remember it, but not the year!”
Glen Hitchins, Melissa Hutchins
Others in attendance included Texas Cultural Trust honcha Amy Barbee, Shout editor Rob Faubion and his partner, JoeLane Schumann, hostess and assistant dean Sondra Lomax.
Mark Rosen, Kanitra Fletcher
I noshed on tiny deviled eggs and chocolates tipped with coffee beans, then settled into the slightly altered hall (see Jeanne Claire’s previous descriptions of the sound and decor improvements). Opener Estelle Shine lived up to her name and put smiles on the full house with her bouncy dance music. Sitting on the second row, I lost some of the front sound — and most of her words — but that was redeemed by proximity to her electric presence.
John Legend
That dear proximity was only amplified when Legend took the stage. The 30-year-old songwriter with the baby-boxer features knows he’s a smooth sex symbol and he played it to the hilt. If his songs soon start to sound alike, he never let his performance droop.
I didn’t drool. But I did dance.
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January 23, 2009
Grounded in Music at Gibson Guitar Showroom
I report on a lot of community-based charitable groups, or at least on their social events. Few have impressed me, right out of the gate, as much as Grounded in Music.
Katherine Patton, David Campbell
The group matches professional Austin musicians with needy youngsters in a program that’s recreational, educational and potentially life-altering at the same time.
Joe Garcia, Jessica Garcia
In just a few months, Grounded in Music was duplicated in Philadelphia and now other cities are looking at this little Austin miracle. The Boys and Girls Clubs of Austin is a steady partner.
Traci Goudie, Lindsay Hoffman
Yet here’s the most amazing thing: The annual budget is $20,000. Has that sunk in? $20,000 buys you almost nothing in most nonprofit situations.
SaulPaul, Gina Fant-Saez
There’s more: In one heart-warming event Thursday night, the group raised $35,000, says leader Joe Stallone.
Brett Robbins, Zach Baker
Austin TacoDeli catered. Gibson Guitars lent their expanded showroom. Musical instruments were auctioned. Pretty darn good for such a boostraps operation.
Scott Morrison, Lori Morrison
We heard various musicians, including a trio of young rappers and soulful Nakia (not together).
Lainey Fisher, Jeff Fisher, Surrenden Gillespie
But feeling a post-inaugural energy lag, I didn’t stay for exquisite songsmith Patty Griffin, the reason so many had paid to attend.
Sean Garrison, Leah Bystrom, Jeff Etheredge
Well, I’d heard her at the KUT Anniversary Party just a few months ago, so…
Martha Dillon, Frances Rivera, Mary Ermel
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January 16, 2009
Ear Candy: The Soldier Thread
Regular readers will recall my previous scribblings on modern Austin bands. And music critics tell me, sometimes helpfully, sometimes dismissively, that my favorite Austin acts of late descend from strands of Beatles, REM, U2, Mogwai and Coldplay DNA. And this is a Stones town, not a Beatles redoubt.
Recently, I added the Soldier Thread to my addiction list that has recently included Ghostland Observatory, Ghost of the Russian Empire, Pompeii, Alpha Rev, Jets Under Fire, Meridianwest, Explosions in the Sky, Baker Hotel and, in a more historical or soundtrack-like vein, Noise Revival Orchestra, Grupo Fantasma, White Ghost Shivers and Asylum Street Spankers. (Some of these acts are already defunct or on the way to extinction, I fear.)
The Soldier Thread has now released “Shapes,” which thickens their fine live work with textural agents from Tosca String Quartet, Kullen Fuchs and Lars Goransson, who also produced the album for the core group: Todd Abels, Patricia Lynn, Justin McHugh and Drew Vandiver.
It’s splendid from beginning to end. The basic rhythm seems to derive from New Wave antecedents, guitar from the so-called Epic line, harmonizing vocals from various tensile traditions. Yet the strings, and, to a lesser extent, horns and keyboards, give the band a distinctive edge. Or, perhaps, they soften that edge. More thoughts on another day.
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January 9, 2009
Ear Candy: Joshua Bell, Denis Matsuev, Zuill Bailey, Boston Baroque
Denis Matsuev “Unknown Rachmaninoff” (RCA Red Seal). Buy this album today. Matsuev, who won the 1998 Tchaikovsky Competition, peels away the encrustations on Rachmaninoff’s lesser known piano works (plus a couple plums reinterpreted).
Zuill Bailey “Russian Masterpieces for Cello and Orchestra” (Telarc). Just when we despaired of finding radical cello talent, we stumble on Bailey — OK we’re late to the brand — who reinvents conversant Tchaikovsky and Shostakovich. Another highly recommended.
Joshua Bell “Vivaldi: The Four Seasons” (Sony Classical) and Boston Baroque “Vivaldi: The Four Seasons” (Telarc). You want a soloist pulling out the fine threads of an over-familiar composition? Go with Bell. Want something along antique lines? Boston for you. Two lovely Geminiani come with it.
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January 8, 2009
Ephraim Owens at the Elephant Room
At first I thought his sound was under-supported. Not enough breath. Then I listened more carefully. Ephraim Owens’ trumpet is a whispery, yet exacting instrument, taking tunes like “Bye Bye Blackbird” on atmospheric flights beyond the horizon.
Ephraim Owens, Patti Cox
Owens played as part of a quartet Wednesday at the Elephant Room — the piano, upright bass, drums complementing his sometimes subtle, sometimes bold playing. Owens doesn’t push himself forward like some frontmen, sharing the stage instead, benevolently, harmonizing with a guest horn player who, I believe, is from San Marcos.
Sam Lewis, Jessica Mauricio
Although I was swept away by Owens, the evening was adulterated by yackers at tables around us. One group did not glance in the direction of the stage for the entire first set. Why, oh why would you choose the Elephant Room on a Wednesday to catch up on real estate gossip at top volume when, no exaggeration, there are 150 other bars and clubs downtown?
Nathan Toews, Delfina Garcia
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Dave Dart of Dart Music International
Therein lies his renewed dedication and his relatively new job: Running Dart Music International. It’s a small nonprofit — budget: $80,0000 — lubricating the machinery so musicians from around the world can connect with Austin.
Hundreds of far-flung musicians will arrive in Austin this March, for instance, not knowing what awaits them at SXSW. Dart deals with visas, housing, exposure, scheduling, budgeting. He even counsels some bands to wait until the time is ripe for their ascendancy.
He’s also branching out into regular sponsored concerts of foreign acts in order to expose Austin’s club set to distant cultures. Sweet. Hope Dart collaborates with older, more established nonprofits for joint ventures.
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January 7, 2009
Your A-List, Best Hard Rock/Metal Group
Coming in Numero Uno is glammy, New York Dolls-ish Broken Teeth, with 20 percent of the vote. Not far behind is Sword with 18 percent. Tia Carrera and Super Heavy Goat Ass (would love to have witnessed that band-naming session) follow with 12 percent and 10 percent respectively.
Whore of Babylon hustled up 8 percent, while Honky and Grady split the difference at approximately 7 percent. Devil’s Right Hand pulled off 5 percent. Cashing in at 3 percent or less were At All Costs, New Disaster, Amplified Heat, Supercrash, Set Aflame, Rhoades Diablo, Ruins of Honor.
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December 31, 2008
Your A-List, Best Music Store
The shatteringly popular choice for austin360 readers is — ta da! — Waterloo. The local biz with the longtime local buzz tuned into 58 percent of the vote. Was there ever any doubt?
Music Mania lagged far behind with 14 percent and Cheapo chimed in with 12 percent. The Half-Price Books chain got 4 percent, narrowly beating out End of an Ear, Antone’s, and Sound on Sound. Bringing up the rear with less than 2 percent were the nevertheless fascinating resources Encore, Backspin, DJ Dojo and Friends of Sound.
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December 24, 2008
Your A-List, Best Place to Buy New Records
Where’s the best place to buy new records? Our A-List voters overwhelming chose a shop that serves as a poster child for local businesses. Waterloo Records, which earned 67 percent of the vote, not only provides a pleasant, welcoming place to browse, it stages countless special events — a proven way to personalize and socialize the music experience.
Antone’s, with its deep, broad collection of blues and related forms, came in second with 7 percent. Cheapo Discs, the warehouse-style retailer of discounted and recyled records, came in just behind. End of an Ear, the South First haven beloved by afficiandos, nabbed 5 percent, while multiply located Half-Price Books and Backspin tied with just under 4 percent. Copping less than 3 percent were Austin Record Convention, DJ Dojo, Music Mania, Sound on Sound and Friends of Sound.
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December 14, 2008
Alpha Rev for Guardian Angels
I don’t want to know. Mystery increases the attraction. Late Friday at their Christmas show, I found, once again, during an Alpha Rev concert, I didn’t care. Let music writers dissect the styles and chronicle the histories. For once, I just want to be transported by an Austin musical act.
Without a doubt, others agree with me. As always with Austin shows, I was not the youngest or oldest in the fairly full Antone’s house, not the most dressed up or the least, not the most fanatic nor the most cynical. I just drifted in the crowd and considered myself blessed to live in their city and afford the opportunity to hear them virtually whenever I want.
