Afrosonics, Rosa dos Ventos and Henchmen for Hire @ Neurolux (12/17/13)

I caught Afrosonics' set at the Boise 150 Sesqui-Party back in July and liked what I heard.  Upbeat, multicultural funk--just the thing for a James Brown-enamored music writer who gets awfully tired of the same old surf-garage stuff.  I was also impressed with bandleader Dayo Ayodele's nonprofit Global Lounge, which seeks to help immigrants adjust to living in the Treasure Valley.

I got the chance to write a Boise Weekly feature about Afrosonics and Global Lounge.  When some free time came up on my calendar, I decided to come down and check out the band's new lineup.  I also looked forward to checking out two local groups I'd never seen before, Rosa dos Ventos and Henchmen for Hire.

I counted about 40 people at Neurolux when I arrived.  When Afrosonics played, I counted 65.  I'd like to think that my article helped persuade some of these folks to come down, but that's probably a little hubristic.

Henchmen for Hire opened the show.  This band's soul- and reggae-tinged sound had an adult alternative feel to it--Dave Matthews, Counting Crows, like that.  I'm sure that's enough to make some readers run screaming for the hills, but really, this group wasn't as bad as all that.  For one thing, their lead guitarist was sharp--terse, tasteful but capable of letting off some fireworks.  For another, lead singer Gabe Hess managed to deploy some soul mannerisms (some moans here, a little melisma there) without embarrassing himself.  The band sounded stiff and nervous at times, but a few more gigs should limber them up.  Also, any group that can do all right by Ben E. King's "Stand By Me" and Van Morrison's "Sweet Thing" (not to mention cite James Brown and Marvin Gaye as influences on its Facebook page) has its heart in the right place.

Rosa dos Ventos played next.  This Portuguese/Brazilian/Latin American music group sure didn't need to limber up.  Their horn-like keyboard, fluid rhythm section and snarling guitar hit so fast, tight and hard that they could've been auditioning for the JB's.  Kristine Nunes's warm, low voice had some impressive power, but like the rest of her bandmates, she didn't feel the need to show off her chops too much.  It took the crowd a little while to get on its feet, but the dance floor had filled in pretty well by the end.

Afrosonics closed out the show.  "Rhythm is the key," Dayo Ayodele said at the start of the set, and his band's funk/jazz/reggae-inflected grooves proved him right.  Malleable, hard-driving bass and drums weaved with manic guitar and quirky, dexterous keyboard solos.  The rough, friendly vocals added a nice human touch.  At times, the whole mixture called to mind one of my favorite groups, Sly and the Family Stone.  I don't know if the folks in radio-land caught Ayodele's closing admonition to support local music, but hopefully, they at least caught his opening shout-out to the late, great Nelson Mandela.

You can find info on these acts on Facebook and elsewhere online.

Charles Bradley & His Extraordinaires and Aaradhna @ the VaC (8/29/13)

As I've written elsewhere on this blog, I LOVE me some old-school soul/R&B/funk.  Stax, Motown, Aretha Franklin, James Brown, Al Green, Curtis Mayfield (with or without the Impressions)--I could go on all day.  This show caught my attention, then, because I'd heard talk of Charles Bradley being one of the best modern keepers of the old-school flame.  Admittedly, I did have some reservations after hearing his latest album Victim of Love, but they weren't enough to dissuade me from checking this out.

There were about 150 people at the VaC when I arrived.  I have no idea how many were there when Charles Bradley performed.  One thing's for sure: I'm definitely not the only one who digs the old-school stuff.

New Zealand singer Aaradhna opened the show.  This lady had me right when she sang the line "I don't wanna take that sh*t for granted" in her first song.  And with her other songs about getting bullied by the cool kids when you're younger and turning Miss Lovely's pretty smile into a frown, she kept me.  She had a whole lotta muscle in her sultry voice, but she was smart enough not to flex it too hard.  The medley that combined Willie Nelson/Patsy Cline's "Crazy" and Sam Cooke's "Nothing Can Ever Change This Love" was just gravy.  As for the song that borrowed the chorus from "Pressure Drop," hey, I love Toots and the Maytals too.

Charles Bradley played next.  This set was an object lesson in how live shows can sometimes top recordings.  While Bradley's massive vocals sounded a little one-dimensional on Victim of Love, they were just the thing to cut through the roars of applause here.  His high rasp and self-abasing scream bore the clear influence of James Brown, but he topped the Godfather of Soul for warmth and friendliness.  The same went for Bradley's whole stage act; while the set featured three costume changes, you never sensed any of Brown's vanity or control-freak egomania.  Instead, I actually believed the man when he said he loved the audience "to the bone" and "from the soul."  Meanwhile, the band couldn't match Maceo, Bootsy, Clyde et al., but 1) that's asking way too damn much and 2) they clearly learned their lessons well from Stax and Motown.  I may not have gotten a hug from the "Screaming Eagle of Soul," but this was still one of the best shows I've seen this year.

