Flanfire

Saturday at the Hole; Tuesday at the Scoot!

You just have to live here to get it -- every night in Austin can be a night of GREAT MUSIC and great camaraderie. Take last Saturday at the Hole in the Wall -- a club that came back from the dead a couple of years ago. Local singer-songwriter and sometime bandleader Ricky Stein assembled a sizable collection of friends to make it a nice night for New Yorkers Aaron Berg and Rosy Nolan [natives of South Carolina and California, of course!], whose solo sets demonstrated why they are able to travel around the USA for months at a time living off their tips and bar tab shares. [Aaron writes and even sings a lot like Leonard Cohen; Rosy reminded me of what Kasey Chambers would be like if she had been raised here instead of in the Aussie Outback. Both have their own full bands Back East -- and both are recommended by flanfire -- but this article is about Austin music, and so we continue.]

Brett Staggs (who doubles as Slowtrain's drummer) opened the evening with a rare solo set of his own excellent songs -- these "Arms of Love" are missing you; the wonderful "Electric Heart"; "Kentucky Tap Water" (er, whiskey); "There's Always Drugs," but not really; "You've Got It!"; and "Hangover Blues" -- many of which Brett promises will be on a forthcoming CD collection. After Aaron and Rosy had finished charming the growing crowd, Brett got back on stage with Slowtrain (Adoniram Lipton's songs and piano, Matt Roth on bass, and Andy Keating on lead guitar) and special guest Matt Mollica (one of my favorite Red Sox fans) on Hammond B-3. The band played many of the songs from their own forthcoming CD -- including a couple of songs new to the audience. NOTE -- SLOWTRAIN OPENS ON NOVEMBER 16TH FOR FUTURE CLOUDS AND RADAR AT THE SCOOT INN -- 8 PM!!!!!

It had been a long time since I had seen Ricky Stein with a full band -- this night it was longtime collaborator Philip Morris on bass plus Adoniram and Brett from Slowtrain -- and it only took one song to remember just how much fun this guy is as a bandleader playing rock 'n' roll. Come to think of it, Ricky also had a lead player -- but I was focused elsewhere and forgot who he was. Lots of activity always out on the Hole's back patio -- met up with Nathan Singleton (whose Sideshow Tragedy I really have to get out to see) and lots of other folks as well. Also got a brief report from Daren Appelt on the amazing Lonesome Heroes show at Longhorn Caverns (which he has recorded for posterity and maybe a live Heroes release someday). Dustin Welch and his band closed out the evening -- but I was dead tired and went home.

INTERMISSION --- Sunday evening my lovely wife encouraged me to get on down to Jovita's to catch yet another show from my beloved Sasha and Blues Mafia -- and I am so glad I did. First off, I met up with Kai Roach's brother Phil, who is playing on Friday with my pals Melody Mann out at the Nutty Brown. Second, local guitarist Austin Roach (no kin to Kai and Phil) got up on stage to showcase his fingerspeed on Red House -- he is BTW the lead guitarist for Mesamora (all members are Anderson High grads), which plays alternative reggae rock. I am told that Austin, another Rock Camp USA alumnus, has a rather sizable set of pedals, but on this occasion he was playing Max Frost's guitar, and Max uses only one (brand-new) pedal.

Sasha Ortiz and Chris Copeland of Blues Mafia.

The best reason for showing up, though, was that Blues Mafia unveiled a bunch of new songs -- including Led Zeppelin's "Achilles Last Stand," the Beatles' "Why Don't We Do It in the Road," Hudson Mueller's song written for Sasha -- "Some Girls" is part of the title and it is about our girl who just loves to rock and roll, and yet another Blues Mafia original, "No One Else." The band opens on November 24th at Jovita's for the South Austin Jug Band -- and I might also mention that Joker (which features the Blues Mafia rhythm section and guitarist J. W. Wright) opens for Zydeco kings Li'l Brian and the Travelers at Jovita's on November 23rd -- what a fine Thanksgiving weekend for one of Austin's finest family friendly music venues.

Now on to Tuesday! Last Wednesday at the Hole I had run into Darwin Smith and Aimee Bobruk, both of whom urged me to get down to the Scoot Inn for the songwriter showcase that Aimee co-hosts with that tall blonde contralto dynamo Hilary York. And why not? Not only could I get to see the co-hosts, but Darin Murphy and his Future Clouds and Radar bandmate Robert Harrison -- I did miss Danny Malone, who will be back next week along with Darwin Smith and his full band (but Aimee will be MIA next Tuesday).