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December 10, 2008
Your A-List, Best Music Festival
Stranger things have happened. Yet it sends a little shock to the system to find that Heart of Texas — also known as the Heart of Texas Quadruple Bypass Music Festival and Texas Rockfest — won the A-List vote for best music festival. Ten years old, the March event receives a tiny fraction of the attention lathered on SXSW or ACL. Here, it trumped both with 48 percent of the vote. Not content, the fest’s fans increased its lead — RockFest won with 35 percent last year.
ACL came in second with 28 percent; SXSW third with 14 percent. All the rest — Kerrville Folk Fest, Fun Fun Fun Fest, Old Settler’s, Extreme Texas Metal Fest, Raggae Fest, Urban Music Fest and Chaos in Texas — accrued 3 percent or less each, totally less than 10 percent combined.
When will that blizzard hit?
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December 7, 2008
Guy Forsyth & Asylum Street Spankers at Cactus Cafe
The Cactus Cafe stands for the highest quality concert music, amplification and social intimacy. That they would pair singer-songwriter Guy Forsyth and the Asylum Street Spankers for a semi-holiday show pleased the Cafe’s core audience, heavy on post-doctoral, post-Armadillo beards, ponytails and tattered jeans.
During the late show at the Cactus on Saturday, Forsyth commanded attention with his center-of-gravity presence and undistorted man’s voice (how seldom we hear that in this business). His songs, for the most part, avoid sentimentality, bitterness or melancholy, which pleased a crowd not gathered for those emotional crutches. Wish I could have seen more of his instrumental work, but a standing patron decided to park his body right in the aisle, cutting off the view for about 12 people behind him.
Before the Spankers show, lead artist Wammo whisked past me in the hall, mentioning that he remembered hearing the cast album of “Skyscraper” in my West Campus house. That must have been the mid-1980s, when I was still foisting bad musicals on captive students, friends, anyone who would listen. Loved those bad musicals. Still do. But only purists should listen.
His group — started with Forsyth, before the retro hipster thing really took hold in Austin — skips from one historical style to another, adding contemporary twists and playful lyrics. Even throat-singing gets a hearing. It’s a joyful, full-out show showcasing at least four singers and amazing instruments, a combination that the audience adored. I don’t know what it would take to reintroduce this band to a larger range of Austinites, but it should happen.
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December 6, 2008
Masquerade Ball with Noise Revival Orchestra at the Beauty Bar
Summoning the spirit of Florenz Ziegfeld, Erte or Busby Berkeley, one costume doubled as a gown and a draped pastry display. Among the first performers — after the Southern Comfort hot hour — were practiced burlesque dancers, one performing adroitly to a naughty Eartha Kitt song (is that redundant?). And where did all these women in their twenties learn the art of a performance form that died out 40 years ago? Did every high school in Texas stage “Gypsy” during the past decade?
Anyway, the show followed a vaudeville structure, climaxing with the marquee act, the Noise Revival Orchestra, a dozen or so young musicians who blend jazzy horns, soulful singing and an elevated soundtrack sensibility for long, symphonic songs. (One of the members dropped a flash drive on me at Ame Shillington’s D-List party earlier this year. Smart move.) By 1 a.m., I was totally hypnotized. My only complaint: The stage is too low for seated musicians. Only the first few people in the crowded club could see the whole action.
Promo picture from The Jezebelles, The Goddesses of Go-Go Dancing. For incredible shots of the party, see the A-List gallery.
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December 1, 2008
The Ear Candy 3: Renaud Capucon, Xuefei Yang, Frederick Moyer
The Ear Candy 3 turns now to classical albums that deliver small surprises.
Xuefei Yang “40 Degrees North” Classical guitarists must fight over-familiarity with the core repertoire. Chinese-born Yang battles this by pairing Spanish nuggets with arrangements of Chinese traditional music. Clever.
Frederick Moyer “Edward McDowell/Clara Schumann” The mid-major Romantics of this album’s title provided the two epic piano concertos. Moyer stirred the waters by recording McDowell’s No. 2 with a obscure Bulgarian orchestra and the Schumann with a Midi Orchestra of sampled sounds. Try to tell the difference.
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November 25, 2008
The Ear Candy 3: O'Death, Bigbang, Randy Hauser
O’Death — “Broken Hymns, Limbs and Skin.” Wailing hillbilly punk. At first, repugnant. Then one is swept into the entangled rhythms. The musically and theatrically sophisticated blend of humor and horror recall Graham Williams and White Ghost Shivers.
Bigbang — “From Acid to Zen.” Throwback harmonic rock. Too mellow by half. Wouldn’t be worth a second or third listen if it wasn’t for the occasional rougher edge or wiser lyric.
Randy Hauser — “Anything Goes.” Standard-issue country. Down to the arrogant honkytonk and God cliches that don’t add up. But Hauser is a catch-happy tunesmith with a plummy voice and, in this case, an extremely sympathetic producer. Lots of commercial potential.
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November 24, 2008
Guest blogger Alison Willis: Red River Street
We’ve been working on the December XL club and bar guide. Guest blogger and St. Edward’s University student Alison Willis provided this excellent run-down on the Red River Street scene. Remember, these are her conclusions.
Emo’s: A name synonymous with live music for many years now. In addition to a small indoor dive-y venue, Emo’s also has a large outdoor venue that attracts many big-name artists. They also run a lounge next door, but I heard that they were closing it to put in El Sol Y La Luna (a restaurant on Congress). Not sure when that will happen or the details. Also known for the nastiest bathrooms in town.
Plush: A lounge club that specializes in dance, hip-hop, primarily DJ-based music.
Elysium: Goth-y dance bar straight out of the ’80s.You will see people clad in black with tons of eyeliner looking like they are carrying the weight of the world on their shoulders. They also have a good ’80s night, where old people like me can dance to all the favorites from high school and junior high. They also attract a gay/lesbian crowd. Elysium features live music from time to time.
Beerland: Dive bar featuring live music. Usually punk-y bands, with a good mix of indie and garage thrown in. Problemmatic sound if you happen to be playing there. Love the name.
Red-Eyed Fly: Another dive bar. Has good-sized stage and bar in outdoor area. Think that this bar is mostly metal and hard rock, with a few hair metal-ish bands thrown in for good measure.
Room 710: Live music. Metal, metal, metal! Used to be a little more diverse in its musical tastes, but seems to be steering towards the heavier bands these days. Gutter punks and aging metal musicians (the old skool Red River crowd) are at home here.
Headhunters: The name says it all. Another bar that caters to old skool Red River crowd. Usually the same mix of people. Metal and hard rock.
Stubbs BBQ: Premier live music venue. Music featured outdoors and indoors. Outdoor area showcases touring bands that have achieved a larger measure of success. Indoor is more local bands and smaller touring acts.I heard that they were doing a renovation of the outdoor area to make the stage more accessible and expanding to make the capacity higher.
Club Deville: A hipster hangout. Great outdoor area that now features bands often. Indie-rock is the main staple at this joint. Mostly local bands, but sometimes touring bands are featured.
The Mohawk: Another hipster hangout for the late-twenties/thirtysomething set. Owners have been successful in turning this formerly cursed location into a crucial component of the live music scene. Indie-rock/pop/dance touring acts frequent the outside stage, while the inside stage keeps it mainly local. Transmission Entertainment, which features Graham Williams, the former booker of Emo’s, and another local booker, Rosa Madriz, is the main reason this bar is so successful.
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November 19, 2008
Checking into Baker Hotel
Barrett contributes keyboards and vocals to a pop band called Baker Hotel. They’ve played the Tiniest Bar in Texas, Uncle Billy’s and Saxon Pub, among other gigs in their first year or so together. They trace their roots to rock, folk and, especially, Southern antecedents.
I’ve been listening to their samples on MySpace and on their dedicated Web site. Songwriter Carter Beckworth starts with a clear, clean concept of melody and an accessible, light touch with lyrics. You hear shades, not tones. The instrumental mesh is hospitable, and it rests reliably in a recognizable comfort zone, which is not a bad strategy for a still-evolving band.
I’ll catch them as soon as I can.
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November 18, 2008
Getting to know Reuel Meditz, with or without shirt
So, after much jockeying for the right hour, I met Reuel Meditz for coffee. Big, cool, moist eyes. Husky voice, perhaps from a cold. A font of enthusiasm about his composing career, his new keyboard CD, “A Journey of Dreams,” and his singular path in the music industry.
Meditz grew up in the Metroplex, attended a small private school (Kolbe Academy) and moved to Austin with his family when his grandmother grew ill. Inspired by KMFA’s “Film Score Focus,” all the classically trained artist ever wanted to do was compose movie music. You don’t hear that line every day. (As always, the best way to get to know someone better — befriend them on Facebook.)