Sidenote: I feel like I should mention that I listened to Charles Bradley's 2011 album No Time for Dreaming afterwards and liked it a lot.  It features quite a few lyrics about being black and poor in America.  Now that's worth screaming about.

You can find info on these acts on Facebook and elsewhere online.  Special thanks to Eric Gilbert and Duck Club Presents.

Redrick Sultan, The Bare Bones and Jory Edwards @ the Crux (12/21/12)

There's something rather beautiful, I think, in the fact that so much stuff was happening around Boise on the night when the world was supposed to end (again).  Wicked Wonderland held its Zombie Apocalypse show at Bogie's, Hot Dog Sandwich threw a punk rock party at the Red Room and Liquid featured a couple of acts that seemed interesting.  I opted to see Orriginal Promotions' show at the Crux because it featured Redrick Sultan, a group I'd never encountered before who hailed all the way from Vancouver.

I counted only fourteen people at the Crux when I arrived.  That number would dwindle to eight (including me) and then five when Redrick Sultan played.  Disappointing, especially considering that I'd see at least three times as many people doing karaoke at Neurolux later.  Oh well.

Local musician Jory Edwards opened the night.  His choice of covers tended towards the corny side ("Hallelujah"--again?  "Freebird"--really?), but his steady strumming and clean, cannily restrained tenor put them across respectably.  Also, I had to give the guy credit for showing me that actually, yeah, Dave Matthews and Third Eye Blind did write some good songs (I know--I'll turn in my hipster card after Christmas).  Maybe he could add "Wildflowers" to his repertoire of Tom Petty songs.  Always liked that one.

The Bare Bones played next.  This was their second gig playing with new bassist Ben Zickau, Chris Brock said at one point.  He seems to be fitting in nicely: Zickau's basslines may not have been as supple as Nathan Norton's, but they still sounded plenty fluid and added considerable weight and muscle to the band's groove.  Meanwhile, Aaron Bossart's drumming sounded as furious and dynamic as ever.  Last but definitely not least, Chris Brock seems to be growing into the role of frontman very well indeed: his vocals showed extra strength and assurance, and his sharp soloing matched them.

Redrick Sultan closed out the night.  This was another one of those sets that remind me why I keep writing this blog.  Only eight people were there to see them, but this Vancouver group played as if there were eighty or more.  Their goofy, oddball, audacious mix of jazz, funk, hard rock and reggae made me think of the Minutemen if they'd stretched out beyond the two/three minute mark more often.  Chanking guitar, liquid basslines and syncopated, astonishingly kinetic drumwork supported boyish vocals and tasteful (but not too tasteful) flute and trombone solos (the guitarist got some good licks in too).  Their charming tunes and strong, sprightly groove elicited wild applause from the handful of folks inside the Crux and a considerable amount of rubbernecking from passers-by.  Hopefully, these guys will play Boise again and to a larger audience.

You can find info on these acts on Facebook and elsewhere online.

The Idaho Songwriters Association Open Mic @ the Gamekeeper Lounge; The Thomas Paul Band @ Neurolux (12/18/12)

I wound up being much busier this night than I'd planned initially.  I'd already marked down the Matthew E. White/Thomas Paul show at Neurolux on my calendar when I caught wind of a show set up by the Idaho Songwriters Association.  I'd been eager to check out something by this organization for a while--they tap into a part of the music scene around these parts that doesn't seem to get as much attention as the younger bands do.  When I heard that folk legend Rosalie Sorrels was going to drop by and play a little, that clinched it.

I counted a little over forty people when I arrived at the Gamekeeper Lounge.  Unfortunately, Rosalie Sorrels didn't make it down: I overheard some folks saying that she got snowed in and couldn't make the drive to Boise.  That was too bad, but the eleven musicians that I did see didn't leave me with much reason to complain.

Musicians Who Played:

Steve Eaton--The ISA's head honcho kicked off the proceedings with a pretty decent song about loving your fellow man (he'd started thinking about it, he said, because of the school shooting in Connecticut).  He also talked about how he and other musicians had set up the ISA because they'd grown tired of trying to play over bar chatter.  That's something I can readily sympathize with (I've written more than once about wishing that audiences would stop talking during shows).

Bob Kohnke (with Don Cunningham)--This gentleman's strong, straight-ahead vocals, sly harmonica and sharp original blues tune went over very nicely.