I could write a book about Aimee Bobruk, who has grown so much as an artist and songwriter since I first saw her years ago. I only got to hear two of Hilary's songs but will definitely be back for more -- my immediate thought on hearing her sultry voice was, Marianne Faithful (after her voice dropped the octave and more). One of the highlights of Aimee's set was when her fabulous sister Erin joined her on stage for the anthemic (and Narnia-istic) "For the Lost Airwaves" (from her very soon to be released "The Safety Match Journal"). Darwin Smith accompanied on guitar and backing vocals on all songs except the closer, "So Human," which once again showcases why this absolute soprano is such a heart-warmer on and off the stage.

But I have to write about Darin Murphy the whistler (well, so is Aimee) -- and longtime partner with sis Trish from their early days in Houston. Darin has the soul of the Beatles (and indeed he is a virtual Beatles historian) but the voice of a Beach Boy -- built for harmony and lots of high up woo woos. Which is to say he has a great pop voice -- but his songs are complex stories with lots of words and ideas. "Boneyard" tells of the now-defunct Astroworld, and then there's "Gina Gardenia," "Boxing Day" and so many more. Indeed he and Trish and their great band "Skyrocket" (formerly KTEL Hit Machine) will be back at Cedar Street this Sunday -- but more to the point, he and Robert (no kin to George) Harrison and FUTURE CLOUDS AND RADAR will be at the Scoot itself on November 15th.

Which brings us to Robert Harrison -- longtime co-leader of Cotton Mather and genius behind Future Clouds and Radar, which early this year released a debut self-titled double CD that upon playing takes the listener right back to the days of Sixties euphoria. Though he did join Robert to sing harmonies on several songs, Darin confirmed that this 15-song set marked the first time he had ever seen Harrison perform all by himself on stage -- and what a debut it was.

Robert swung back and forth between the new songs he is showcasing with Future Clouds and Radar and older songs from the Cotton Mather days -- and on occasion, he also showed off some special effects on guitar that brought big smiles to the sizable audience. The set list included --"Drugstore Bust," "Palm Sunday," "40-Watt Solution," "Last of the Mohicans," "Girl, You Spin My Wheels," "Altitude," "and "Green Mountain Clover" -- well, I may have some song titles wrong, but RH fans will know they missed a magnificent experience BUT can have great hopes of getting another chance very very soon. Just let him (and Aimee and Hilary) know. The Thursday show will be sans Kullen Fuchs, who is playing with Ian Moore that night -- but Robert and Darin promise a great show.

One final note -- Erin Bobruk will reprise her recent Central Market show with MUNDI at St. Michaels Episcopal Church on FM 360 on top of the hill at 3 pm on Sunday -- tickets are $10, I am told.

Flanfire -- Bringing LIFE to Austin music.

MOMS, Heroes, and the Mc's!
Erin Ivey at Flipnotics Triangle. AT THE HOLE: Sarah Stollak, Landry MCMEANS, and Rich Russell of Lonesome Heroes; the MCMERCY Family Band;

Gina's Bread Is Rising!


The first time I saw Gina Chavez was back in April, when she talked Momo's into giving her Suzanna Choffel's slot on a night when Suzanna was playing at Antone's. She brought 75 of her closest friends to the venue -- but it was her big, beautiful voice and her on-stage camaderie (that transcended beyond just those who knew her) that ensured that Gina would soon become a regular at the club with my favorite rooftop patio.

Gina's CD "Hanging Spoons" was actually released at the end of the last school year, but I was wrapped up in a college graduation (YEA! Melody!!!!) and relocating my lovely mother Eluida to Austin (it took ALL summer!!!!) and only got around to listening to Gina's music after running into her at Momo's (where else?) a couple of weeks ago.

Gina, for the record, has come a long way on stage from even her debut at Momo's -- she was recently a finalist in a major competition held at Emo's (see her myspace for details), but mainly her co-conspirators onstage have begun to realize they are part of something that, like yeasted bread, is rising. Rael Martinez used to just bring his mandolin and play a little -- now he brings a fuller arsenal that includes electric guitar; Gina also has a cajon player to keep the rhythm going, especially when the songs have a Latin flavor. Guys sitting way out on the Momo's patio the other night were waaay tuned in to Gina's voice and on-stage manner that is fast fast winning fans in Austin.