So how did he end up working at Cuba Libre and modeling — sans chemise — at W3LL? (“Pays the bills,” he says.) He started out at Abercrombie & Fitch, which would explain his blitheness on our first meeting. But he spends almost all his time working on scores, like the one for “My South, My Soul,” a PBS show still in production. (In fact, he was tinkering with lyrics in a notebook when I arrived at Jo’s.)
Meditz’s music is melodic, plumply scored and entirely right for movies. He’s working on his live performance chops and plans to add a vocal element. If he’s as charismatic onstage as he is sitting in an Austin coffee shop — or just serving drinks — Meditz will thrive. (As always, the best way to get to know someone better — befriend them on Facebook.)
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Coldplay's Chris Martin in town?
Makes some sense. The band plays Houston tonight and Dallas on Wednesday.
Why didn’t the tour organizers add the Erwin Center on Monday or Thursday, making for a Texas triad? Women’s basketball is booked on both nights, for one.
Or has Coldplay grown too big for Austin? The smallest market on this leg of the arena tour is Salt Lake City with 2.7 million. (Central Texas: 1.5 million.)
I’d scour the city streets for reports of Coldplay artists sitting in with some local band last night, but it was Monday, after all, darkest night of the week. Tips?
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November 17, 2008
The Ear Candy 3: Vintage Cinema
“Film Music by Bernard Herrmann” Austin Symphony Orchestra conductor Peter Bay is a big Herrmann fan. So am I. Expressive music of the highest quality from “Citizen Kane” to “Taxi Driver.” Soundtracks of my life. “Psycho” is the headliner here, but there’s so much more, including the weirdly whistled theme to “Twisted Nerve.”
“The Essential Michael Legrand: Film Music Collection” Tinkling pianos. Aching strings. Sentiment and melancholy. More soundtrack of my life, or perhaps of my romantic adolescence: “The Umbrellas of Cherbourg,” “Summer of 42,” “The Thomas Crown Affair” I had almost forgotten the once ubiquitous “Brian’s Song.”
“Vintage Cinema” (Cincinnati Pops) — The big symphonic scores of epic movies, mostly from Hollywood’s Golden Era. The kind of shows you’d hit during a rainy matinee — and dream all week of Taurus Bulba or the Sea Hawk. Swept away in the tempest of images and sound.
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Jeff Buckley Tribute at Lamberts
God bless Kristina Vallejo. Every year, the St. Edward’s University teacher and administrator organizes a Jeff Buckley tribute. No mere worship service for the late artist, it’s evolved into a community get-together, with local musicians and music-lovers gathered around the warm hearth of Buckley’s tunes.
Luckily, American-Statesman spark plugs Isadora Vail and Brandon Cobb were there to fill me in. Unluckily, I had reserved merely an hour for the tribute on a busy Saturday night, and the show started 90 minutes after I arrived (I should be used to this by now). So, adjusting my schedule, I heard a few songs and, the next day, downloaded “Grace,” Buckley’s only album completed in his lifetime, therefore the one maintaining full artistic integrity, according to Cobb.
I love being able to say this: I underestimated Buckley. Others may treat him with too much reverence because of his early death and ephemeral beauty. I’m just glad to be a johnny-come-lately. An oh yeah, I haven’t made an Alpha Rev reference so far this week. Indeed, as Reed Barrett of Baker Hotel points out: “Star of Wonder” is Alpha Rev’s “Hallelujah.”
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November 13, 2008
The Ear Candy 3: The Chemical Brothers, John Adams, Conspirare
I give up. No more extended CD reviews for Out & About. Just doesn’t work. So I’m taking a page from Matt Dentler’s inspired blog. He publishes a frequent feature: “Five New Albums Worth Your Dime.” Well, CDs, even at Cheapo, cost more than a dime. So I’m going with “The Ear Candy 3.” Yeh, it’s close to the name of a Seattle critic’s blog, a magazine and musical equipment company. But not everything can be original. And titles are exempt from copyrights and trademarks.
Conspirare/Tarik O’Regan: “Threshold of Night.” Can we come up for a new word for “haunting”? O’Regan’s compositions escape like scents from a warm room. Craig Hella Johnson’s Austin-based choir floats along with each suggestive, mostly melancholy atmospheric.
John Adams: “A Flowering Tree.” This opera in two acts, based on a South Indian tale, returns the masterful California composer to his most dramatic and decorative, at the same time. Recalls as much Zemlimsky and Mahler as much as his minimalist roots or his Asian influences.
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November 11, 2008
Late catching the MP3 train
A full 10 years after the MP3 phenomenon gathered musical steam, I jumped on board. (Does anyone appreciate that I used a 19th-century locomotive expression to describe a 21st-century phenomenon?)
I was not completely ignorant of the digital music format. By accident, I had uploaded CDs into my iTunes Music component. That was convenient, up to a point. But I already owned the CDs, and I’m not an iPod kind of guy. Music players abound in every space I occupy.
Still, I had never purchased an MP3 at the iTunes Store or Amazon or anywhere else. Until today. That’s when Monica at the Barton Creek Apple Store melted my intimidation over a process that everyone under 50 must enjoy on a regular basis.
I purchased one song for 99 cents, then synced my MacBook Air with my iPhone. Viola! Ten years late, but now a part of the game.
The first song? I’ll let you guess. Three cues: “V.L.V.” A band that sounds like my favorite Austin acts of the moment. Toyota Center in Houston.
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November 10, 2008
Mixing it up for the Golden Hornet Project
When Victoria Corcoran says attend to an event, I attend. Questions can wait. Still, when I showed up at her South Austin home, on Sunday, I wasn’t quite sure what was in store. After all, the development consultant for nonprofits collects such a varied group of friends, matching her eclectic cultural tastes, which run from punk and rock to jazz and classical. (The woman knows more about contemporary art than almost anyone else in town.) So we all pulled up our chairs to find out what the afternoon had in store.
Landscape designer Jeff Neal and management consultant Barbara Engel
“You are here because you love music,” she told the 20 or so guests, which included philanthropist and National Instruments leading light Jeff Kodoksy and visionary projectionist Luke Savisky (who just won a Creative Capital grant for a project in Marfa), as well as board members from groups Corcoran advises.
Luke Savisky, Paige Swift
We listened to snippets of music by Graham Reynolds and Peter Stopschinski of the Golden Hornet Project. They are assembling the creative elements for their next set of symphonies, set for May 2 as part of the Fusebox Festival. These founders of Austin’s underground classical scene — both from rocker backgrounds — presented recorded and live music with effortlessly dry wit.
Graham Reynolds, Victoria Corcoran, Catarina Sigerfoos, Jeff Kodosky
If you want to back the symphonies in the making — the sixth for both of them — I’m sure Victoria will find a way for you to help.
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November 7, 2008
Guest blogger Ian Gillespie: Bob Dylan vs. Mariah Carey
Some readers have wondered who our guest bloggers have been this week. Students in the St. Edward’s University Entertainment Journalism class. The same group contributed the House of Torment fragments.
Today, Ian Gillespie pits two very different musicians against each other in What’d I Say.
Now if I had to pick anybody in the world to hit a high C, it would be Mariah. On top of that she earned 18 No. 1 singles, the most for a solo artist in the U.S.; she also tucks five Grammys under her belt. But despite all of her success and talent, Mariah is not necessarily who I want standing behind the microphone. Now I admit, I have listened to her music sparingly, but when I have heard it I only hear a voice. She sounds like a producer told her to sing this way. No edge, no real distinctiveness.
Now I don’t mean to put Mariah down, she could do things with her voice that seem impossible. But I’ll take Dylan every day of the week.
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November 6, 2008
Reconsidering Elgar: The Collector's Edition
At times, the eminent Victorian not even considered part in their company — too emotional, too picturesque, too provincial. Elgar is all those things. Yet with virtually no formal training and life spent only intermittently refreshed by the mainstreams of new music, he produced a large, ripe repertoire of Romantic scores and some of the finest orchestrations of his time.
All this comes to mind because, in San Francisco, Kip purchased EMI Classics’ “Edward Elgar: The Collector’s Edition.” That would be 30 CDs of varying quality, including symphonies, marches, concertos, sontatas, dances, cantatas, oratorios and, of course, glorious choral music. Listening to it this week in sequence reveals a composer who, while conservative in form, toyed with all sorts of inventions within those constraints. He deserves better from our time.
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October 28, 2008
Pompeii & Soldier Thread at La Zona Rosa
That CD is ages ahead of the band’s earlier efforts. We’ll let the critics parse its particular qualities, but vocalist Dean Stafford’s contributions have grown both more supple and more accessible. The act is coming into its own, thanks in part to its evolution from mere ambiance to pop transcendence.
The Soldier Thread depends in part on a new Austin essential — symphonic use of strings, horns, keyboards, woodwinds, strings and guitar, played out in long chord progressions and subtle dynamic interplay. So for those of you keeping score, that would also include Ghostland Observatory, Explosions in the Sky, Alpha Rev, Ghost of the Russian Empire, Grupo Fantasma, White Ghost Shivers, Del Castillo, Jets Under Fire and the former Meridianwest.