Zack Tyr--I knew I was gonna like this guy when he said that he'd come down to see how many people he could piss off.  However, no one seemed offended by his uproarious put-down of Tim Tebow entitled "Jesus Loves Me Better Than He Loves You."  Quite the opposite, in fact.

Johnny Shoes--A last-minute addition to the list (someone else had signed up but hadn't shown up).  He played a pretty good Merle Haggard-esque original about the true holiday spirit (no b.s. commercialism, caring for the less fortunate, etc.).  Not sure what was up with the bandage on his left hand, though.  Hope it's okay.

Bill Rector--This gentleman's pleasantly jazzy tune and funny, oddball lyrics got some support from a whistle/mouth-trumpet solo courtesy of Steve Eaton.

Monelle Smith--With her warm, low voice, I'd have listened to this lady sing the menu.  Her driving, minor-key tune sounded much better than the menu, however.  It also added a nice touch of rock to the proceedings.

Casey Russell--He was most likely right: you probably won't hear his Christmas song about Santa Claus eating Viagra-laced cookies on the radio.  That made me even happier to hear it here.

Mike Cramer--In addition to running the soundboard for most of the time that I was there, this gentleman got to show off his rich, sonorous baritone and a smart, slightly off-kilter tune about a ladies' man going to seed.  Title: "Throwin' Noodles at a Wall."

Dave Starr--His sprechgesang sounded a little creaky, and his song about Kent State shooting victim Allison Krause could've used some trimming (though admittedly, most any song on this topic will probably sound prolix next to "Ohio").  Still, you had to give the man points for having his heart in the right place.

Lee Penn Sky--I've known about this guy for a while, and I'm glad that I finally get a chance to write a little about him.  His rich, soulful baritone, clipped strumming, Dylanesque harmonica and greedhead-bashing lyrics went over very well indeed.

Pat Folkner--Before he played, I overheard Lee Penn Sky insisting that he did NOT want to follow this lady.  A wise move: Folkner's tender, gorgeous voice and detailed, devastating Civil War-themed ballad could've put Joan Baez to shame.  Truly stunning.

Tim Swanson (with Lou Armstrong)--Poor guy: his first time out here and he had to follow Pat Folkner.  He managed just fine, though, with his catchy number about kissing off an ex.  Lou Armstrong's slick fills and soloing helped too.

Kristina Liming--She was pretty nervous--in addition to playing her first gig ever, she was playing her first song ever.  However, between her smart lyrics, memorable melody and breathy, quietly aching singing, she acquitted herself in fine style.  Hope she keeps it up.

Wilson Roberts--This gentleman has been around for a while--he and Steve Eaton chatted about playing gigs together for twenty-five years.  It surprised me, then, that I hadn't heard his ultra-catchy tune about a good woman's love giving him strength a million times before.  Damn impressive.

Part of me wanted to stay longer, but I'd made arrangements to see the Neurolux show and didn't want to miss it.  I'd found out earlier in the day that Matthew E. White had cancelled, but Thomas Paul was the man I really wanted to see anyway.  Paul's solo acoustic version of "Waiting for the Miracle" at the Record Exchange's Leonard Cohen Birthday Bash had blown me away, and I wanted to check him out with a full band.

I counted about sixteen or seventeen people when I got there.  The crowd would build to a respectable enough thirty-plus by the time that the Thomas Paul Band played their second set.  A big chunk of the audience seemed to be there to support Thomas Paul's bassist, Bob Nagel.  Use your friends wisely, that's what I always say.

The Thomas Paul Band took the stage around 9 pm.  Between Bob Nagel's fluid, Claypool-worthy basslines (the man was wearing a Primus shirt), Louis McFarland's muscular drumming and his own clean, wiry guitar and thoughtful, soulful croon, Paul sounded as impressive with a band as he did solo.  They powered through two sets--the second of which featured Boise Philarmonic flutist Jeffrey Barker and was broadcast on Radio Boise--with a winning mix of jazz, blues, funk and country.  The crowd spent most of both sets in their seats, but they cheered warmly.  Pretty good stuff.  Definitely wouldn't mind seeing this group again.

You can find info on the Thomas Paul Band and the Idaho Songwriters Association on Facebook and elsewhere online.  Special thanks to Eric Gilbert and Radio Boise.

Evil Wine Season 2 Premiere @ the Red Room (7/16/12)

Although I might not have written about it here, I'd have gone to this even if there wasn't any live music.  For one thing, I dig The Evil Wine Show--if you're down with absurdist, satirical raunch, you can't do better around these parts.  For another thing, this show doubled as a birthday celebration for Wes Malvini, one of the two deviants behind Evil Wine (the other being Dustin Jones) and the man in charge of booking at the Red Room.  Wes does a good job on both fronts and is a decent guy besides, so I wanted to show my support.