Let me just say right up front that "Hanging Spoons" (a Chavez family tradition, we are told) is by far the most POWERFUL song collection I have heard this year and last year too -- and this woman is just learning how to write songs, so you know she is getting "extra" help that sometimes comes to those who "have their radio on." I must add that Gina also provides the harmony vocals that often seem like an angel choir floating the listener up to heaven on a cloud or two. The lyrics range from the personal to the divine ..... [Onstage, by the way, Gina breaks into Broadway from time to time (reminding me a LOT of the newlywed Jamie Blythe who is way out West these days.]

"You Might Say," the opening cut, is indeed about a very human love -- tested by time and distance -- in which "in the woods between the worlds is where we stand wanting so much to take hold of one another's hand." "Brother Sun, Sister Moon" builds on that theme but with a turn toward a higher love. "Hagios" (which means holiness, sort of, in Greek) notes that "ten thousand wells dot a wasted land where go thirsting souls cupping empty hands" and speaks of "restless wanderers [who] refuse your peace." What is, asks Gina, the path to a pure heart?

"Beautiful Feet" is one of those songs you never forget after hearing it -- and singing it through several times. I am reminded of Susan Gibson's "My Best Feature," or of any of a number of Terri Hendrix songs -- but Gina takes these concepts two steps further, moving from "how beautiful are the feet of those who carry news of good things" to admitting that she once kept "a little black book" in her mind that recorded other people's faults but today finds that just bringing good news to everyone while judging no one works much better -- and urges others to follow suit. "Embrujo" (sung in Spanish) is a memoir of sorts of Gina's year in Argentina.

"Bless the Night (the blanket song)" is yet another revelation of imperfection -- "I'm a living contradiction, a tainted sanctuary, so tell me how can I see your beauty through these tears of gray" -- but this song is all about being careful not to stumble during the nighttime hours. "Disarray" also addresses that contradiction between our hearts and our own deeds -- and the recognition that we cannot rely on our own goodness. "St. Anthony" expresses the heart of the homeless and downtrodden who is seeking affirmation: "don't you see me?"

But the record only gets better from here -- "Seeking Poetry" shows Gina's frustration at trying to write songs that matter when we are clumsy with words -- and yet she can write, "It's in the creation the imagination lifting mind and eye to light, glorious formation of an aspiration molded so others can take flight." Now that, my friends IS "poetry in motion" that moves us on.

"Exaggerate" moves back to the human sphere -- and to a time of rude awakening -- "how can it be that I be gone for less than half a year with you on my mind the entire time when for me you have no tears"? The only recourse -- "stay you far from this soul of mine lest my tears not evaporate." "Mean As Blue," on the other hand, speaks of "a boy who lived in a haze stuck in a shoe-gazing trance" who "couldn't lift his mouth from a frown, couldn't stop his chin from falling down ...." Here the songwriter encourages herself, noting that, "Don't cry those blue tears of pain for that stupid boy again...." and that "there's a greater love than the one that failed you and his chariot's coming soon." Here again, we learn that the great beauty which is this recording is available to us only after the artist has endured great pain.

Somehow, Gina has indeed saved the very best for last (not counting the hidden track for insiders only). "Matter" is perhaps one of the strongest songs of faith I have ever heard -- and trust me, I have heard a boatload (make that an ARK-load). In sweating out the blood used to scribble down these lyrics, the writer recognizes that neither the long sob story of heartache and pain nor the saving grace that rescued her in her darkest hours matters a whit -- "mere words won't matter." Instead, it is that emptying out of the self-seeking soul that enables us to hear the deepest truth -- that "without brokenness nothing matters."

The first half of this song is the lead-in to the prayer that closes out this true confession from a soul who knows she does not have it all together -- and she makes it universal: "Fear not to cry my friends fear not to die just a little, fear not to love my friends, fear not to lose just a little, and be not afraid of the things you've done .. no, loving ain't loving if if lingers on the past too long .. what you done don't matter ... I love you no matter what you've done my child, what you've done don't matter ... I love you no matter....."

Flanfire -- Bringing LIFE to Austin music.

Honor Farm at the Scoot Inn?
NO!! At the Mohawk#&*$%%!&
Lacey Pipkin and Jay (Boo) Tonne of Honor Farm; Adoniram Lipton of Slowtrain.
The ladies of Silver Pines.