Who else would you nominate?
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October 21, 2008
Save Austin Music at One World Theatre
Like certain other events on this busy weekend, the Save Austin Music fundraiser started slowly, but swung definitively upbeat once the artists started playing. Politicians rubbed shoulders with hard-core musicians on the plaza where Hartt and Nada Stearns plan a new amphitheater at One World Theatre.
Hartt Stearns, Paul Oveisi, Dan Dyer
That’s right—the former Iluminada is now Mrs. Stearns.The longtime couple and owners of One World got married in a surprise Nevada ceremony. They hid their wedding gear from their families in order to spring the happy event on them. So romantic.
Lea Koury, Michael Hale
Save Austin Music appears to have grown up alongside the Austin Music Task Force’s studies on the future of the city’s artistic infrastructure. The best explanation came from musician and budding entrepreneur Greg Vendetti, who talked about the kinds of changes in civic culture that would be needed to keep Austin musical.
Tracy Cook, Shannon Cook
Public request: Greg, send me three paragraphs so I can share with readers.
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October 1, 2008
Kyle Park's 'Anywhere in Texas'
Kyle Park is upbeat. Breakups and other adversities don’t break his spirit. His mood, like his music, spirals up and up and up.
The Central Texan is good at evoking the concrete: The feel of a blanket on a cold night, the moonlight hung above a summer trail. (Actually, weather reports might appear a little too frequently in “Anywhere in Texas.”)
His big subject, however, is lovin’.
Young lovin’, married lovin’, cheating lovin’. Especially the physical manifestations of lovin’.
Park seduces with his confident, almost athletic sensuality in “Living Room Loving,” “Don’t Look,” “Day by Day,” “A Woman Like You,” “The Other Man” and “First Day of Summer.” Even in songs of lost or losing lovin’ — “Cold in Colorado,” “Baby I’m Gone,” “Tossin’ and Turnin’,” “Nightmare and a Dream,” “These Days” — he still beams with the promise of tomorrow’s romance underneath the sigh of melancholy.
The album’s title song is country’s umpteenth paean to our big state, written as rejection of Europe after a short musical tour. Even homesickness turns upbeat at Park’s hand. He ought to give foreigners another chance — your first out-of-country tour is going too be like “Survivor,” no matter who you are, and don’t order Jack and Coke overseas — because Park is authentic enough to avoid the commercialized Nashville trap, while writing songs catchy enough to saturate the airwaves.
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September 29, 2008
Who dropped by the Blender Lounge & Lamberts during ACL?
Logistics prevented me from hanging out at the Blender Lounge at the American Legion Hall, dubbed the “Music Mansion” during ACL.
Andrew Van Wyngarden of MGMT and Nathan Felix of TNRO
But we’ve got Mansion sources, who said they saw Carla Gugino (“Spy Kids,” “Entourage”); Gibby Haynes (Butthole Surfers) and wife Melissa; Jamie Hince (the Kills); Taylor Kitsch and Derek Phillips (“Friday Night Lights”); Nicole Atkins and the Sea; Austin indies What Made Milwaukee Famous; 1970s-inspired the Black and White Years; Roky Erikson’s band - Spiritualized and the Octopus Project.
Meanwhile, over at Lamberts, one of many sit-ins: MGMT dropped in to check out the Noise Revival Orchestra with DJ Jester the Filipino Fist. At 2 a.m., the artists of MGMT made their way to the stage, much to the delight of TNRO.
Got more sightings? Send ‘em in.
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September 26, 2008
Paste & Moximity parties -- and in between
Where does one find a glockenspiel at the last minute in Austin? If you’re Mates of State from San Francisco, playing the Paste magazine pre-ACL party at Emo’s on Thursday, you turn to Austin’s Quiet Company, which once again had made the Final 5 cut during the Sound and the Jury contest the previous night. They just happen to be hauling around a portable set of the orchestra bells.
Rebecca Ewing, John Erik Metcalf
Paste Party host Tim Basham, welcomed industry types to the ultra-cool upstairs lounge at Emo’s, which apparently has been there for a while. Big hit at the party: The austin360.com Twitter mode. I entered the above item, shortened, into my iPhone via Twitter and seconds later it appeared on the lounge’s giant iMac for all to see. Paste editors were very interested in the technique. (No photos were allowed at that party? Why? These guys love publicity.)
Larry Chiang, CEO of Duck9 and writer for GigaOm; Angela Tang, Bare Essentials
How often does one witness a street crime in Austin? On a huge tourist weekend? Just after 10 p.m. — between the Paste pre-ACL party at Emo’s and the Moximity launch party at the Belmont — a woman screamed at Congress Avenue and Sixth Street. “Stop him!” Fleet friends chased the perpetrating purse-snatcher north on Congress. After a block, your 53-year-old reporter ceased pursuit.
Jason Black, Drew Dunlavy
Still don’t know exactly how Moximity links all your social media, but sounds like a helpful service. Considerate Bryan Jones threw a lovely party for the new company at the Belmont. Too bad the audience began to abandon the mesmerizing Dublin band, Automata. Omar Gallaga reported some drama from the TechCrunch panels earlier in the day.
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Stan Watts, Illustrator of Anxiety, Part 3
Continued from posts below…
Watts’ biggest triumph — an album cover with a “Silence of the Lambs”-like mask for one-hit wonders Quiet Riot — also represented a low point in his business acumen.
“When I met them, they were practicing in a hand-made studio next to a Midas brake store,” Watts remembers. “I thought: ‘These guys are not going anywhere.’ I did the job for just $2,000 (with no royalties). The album went triple platinum. They sold that image on everything. Just when MTV started, I walked by the television to see a Quiet Riot studio concert. The camera panned audience and everyone wore a plastic replica of the mask I made. It as a real freak-out moment.”
Watts was primed for big profits when the second album Quiet Riot came out — his contract was “the size of the New York phone book” — but the recording tanked. He was never into QR’s music anyway, preferring classical or class rock from his youth, acts like Led Zeppelin.
“I don’t lift a brush without music on,” Watts says. “I get lost in it”
To be continued…
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September 24, 2008
Beats 'n' Treats Music Festival coming soon
Carson met me for sushi at Maiko to preview the upcoming Beats ‘n’ Treats Musical Festival. Inside and outside at the Mohawk on Oct. 24-25, it will feature acts such as DJ Veedub, Blackolicus and CTRL. Obviously, the fest will also showcase Open Labs’ products.
Founder and chairman Victor Wong is giving away his personal gold NeKo keyboard — valued at $24,000 — as part of the Gold Rush Beat Competition. Sounds tempting to enter a contest for an instrument like the ones used by Timbaland, Morris Hayes (Prince) and Lil Jon.
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September 22, 2008
Pecan Street Festival VIP Party at Maggie Mae's
A VIP Lounge for the Pecan Street Festival is almost a contradiction in terms. After all, the rowdy fest is among Austin’s most egalitarian events. The twice-annual street fair brings together people of more varied backgrounds than almost any other local party, looking a little New Orleans, a little Lubbock and a little San Antonio.
Marcy Hoen, Bijoy Goswami, Allen Beuershausen
Yet we were intrigued by the invitation. So we ascended the stairs at Maggie Mae’s and immediately ran into Mexic-Arte Museum director Silvia Orozco and friend, listening to a frenetic band called Los Bad Apples. We also chatted about the concept of the “nice gossip columnist.”
Donna Branham and her $75 cockatoo
Later we talked about the latest affairs with inveterate socializers Marcy Hoen, Allen Beuershausen and Bijoy Goswami. You always want to see Goswami at an event. It means people are connecting.
Sipriano Vega, Damien Martinez
They pointed me to Ike evacuee Donna Branham, who had purchased a distressed metal cockatoo from Nuevo Laredo. It was the type of art ubiquitous at the fair. Branham was very happy — and grateful for the breeze on Maggie Mae’s roof. We also talked to a couple from Iowa and two guys from Kansas — all soaking up Austin culture at its least elitist.
Jennifer Alexander, Chad Allen
Later, we retreated to the cool confines of the Gibson Guitar room. With a terrifically friendly crowd, we watched the UT-Rice game on the giant screens. At first, the defense gave us tremors. But all was well in hand by half-time, so we walked over to South Lamar Boulevard for the next event.
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September 21, 2008
Aces Opening Night on Sixth Street
In Aces, nightlife empire builder Brendan Puthoff has opened a burlesque club along the lines of Las Vegas and Hollywood’s 40 Duece. And certainly his dancers hold one’s attention with their trained skills. Yet I think Puthoff has created something even more breathtaking — a mid-sized music venue on East Sixth Street that could fill a vital social and cultural niche.
Cassandra Schlosser, Dustin Nix, Kelly Fuller
You see, Emo’s, situated with its three rooms at the intersection of the Red River and Sixth Street districts, rules supreme over the live music scene east of Congress Avenue. Most of Sixth Street, with the notable exceptions of Flamingo Cantina and the Parish, is given over to cover bands. Most of Red River, conversely, sounds more authentic, or should I say, original. Yet if one is fatigued by emo, hardcore, punk and indie, or if sweating outside at Stubb’s doesn’t appeal to you on a particular evening, the choices narrow.