Happily, a lot of other folks apparently felt the same way.  According to the Boise Weekly, about 100 people showed up to this shindig.  You can read the article that I linked to for details on the episode; I'll just stick to the music.  Actually, before I begin, I have to share this video, which appeared in the episode.  It'll give those unfamiliar with Evil Wine an idea of what to expect.

Watched it?  Good.  Don't worry, the scars won't be that bad.  Moving right along...

Opening the evening was Oakland-based musician Flip Cassidy.  Even if he hadn't opened with "Tango Til They're Sore" from Rain Dogs, I'd have guessed that this dude has listened long and hard to his Tom Waits records.  Cassidy joyously belted his blues/murder ballad/gospel-based original songs in a friendly, phlegmy voice.  The clanging tone of his energetically strummed guitar evoked a merry jaunt through a scrapyard.  Damn good fun.

After Flip Cassidy came the San Francisco-based folk-rock band Dum Spiro Spero.  Their Celtic-flavored music had a strong beat and sustained the irreverent tone established by Flip Cassidy's set.  Driving guitar and banjo joined with haunting fiddle, solemn accordion and agreeably straightforward vocals.  In a way, it was too bad that this group played so early in the evening: a lot more folks would have probably danced if they'd had more time to drink.

After Dum Spiro Spero finished their set, the first episode of Evil Wine Season 2 premiered. After that, local one-man act The Sneezz kicked off the after-party.  His performance this night was a bit more relaxed than the one that I caught back in May but no less enjoyable.  His mind-boggling bass playing channeled Les Claypool, and his drum tracks got the people dancing.

Cerberus Rex played next and delivered a solid, ear-and-shin-vibrating set.  Drummer Jake Hite was in particularly good form, and Z.V. House's raw, kick-out-the-jams solos complemented Pat Perkins's cooler, more contained guitar work.  Listening to this band a second time, I found something downright cathartic about their music.  It seemed designed to shoot straight into the id and blast out any dark desires lurking within.  In that way, it tied in nicely with The Evil Wine Show's m.o. and provided the perfect ending to the night.

You can look up info on these bands on Facebook and elsewhere online.  For episodes of The Evil Wine Show and more, go to www.evilwine.com.

Manimalhouse @ Grainey's Basement (4/27/12)

This post is gonna be a little short because it's only about one (really awesome) band.  Some more substantial posts will be coming soon!

It's hard out here for an unemployed, music-crazy blogger.  Lately, I've been trying to drum up support for a worthy local band, working on a couple of different posts and, oh yeah, looking for a job that'll help finance my show-going and writing and that won't make me want to smash my head against a wall.  Last night, I decided to take a break and just wander around downtown for a bit.  I was not prepared in any way for what I found when I stepped inside Tom Grainey's and went down into the basement bar.

It can no longer be ignored: I am calling for a full-scale investigation into the astonishing rise in funkiness in the Pacific Northwest.  The eight-person band Manimalhouse said that they were from Portland, OR, but they sounded like they could've hailed from Memphis or Augusta.  They served up some slick, tight, hot buttered soul and funk with a dash of disco and a side order of cool jazz.  Petite, sexy Reyna Mallare belted out the songs in a gritty, sultry voice that evoked both Etta James and Donna Summer.  Nattily dressed Brody Lowe backed her up on vocals and moved to the beat with some sly, restrained, James Brown-derived footwork.  Bassist Jeff Tummond, saxophonist Reid Neuman, trombonist Jon Ramm, guitarist Dan Lee and keyboardist Dave Dernovsek each got off at least one mind-blowing solo apiece.  Last but most definitely not least, drummer Mark Blanding provided the backbone for the group, pounding out the rhythms with spot-on precision and unflagging energy.

The concrete bunker that serves as the concert space for Grainey's Basement was simultaneously too small for Manimalhouse's massive sound and just the right size: stepping inside, it felt like I'd wandered into the Chicago/ Southern juke joint of my dreams.  The band blasted through one song after the next with unmistakable enthusiasm, and the steadily growing crowd responded in kind by dancing their asses off.  The setlist was a combination of playful, rock-solid original material and inspired covers--En Vogue/ Salt N Pepa's "Whatta Man" and TLC's "Waterfalls" sounded right at home next to "I Can't Stand the Rain."

You can find more info about Manimalhouse on Facebook and elsewhere online.  And for those of you in the Boise area, I should mention that they're playing again at Grainey's Basement tonight.  Trust me: you won't regret it if you go see them.