Jason Brown, Kristen Dietrich, Jamie Wilson
Besides, Red River is almost completely dominated by two booking juggernauts. What if Puthoff, whose Aces offers a capacious stage, sensitive sound system and no less than six viewing tiers serviced by at least three bars, were to follow the lead of Paul Oveisi’s Momo’s and book top-notch acts in his 540-capacity club? It could go crazy.
Page Finan, Shon McKinley
Now look, Puthoff knows a lot more about running a club than I do. His Third Base sports bars have scored well beyond all predictions. The burlesque thing will probably flourish at Aces for a while, but like most novelties, it could wear thin, so to speak, especially among younger audiences. After all Nouveau Burlesque has already been with us for a few years.
I think Aces, rescuing the former Hard Rock Cafe site, is a stupendous space. Puthoff should celebrate.
For photos of Aces opening night, go to our A-List gallery.
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September 20, 2008
South Padre International Music Festival Party at the Belmont
They take care of their artists. That’s what I kept hearing from the musicians who have played the South Padre Island International Music Festival. They were gathered for a promotional party at the Belmont for conversation, drinks and … music.
Ali Cox, Caren Bamberger
I had run into Nakia, my favorite Southern roots rocker, on the street before the party. He had nothing but praise for the event, which looms Halloween weekend. Among the big Austin acts: Willie Nelson, Ghostland Observatory, Grupo Fantasma, Alejandro Escovedo, Del Castillo, Vallejo and Sara Hickman.
Jeff Anderson, Alicia Kalanj
I love that Ghostland gets second billing! Seems like just months ago they were a local luxury. One of the treats at this party — besides running into co-workers for a second time that night; we are a outgoing group — was encountering hugsome Elaine Garza from Giant Noise, for whom I’d travel to South Texas just to relish her company.
Josh Johnson, Monica Vallejo
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September 17, 2008
Richard Topfer and HAAM Benefit Day, Part 2
Continued from post below…
Richard’s family, including stepmother Bobbi, already have made a huge impact on Austin. The Long Center for the Performing Arts is just one of their projects. Yet most of the family’s civic investments go to health care and related charitiets. (Another portion of the foundation’s magnanimity helps charities in the Chicago area, where Richard’s sisters live.)
“We pay a lot of lip service to musicians, but we don’t do a lot to support them.” says Richard, who generally stays out of the spotlight himself. He’s delighted artists actually use the services. “They are so appreciative and so taken aback when we reach out to them. That’s huge for them. And for us. In fact, they pass along their slots to other musicians when they take jobs with benefits.”
HAAM Benefit Day, Oct. 7, includes Austin City Hall festivities, a concert at Antone’s with Gary Clark Jr. and other local bands. More than 90 bands have pledged to play at restaurants, clubs and retail outlets that day. Meanwhile, area businesses pledge 5 percent of their profits or make cash donations. The Cain Foundation, represented by entertainment attorney Wofford Denius, will make a $10,000 matching grant that day.
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September 12, 2008
Networking prodigy Greg Vendetti
Anyway, Greg is a friend of Chris Chafic of DrumJam, whom I first met when speaking to a public relations class at UT a year or so ago. I heard the theatrically rhythmic band at First Night and, later, at Stubb’s. The BBQ joint is also where I first heard Vendetti sing. The Connecticut native graduated from the music business program at Loyola University in New Orleans, and he’s already helping improve the infrastructure for the Austin music community.
Greg and I met at Jo’s on Second and discussed entrepreneureal schemes for compensating musicians and preserving the city’s cultural treasures. People he should know include UT dean Doug Dempster and Entrepreneurs Foundation director Eugene Sepulveda, just to start. He later introduced me, electronically, to John Worthington, one of his former Loyola profs, who worked for Disney Animation, Photoshop, and is the inventor and principle developer of Quicktime player.
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September 4, 2008
Alpha Rev: Social Connectors
Any follower of an Austin band is linked to other followers of the same band, though they be strangers, through invisible threads of sensibility and experience. Put those followers in the same physical space, viscerally plugged into that musical act’s visual and aural wavelengths, and no dialog is necessary to weave those social threads together.
I’ve noticed that certain Austin acts — Alpha Rev, Jets Under Fire, Ghost of the Russian Empire, Ghostland Observatory, Pompeii, Explosions in the Sky —share some of the same connectors, as well as certain instrumental webbing. Alpha Rev is clearly the next band with a chance to break to a wider national audience, having just signed with Hollywood Records. A new CD is in the offing.
They play Saturday at Antone’s — once the preserver of Old Austin music, now the promoter of New Austin genres — with Jets Under Fire and Beaux Loy. Doors at 8 p.m.; show at 9 p.m.
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August 27, 2008
Grounded in Music and Strata TX at J. Black's
So many social connections surged at J. Black’s on Tuesday, it was hard to keep track. First, Strata TX held a happy hour, which makes sense, because the young professionals club for the Texas Cultural Trust significantly brings down the average age for the trust’s statewide supporters and helps spread the word about what this trust does (primarily backs the Texas Commission on the Arts and educational programs about the arts, as well as some individual young artsts).
Erin Ivey, Marc Fort
Second, another group, Grounded in Music, held a simultaneous happy hour. This is another collection of twenty- and thirtysomethings putting their shoulders to the fundraising grindstone, this time for extracurricular music programs in schools not lucky enough to have well-heeled PTAs to pay for teachers. And they hire top musicians, too, keeping their operating budget to $40,000 by doing all the rest of the work with volunteers.
Jacquelyn Sorcic, Jeff Kreinik
But the best part was that the two groups met together in the narrow raised lounge behind the main U-shaped bar (where nightlife prince Brad Womack held court that dusk). Collaborating on the event meant their supporters cross-pollinated, something every charitable group in town should do. (I’ve seen it work for the Catalyst 8 folks on several occasions, for instance.)
Huey Houston, Leah Smith
Then it was off to dinner with the ever-gracious Stephen Rice and Mark Erwin and our instantaneous friends, Oliver Everette and Craig Rancourt at Eastside Cafe. We all left pleasantly stuffed and content.
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August 25, 2008
The Romance of KUT's 50th Anniversary Party
The romance of the number 50.
The romance of a half-century-old radio station that echoes a city’s soul.
Patty Griffin
The romance of silvery-voiced Patty Griffin, serenading a musically vigilant house during KUT 90.5 FM’s 50th birthday launch at the “Austin City Limits” studio.
The romance of a music lovers like “Texas Music Matters” emcee David Brown, whose onstage conversations with Griffin could be collected under “love poems to an artist.”
Jeff and Janel Bates
The romance of the front-row newlyweds, Jeff and Janel Bates, who played a Griffin song during their Belize wedding, right after “you may kiss the bride.” (“We wanted to fly her down,” Janel says. “But couldn’t afford it.”)
The romance of the bearded, glowing Georgetown man, Tom Swift, trying to convert his topiary-maned, Gray, Maine friend, Sarah McCleary, into a Texan, one authentic experience at a time — peaking with the same KUT concert.
Sarah McCleary, Tom Swift
The romance of the flicker-eyed political fan, Francine Franklin, who finally meets one of her idols, Mayor Will Wynn, himself rhetorically transcendent describing KUT’s relationship to the city’s singular culture.
Mayor Will Wynn, Francine Franklin
The romance of the three British ex-pats — Trevor Richards from Swansea, Julie Tereshchuk from Carlisle and Matt Horrocks from Southwest London — sharing pre-Texas memories before the concert started.
Trevor Richards, Julie Tereshchuk, Matt Horrocks
The romance of meeting strangers who may become friends: Patrick Dentler, photographer for the KUT party — he took the Griffin photo above — youngest brother of former SXSW Film director Matt and son of my elementary school classmate Hank (aka George); Ian Knox, the husband of freshly minted Statesman food writer Addie, who, despite being a young parent, seems to attend almost as many parties as I do; and a good dozen KUT stalwarts who made a newspaperman feel welcome in this blessed broadcast realm.
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August 20, 2008
Your A-List: Big Band
But give us some brass or a little organ on the side. Amplify some strings or expand the vocal mix — although only Polyphonic Spree really needs a full symphonic choir.
The A-List battle of the big bands turned out to be fairly close, at least at the top of the marquee, with Monster Big Band and Grupo Fantasma churning out 23 percent and 20 percent of the vote, respectively. The race for the No. 3 slot was also tight, with the Scabs taking 15 percent and Asleep at the Wheel 13 percent. Foot Patrol stood alone at No. 5 with 8 percent.
Lagging behind the 5 percent mark were some golden oldies and fresh newbies: Nelo, White Ghost Shivers, Austin Lounge Lizards, the Scabs, Boombox ATX, Brownout, Invincible Czars, Tribal Nation, Ocote Soul Sounds, Golden Hornet Project and Don Chani.
Low vote count does not equal low talent count. Some of these bands are superlative.
Write-ins: Al Shire and the Henchmen, Black Joe Lewis, Brothers and Sisters, The Brew, Del Castillo, The Johns, Larry Lange and His Lonely Knights, Mike Truth and the Replacement Killers, Moonlight Towers, Much Love, Nakia and His Southern Cousins
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August 12, 2008
Musicals on CD: Because they are there
The economics of musicals just don’t seem to work any more. If they every did. Always the big investment. Rare the big payoff. Always we return to these propositions: The tight cast, modest-set musical. The small, off-Broadway-scale musical. The cabaret or the concert option.
The off-Broadway option is borne out in “Adding Machine; A Musical,” which sounds like a pretty imaginative, faithful musical rendition of Elmer Rice’s expressionistic play about a dehumanized worker. Joshua Schmidt’s score is daringly dissonant. Can’t tell from just the CD, but it’s possible this could work for one of Austin’s warehouse theaters.
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August 7, 2008
Neo Disco: Hercules and Love Affair
One mellow, aesthetically sophisticated Neo Disco album has kissed my ears for weeks: the self-titled “Hercules and Love Affair.” One of our house music critics called it, admiringly, “the gayest thing he’s heard in years.” Tough to argue with that. The sinuous “Hercules Theme” and “Athene” are paired celebrations of physical beauty, while other tracks toy with the sexual politics of the dance floor.
The artists are out of Brooklyn, and, of course, they are touring the cooler corners of Europe this summer, not Texas. But if they come anywhere near an Austin club, I’ll drop everything else. Any DJs in Austin playing this sound? I’ll gladly partake.
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August 1, 2008
2008 Fortunate 500: The Complete List
Remember, this is our annual list of Austin’s most social citizens. It honors those Central Texans who go Out & About for the good of the greater social fabric.
Almost all our picks were originally nominated by readers, then followed by our social spies during the subsequent year. (I chatted with most of them, too, at the 1,000 or so social events I attended in the past 12 months.) So now is a prime time to alert us to people who contribute above and beyond to the social scene, so they can be eligible for the 2009 list.
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July 24, 2008
2008 Fortunate 500: Music
MUSIC
Top Pick Paul Oveisi: The owner of Momo’s is doing everything he can to balance the west end of Sixth Street with the finest local music. He’s served on the Austin Music Commission and Live Music Task Force, formerly managed the breakthrough Band of Heathens and now concentrates on pushing the career of soul singer Dan Dyer. Busy man with a family and among the first to move into the groundbreaking Monarch Tower. (Shown here with Jessie Corrine.)
Susan Antone. Antone’s, Help Clifford Help Kids, American Youthworks
Ed Bailey. KLRU, ‘Austin City Limits,’ Texas Hill Country Wine & Food Festival
Marcia Ball. ‘Live! Down the Road,’ Charity Partners of Austin
Bavu Blakes. Music Entertainment Television, World Trade
John Bernadoni. The John Bernadoni Production Group
Jim Butler. City of Austin
Amy Corbin and Charles Attal. C3, Stubb’s BBQ
David Cotton... Saxon Pub
Max Dropout. Beerland, Ground Zero Texas
Cash Edwards. National American Folk Alliance, Cash Edwards Music Services
Angela Gillen. Flamingo Cantina
Timmy Hefner. Chaos in Tejas
Theresa Jenkins. Recording Academy
Charlie Jones. C3
Marty and Mark Kamburis. Flipnotics Coffeespace, Satellite Cafe
John Kunz. Waterloo Records
Terry Lickona.‘Austin City Limits’
Harold McMillan.. DiverseArts
Casey Monahan. Texas Music Office
James Moody. Transmission Entertainment, Fun Fun Fun Fest, Mohawk, Club DeVille, Red 7, Lambert’s
Tim Neece. UT Performing Arts Center
Tim O’Connor. Direct Events, Austin Music Hall, the Backyard, La Zona Roza
Don Pitts. Gibson Guitars, Guitar Town
Dan Plunkett and Blake Carlisle. End of an Ear Records
Rapid Ric. The Mixtape Mechanic, Whut It Dew Family
Shawn Sides and Graham Reynolds. Golden Arm Trio, Rude Mechanicals
Iluminada and Hartt Stearns. One World Theatre
Craig Stewart. South by Southwest, Emperor Jones Records
Donya and Randall Stockton.. Beerland, Rio Rita
Roland Swenson. South by Southwest
Bernard Vasek. Musicmania
Phil Waldorf. Dead Oceans Records
Steve Wertheimer. Continental Club
Annetta and James White. Broken Spoke
Graham Williams. Transmission Entertainment, Fun Fun Fun Fest, Mohawk, Club DeVille, Red 7, Lambert’s
Eddie Wilson. Threadgill’s
Wendy WWAD. Black 13 Booking
While I’m away in Montana, we’ll release a different Fortunate 500 list every day at noon. For a complete updated list, follow the brightly colored Fortunate 500 link below this post.
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July 18, 2008
Max Horne at Ms. B's
Classy, ingratiating Max Horne is a cabaret singer in the mold of Bobby Short and Mabel Mercer. He doesn’t overwhelm his audience, but rather leans his rounded features back to let out a million-megawatt smile and a light tenor voice best suited to jazzy standards and show tunes. During a divine four-hour meal at Ms. B’s on Wednesday, we witnessed the recording of Horne’s next DVD with the Soul Jazz Ensemble, which actually played beautifully without the singer for the first few hours, as we lingered over blackened chicken, herbed salmon, shrimp cocktails, bread pudding and sweet-potato pecan pie. The entire time, the service was unparalleled. We hope the Ms. B’s Brenda MacGowan can work out her differences with the Austin Revitalization Authority, because the East 11th eatery is a state treasure.
On a less pleasant note, one patron, clearly a warm friend of the singer, could not stop talking and laughing during the recording, in a voice that turned heads all over the restaurant and even caused waiters and cooks to crane their necks to identify the culprit. Proves again that extroverts are not always the most socially sensitive.
Teri Conrad, Jerelyn Thomas
Harriet Buxkemper, Kay Hill
Emna Johnson, Rebekah Strachn, Frederick Bentley, Elmo Johnson
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July 15, 2008
Seal to sing at Seton Fund gala
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Weekend Surprises 9: Crystal Flavola
What surprised me about … The CD release party for Crystal Flavola at Jovita’s on Sunday was how fluently the show people, who make up the core constituency for the country-inflected folk rock group, transform into music fans. Also, that playwright Monika Bustamante had married Chris Simpson from Zookeeper. How did I not know that?
Andrea Skola, Benjamin Summers
Kathy Catmull, Ken Webster
Chris Simpson, Monika Bustamante, David Jones
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July 9, 2008
Your A-List: Best Club DJ
The time has come to salute those magicians of the discs who keep us moving at clubs and lounges: The DJs. They don’t get the respect they deserve from the mainstream music press in this city, but believe me, those of us covering the social beat, heading Out & About every night, bless them with our most fervent benedictions.
DJ Kurupt, who attracts some of the most classy crowds to Red Fez and elsewhere, came in a strong second at 20 percent. Toddy B was the only other big vote draw, with 10 percent.
Everyone else — including some big names, such as DJ Mel, DJ Chicken George, DJ Dallas, Car Stereo Wars, DJ Manny, Rapid Ric, Prince Klassen, Boba Fett, DJ Hobo D, DJ Orion, Waxploitation DJs, DJ Hella Yella, Big Face, Stay Gold and DJ Aquaman Chill — failed to break single digits.
Write-ins, other than DJ Dallas: DJ Bang, Holland Hart, Seth Cooper, Syko
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July 2, 2008
Your A-List: Best Local Song from the Past Year
We knew this would be a battle royale when we asked the A-List readers to vote the Best Local Song from the Past Year. Several write-ins did extremely well and total voting swelled beyond A-List averages.
Coming in second with 25 percent was “How Will You Shine” from longtimers The Gourds. Ascendant Bettysoo’s “How Will You Shine” took the third spot with 15 percent. Clustered in the 3 to 5 percent range were “Nosebleed” recorded by Spin Alley, “Blue to Me” by Woode Wood, “You’ve Got Yr. Cherry Bomb” by Spoon (arguably not an Austin band), “Heavy Heart” by Ghostland Observatory and “Always a Friend” by Alejandro Escovedo.
One percent or less: Iron and Wine’s “Pagan Angel and a Borrowed Car,” Carolyn Wonderland’s “Misunderstood,” Grupo Fantasma’s “Gimme Some,” Mother Truckers’ “Dynamite,” James McMurty’s “Cheney’s Toys,” Big Frank Gomez Band’s “Hey Sarita,” South Austin Jug Band’s “Come to Me,” White Denim’s “Let Talk About It,” Nelo’s “All Gone to Nothing,” Jimmy LaFave’s “Car Outside,” Hayes Carll’s “It’s a Shame,” Pataphysics’ “Jesus Grow Me a Handlebar Mustache,” Shearwater’s “Rooks,” Zookeeper’s “Snow in Berlin,” K.J. Hines’ “The Beach Bunny Hop” and Bavu Blakes’ “Extra Plair.”
Write-in votes: Brownout’s “Homenaje,” South Austin Jug Band’s “Jackass”
Photo: Xavier Mascarenas
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June 21, 2008
DJs Chris Fortier ad Jesse Brede at Sky
Let me revise my outdated impressions of Sky, the vertical dance club on Congress Avenue. Its atrium-style space, with its rectangular configuration and celestial decor, is perhaps the best dance floor in town, at least for soaking up the sounds of DJs like Chris Fortier and warm-up Jesse Brede. Friday, their underground strands had a multivaried crowd locked into movement, facing the turntable as if theirs were live acts. Once again, I am astounded by the cosmopolitan look and sound of New Austin and look forward to another Sky run.
Lori, Paul, Gabriel
Jean Kim, Craig Hargis
Loria Frigillana, Jerome Frigillana, Denise Robinson, Ron Wetzel
DJ Jesse Brede
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Meridianwest at Lucky Lounge
Their first CD had me right away. Then I met Meridianwest, the three-piece Austin epic rock band. Next I heard them live at Stubb’s. Friday, I followed up with a listen at Lucky Lounge. A few observations: Perhaps I was wrong about vocalist/guitarist Mark Gibson’s lack of eye contact with the audience. Cap brim firmly pulled over his eyes, Gibson still fueled slow-burn volcanics on Friday. Bassist Ryan Magnani makes up for the front man’s hooded persona with elastic, open-faced theatrics, while drummer David Kittredge blisses out in the back. Also, I had underestimated Magnani and Kittredge’s contributions the first time out — they provide a lot of the superstructure and the crackle for Meridianwest, which, from the sound of front-row screams, is attracting a sizeable female following. Following the “Sex and the City” line about cool magnets — “first the gays, then the girls.” Now, if only the traditional music critics would take them more seriously. Or is that required for success these days? Everybody I talked to at the Lounge has already signed on.
Elijah Rosenfeld, Lizza Coffey
Titha Oden, David Guzik
Allison Freeman, Amada Olsen
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June 19, 2008
Fino and Momo's with Dan Dyer
All are gone. Bitter End burned. Mezzaluna become Imperia after a brief history as Capital Brasserie. The Granite mutated several times before Emmett and Lisa Fox opened it as Fino, giving the upstairs eatery a cosmopolitan look and taste, introducing small and large plates, served hot and cold. I met Texas Book Festival’s Clay Smith there for signature drinks during their happy hour, mine an herbal concoction called a Garden Party.
Later, I lingered behind the sun-battling screens to dine with my sister, Kathleen Klingshirn, in town for her daughter’s UT orientation. Our waiter, also the wine steward, was extraordinarily helpful and steered us to a magnificent Spanish white, and my risotto, layered with crisp discs of veggies, was equally satisfying.
Later Kathy and I shuttled down to Momo’s to hear Dan Dyer, the voice of the moment, whose soulful singing (post-Breedlove) is making critics prick up their ears. My sister, a lifelong musician, critiqued the sound mix, but even some mushiness from the board couldn’t detract from Dyer’s soaring sound. He’s been added to my local favorites.
Photo courtesy of dandyer.com
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June 17, 2008
Band of Heathens, Guy Forsyth, Alejandro Escovedo
Smooth-faced pop deals in the thrill of first sentience — often romantic — without the danger of permanent failure. Scraggly rock is eternal late adolescence, a revolution of the Id more permanent that Trotsky’s or Mao’s. Craggy country, by and large, trades in adult responsibilities, disappointments, temptations, tellingly the only one that acknowledges the artists have children and jobs.
You can hear it in their voices. Pop is often sung in prepubescent falsetto; rock in lower tenor, rarely baritone. Some of the greatest male country artists were basses — Johnny Cash, George Jones, for instance — but not multi-registered slider Hank Williams or the agelessly reedy Willie Nelson.
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June 16, 2008
Black and White Years plus fashion at The Parish
You never know when a fashion show will just pop up in Austin. Late Saturday, I ducked into the Parish an hour before the Black and White Years were scheduled to play. Really, I just wanted to soak up the AC after hours at the Austin Pride Parade, Republic of Texas Biker Rally and a peek at Sally Jacques’ “Constellation” over at the federal complex. (One must commit entirely to her meditative dances on architecture, otherwise one is easily distracted on the sidewalk.)
Almost instantly, I ran into Randy and Diane Miller. The former New Yorkers — he was with Virgin Records — now live in Tarrytown and manage the very up-and-coming Years. Randy mistook me for Michael Corcoran, not an uncommon occurrence, but once we got past that, we were launching into New York real estate gossip, just as I had earlier in the evening with Austin techster Steven Phenix and his out-of-town guest.
Anyway, a few minutes later, a runway show began with sassy styles from Model Citizen, Knoxy and Loves, Mariessa (designers go by such creative names). Although clearly imagined for very different occasions from the least to the most formal, the women’s and men’s wear could work for any club night.
Then, the band played on. The Years have updated and honed a distinctive 1970s sound, and they even wear moustaches. They’ve earned a devout following and I now count myself among them. I look forward to their progress under Miller’s wise hand.
Heather Walton, Jen Sutor
Jordan Dudley, Lindsey Case, Joshua Clark
Shannon Rodgers, Shaun Avants, Knoxy
Tammy Harden, Sheryl Jones
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June 11, 2008
William Finn and 'La Boheme'
Two recent double-disc releases offer arguments for the dying practice. The off-Broadway cast album of “Make Me a Song: The Music of William Finn” makes available the music of a composer virtually unknown to the general public, but cherished by musical queens for “Falsettos” and his free-floating, conversational songwriting. As a writer, Finn is all knees and elbows, which makes his work all the more endearing, especially performed by a micro-cast and single piano.
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June 10, 2008
Jets Under Fire, The Alice Rose, Alpha Rev at Antone's
One detects remnants of U2 and Radiohead in Alpha Rev’s daedalian mesh of sound, but honestly, I haven’t enjoyed an Austin club concert more than the Rev’s set at Antone’s on Saturday. Employing a capacious touring mix, the fivesome could not be more charismatic and their combination of voltaic guitar, undergirding rhythms and electronicized strings had a full house pulsating with social connection. (It helps that the Rev’s lyrics often deal with the way that people cohere, socially.) Warm-up sets by Jets Under Fire and The Alice Rose further kindled my interest in these promising popsters. Antone’s really is becoming an anchor for the New Austin Sound, and a young, beaming crowd is there to witness it.
Allie Chapman, Ellen Daly, Dillon Lewis, Breck Lewis, Chris Copeland
Samantha Hatcher, Wesley Smith
Brian Batch, Kate Douglas
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June 3, 2008
Weekend: More parties, no 'Sex'
Even attending 18 events over a long, hot weekend, I missed a few giant social affairs, such as the Pachanga Festival (cool in the Waterloo Park shade?) and the Cattle Baron’s Ball for the American Cancer Society (we dawdled during a Pedernales River day trip).
Two publications threw lavish issue parties: Brilliant at Pangaea and Rare at the Monarch. The first included a birthday salute to publisher Lance Avery Morgan featuring a cavalcade of cupcakes. Cover lady Diana Ross was not in attendance, but the magazine landed a juicy interview with the superstar.
Pangaea owner Michael Ault and baby-bump wife, model Sabrina Randall
Suzie Wright, Suzanna Albright at Pangaea
Ben Ross, Ana Knevevic, Jake Roeschley at Pangaea
Greg Boyd, Susan Platt, Parker Elliott at Pangaea
The Rare party shook the top of the Monarch’s garage. As the sun set behind the wing-topped apartment tower, guests streamed between the ready-to-rent lower floors and the parking structure. Alpha Rev, a band helping to redefine the New Austin sound, headlined, competing with jugglers, belly dancers, personal beautifiers and purveyors of food and drink. Felice Partita, Amy Bonneau, Linda Matthews, Kristin Larsen, Rachel Mann, Linda Husjord from Frenchy’s salon on Mary Street Rochelle Miller, Christopher Anderson at the Monarch
We took a tour of Paul Oveisi’s corner unit. The Momo’s owner, who is now managing Dan Dyer’s post-Breedlove act, reserved early, copping splendid views of lower downtown and the Shoal Creek greenery. Paul Oveisi, Jessie Corrine at the Monarch
Oveisi’s pad at the Monarch, looking northeast Mayor Will Wynn, looking tan and fit in season-appropriate shorts, joked that he was just checking if anyone could peek into his window across the way at the Austin Lofts. Rare’s Matt Swinney, Carrie Crowe at the Monarch
Recent UT grads Cliff Waters, Liz Richmond at the Monarch
Tammy Harding, Mindy Cordell at the Monarch
Earlier, we stopped by Breakaway Records, nestled next to Cafe Mundi on East Fifth Street. Serious DJs flipped through LPs and 45s while blissed-out music lovers sipped beer from cans and listened to Monty McCarter’s reggae rippling through the un-air-conditioned shop. Nadia Shea, Tim Murphy at Breakaway Records
John Hall, Scott Landfried at Breakaway Records
OwnersGabe Vaughn, Mike Hooker with Chelsea Wine at Breakaway Records
Later, at Antone’s, we checked in with another band forging that New Austin sound, Pompeii, which has not played in a while (working on a new album). Then bopped back and forth between there and Red Fez, where nimble DJ Kurupt was celebrating his Sunday successes with friends and a blindingly attractive crowd. Erik Johnson, Julie Booker, Rob Davidson at Antone’s Connor Kiel, Glory Ancheta at Antone’s Michael Swimelar, Thao Doan at Antone’s DD, CK at the Red Fez. (Sometime we’ll have that talk about why some people are shy about giving their name to journalists Andre Breton, Shy Salinas, Jamaal Skeete, Cornelius Sirls at the Red Fez Monday brought the Austin Critics Table Awards at Cap City Comedy Club. Always an irreverent event, with artists, patrons and journalists trading sweetened jabs. But way too long: Revelers staked out tables at 6:30 p.m. and some didn’t leave until 10:30 p.m. The informal critics group — I’m still a member — is already discussing a tighter program for next year. Buzz Moran, winner for Sound Design, and the funniest speaker of the evening
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Like pilgrims on a spiritual journey, music lovers swarm any location where Craig Hella Johnson performs. The director of Conspirare, the immaculate Austin choral group, is tuned to all sorts of sounds, so his “Hidden Music 3: I’m Just Getting Started” drew a summery flock to the UT Alum Center, glowing a late afternoon green above Waller Creek, for a program of eclectica. I caught up with Dan Bullock on various civic matters, Tom Staley on Ransom Center news and New England idylls and a contingent from Victoria about the juicy scandals erupting in their Southeast Texas city. This is the type of Gothic crime story Texas Monthly tells well — I’m sure they already have a reporter on the scene. Couldn’t stick around for the music, but on a packed weekend, I didn’t really have the option.
Muffy Staley, Tom Staley, Nancy Scanlan
Justice Bea Ann Smith, Frank Calhoun Jim Templeton, Jen Templeton, Brooks Holder, Jenna Salwen
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Austin is known far and wide for singer-songwriters, progressive country, indie rock and even punk, but hip hop has never been our town’s forte, especially competing with urban meccas like Houston, Dallas or Atlanta. Still, we’ve earned some stars, including the rappers and rap groups chosen in the A-List vote this week. Coming in at No. 3 was Dirty Wormz, with 8 percent of the vote. Overlord, write-in Ratarue and critics’ darling Bavu Blakes wriggled in next with 4 percent, 3 percent and 2 percent. Copping less than 1 percent were Zeale 32, Crew 54, Dred Skott, Gerald G, Basswood Lane, Tee Double, Element 7D and Traygod Shakhem. Write-ins: Mike and Ike, Mike Wade of Hog Pen Click, Ratarue, Southern Boy Entertainment, SparkDawg Photo courtesy of christrew.com
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Music, Your A-List
One CD store in Boston’s Harvard Square had squat. Another on Newbury had gone out of business (not uncommon). Yet two doors down was a comic book store with virtually no comics, but almost as many CDs as vast Amoeba in Berkeley or Haight-Ashbury. I finally bought into “The Drowsy Chaperone,” which comes to the Long Center soon, as that Austin presenting house goes toe to toe with the UT Bass Concert Hall for Broadway series. I salvaged three of my favorites from Silver Age “black” musicals — “Purlie,” “Raisin” and “Hallelujah, Baby,” although I fear only the second still holds its head high. At least 1,000 productions were recorded in this manner. I probably have collected half that in the CD format. And yes, always transferable to MP3.
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Arts, Music
We grow a little jaded in this profession. How many concerts begin with promise, but leave us yawning 20 minutes into the set? Not Pink Martini, the indefinable Portland Ore.-based big band that played the Paramount Theatre last night. I haven’t had so much fun at the Paramount since Kathy Griffin ripped into the latest celebrity scandal, and not so sustained a thrill at an Austin concert since Ghostland Obsveratory at Hogg Auditorium. Aside from some chilling solos from the likes of violinist Nicholas Corosa and trumpeter Gavin Bondy, everything else flowed through the fingers of band leader Thomas Lauderdale, whose crisp, bright style on the keyboards is more of a musical signature for Martini than its jazz inflections or Latin accents. (Side note to Lauderdale, who announced a goal to turn Texas into a blue state, more like Oregon on the night of Barak Obamba’s victory there: Austin is already as blue as it gets.) A music-savvy Austin crowd shook the the Paramount walls with vocal approval, then lined up for a semi-conga during the encore of “Brazil,” which brilliantly showcased Forbes’ lithe vocals. What Forbes brings to the mix of abundantly talented instrumentalists, besides that voice, is star power. Her lean features spangled with glitter, Forbes appeared to tease sounds out of her band-mates’ instruments, while she made (chaste) love to the audience. Martini promises a quick return to Austin. Pay any price. Go. Photo courtesy of pinkmartini.com.
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Music
Tina Marsh’s subdued fundraising function, staged in arboreal serenity at the Laguna Gloria Amphitheater on Sunday, adopted a spiritual tone, with performances by dancers, musicians and other artists as day slipped into dusk. Master of ceremonies Robert Faires spoke of the absence of a government safety net for artists. “We make our own safety net in Austin,” he said. “We turn out in numbers to help.” Fans, old and young, trickled down the sylvan hillside to prove his point. Sally Jacques, Tina Marsh (looking glorious despite the return of cancer) Volunteers Mary Katherine Vigness, Corey Fields Mahalene, the Kabbalah Queen
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Saturday, a casually clad crowd cheered a earthy, generous performance by Kris Kristofferson at the gala for the Paramount and State theaters. Before he sang, a live auction brought in an astounding $183,000 to preserve the theatrical gems, Kristofferson’s signed guitar going for $25,000. Kristofferson: “For a guitar? This is crazy.” Wife Lisa Kristofferson: “There will be no living with that man now.” Theater director Ken Stein projected a $575,000 net, or twice previous records for the event. And oh, did I mention the party tent on Congress Avenue was more than 600 feet long, stretching over two full blocks? Austin loves a party, if to give, give, give. Shawna Hills, Eric Hills Jett Winders, Ben McCain, Nick Saenz, Brooklyn Barbieri
Lauren Smith Ford, Bennett Ford
Megan Jackson, Curtis Jackson Van Wisse, Linda Miller, Tom Schoonover, Monty Calderoni
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Did the short, brutal weekend heat wave affect Austin socializing? Not at the Stax Night at the Victory Grill on Friday. Although the venerable venue’s air-conditioning system could barely keep up with the capacity crowd, everyone remained in high party mode for T-Bird and the Breaks, which played to benefit the Stax Music Academy in Memphis. Couldn’t stay for the band, but cheered the fringe-skirted Funk Peepshow dancers, who shimmied to the DJ’s tunes. Funk Peepshow Dancers: Aryn Sullivan, Kim Domanet, Christina Mason, Gloria Fuentes Ben Frederick, Theresa Herbst Dr. D.D. Faye; Evelyn J. Faye
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We heard from a peerless source that Austin guitarist Pat McCann played the rehearsal dinner for the Bush-Hager party Friday in Salado. We don’t know much about McCann, who appears to play ambient and jazz music. He may be the only Austin musician without a prominent MySpace page. And we can’t confirm a reliable image for him. But we’ll keep trying.
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Music
We were chatting with Bejarano (pictured) at the USAA, which opened for regular business (6 nights a week) recently. The combination bar, performance space and art gallery, formerly a plasma collection center — has worked well for special events, but now is destined to become an campus-area hang-out. (Seriously, there are so few. And with the Showdown heading out the door…) We’ll profile USAA for Out & About: Cafe Society, the periodic XL feature that premiered this week with a look at Kick Butt Coffee. Other fresh spots on our list to dig into include Buzios Room, a neat, laid-back ultra-lounge managed by Silvio Ramos that just opened above the Copa, and Orchid, which takes the place of the Black and Tan on Seventh Street. Last night, while snacking at Imperia with managing partner C.K. Chin, we heard of two more new clubs, one on West Sixth Street and another on San Jacinto Boulevard. Looks like Cafe Society will be busy through June on new social gathering places.
May 30, 2008
Weekend: Hidden Music 3 at UT Alum Center
May 28, 2008
Your A-List: Best Rapper
May 26, 2008
The Eternal Show Tunes Hunt
May 21, 2008
Pink Martini inebriates at Paramount
May 20, 2008
Austin Gives: Tina Marsh at Laguna Gloria
May 19, 2008
Austin Gives: Paramount & State Gala
May 13, 2008
Weekend heat wave at Victory Grill
May 12, 2008
Austin's Pat McCann solos at Bush-Hager rehearsal dinner
May 9, 2008
Old Antone's on Guadalupe to become blues club
