Perfect Harmony

 P.D. Kelley   

On April 17th, the night was clear, Spring was in the air and the Rogue Theatre was sold out.  Home Free was in the house and if you haven’t seen this country vocal band, save up your pennies and get to one of their concerts the next time they’re within a couple hundred miles of wherever you are.  I watched these guys win Season Four of The Sing-Off, an a capella group competition, in 2013.  They were and are simply superb.  Tim Foust is the bass (his low notes rumble right through you) and the front man, charming the audience with his sly humor.  Austin Brown as the lead tenor shares these duties and has a superlative voice with great range and projection.  Rob Lundquist is the harmony tenor and hits the way high notes somewhere in dog whistle range.  He is clear and clean.  Adam Chance fills in the middle providing baritone harmony, mellow and delicious.  Adam Rupp (who co-founded the group with his brother Chris in 2000) is the percussionist and a complete wonder.  He can produce any sound he wants just with his mouth, and it is his contribution that makes this band sound like they are accompanied by musical instruments.  He did a solo mid concert that was pretty much how any great drummer with a full kit would sound.  The light show was slick and these five are seasoned performers.  They never missed their marks and each one is a soloist in his own right.  They are also shameless self-promoters and a bit full of themselves.  But as someone said, “It ain’t bragging if you can do it.”

Still, they haven’t lost that down home feel and appear to love what they do.  They sang mostly country with some pop and gospel thrown in.  Their covers always had their unique signature and they performed some original work as well.  Look for their latest album Timeless and, of course, they’re all over You Tube.  They said next time they come back to the Rogue they might have to do two shows.  Don’t tease us, boys.  We’ll hold y’all to it.

Catch you on the flip side. . .

Dawgone Good

P.D. Kelley

It was 4-20, and another sold out show at the Rogue.  The crowd was ready to celebrate and warmly welcomed The Dawg Trio featuring David Grisman, aka “Dawg”.  This was an acoustic performance and the stage was simply set.  Grisman, his white hair flowing, came out with his fabled mandolin followed by his son Samson on the upright bass fiddle and Danny Barnes who alternated between banjo and guitar.   And the pickin’ began in fine fashion with a rousing ration of blue grass, country, and what Grisman called “old timey music.”  Grisman is somewhat of a legend in the business having played on at least one Grateful Dead album as well as with numerous other musicians.   He has founded several bands and I would guess there haven’t been many days in his adult life when he wasn’t playing something with somebody somewhere.   His longtime friendship with Jerry Garcia provided grist for some wonderful stories that the audience just loved.  Grisman’s delivery is laidback and his wit is dry.  Not so when playing the mandolin.  This is a master at his craft.  Son Sam on the bass showed that DNA, as they say, doesn’t lie and his chops were smooth and nimble.  He and his dad hugged and patted each other frequently and the pride and love showed clearly.  Grisman had high praise for Danny Barnes on the banjo and guitar and it was certainly deserved.  Barnes made it look effortless and he also sang a few numbers, at least one an original of his.  All three were true pros even though Grisman gave off a vibe of “Hey, it’s just me and the boys gonna play a few tunes for ya.”  When they gave their final bow following the encore (You didn’t need to do all that,” Grisman deadpanned, “We were gonna come back out anyways”) it was just sweet to watch.  

Catch you on the flip side. . .

 

Delivered Personally

P. D. Kelley

On Sunday, April 7th, the steady rain may have kept some folks home but those of us who braved the downpour were treated to an elegant, intelligent performance by singer-songwriter Karla Bonoff.  She’s been in the music world since the sixties which now matches her age.  She looks youthful and her voice is still vibrant.  She is a solid guitarist, and an even better pianist.  In between her songs, a mix of folk, country and pop, she tells the crowd the story of her career, which seems to be a mix of happy collaborations as well as missed opportunities.  She’s written hits for everyone from Linda Ronstadt to Wynonna Judd to Bonnie Raitt but never for herself.  Her band, Bryndle, she recalls fondly and yet the big record deals and fame were elusive.  Her albums are legendary, not just to her fans but to other musicians like Jackson Browne and James Taylor, who have played with her and admire her work.  I appreciated not only her musicianship but her wry humor and easy style on stage.  Her one top twenty hit, “Personally”, she did not write and although it is a catchy tune, I prefer her lyrics: usually thoughtful and compelling.  Accompanying her on the stage was the amazing Nina Gerber, within the industry a well-known and revered composer, arranger, and guitarist extraordinaire.  Gerber backed up Bonoff mostly on a strat but also on an acoustic that she and Bonoff traded playing.  These two really had the measure of each other and it was a true pleasure to experience.

Bonoff said she enjoyed the wet weather as it was good for the singing voice.  Well, Karla, come back soon.  It’s Oregon – we got rain!

Catch you on the flip side. . .

Im A Believer

P.D. Kelley

It was great to get out of the rain and into the Rogue Theater to listen to Michael Nesmith this past Saturday, January 19th.  His career post Monkees has been remarkably varied: singer, musician, producer, songwriter, video personality and philanthropist.  He’s produced a number of his own albums and toured extensively, sometimes doing reunion appearances with his former band mates, often with other artists, and he credits his happiest collaboration with pedal steel guitar player extraordinaire, Red Rhodes.  Nesmith and Rhodes played on several albums together until Red’s death in 1995.  Nesmith told the Rogue crowd that his current tour included six performances (this night being one of them) when he would recreate this collaboration, drawing principally from his 1972 album, “And the Hits Just Keep On Comin’ “.  Joining Nesmith on stage was renowned pedal steel guitarist, Pete Finney and both expressed their delight in being able to play together.  What followed was a mellow, melodious stream of tunes, mostly country in flavor, with one song sounding much like the next, at least in style and tempo.  Nesmith is known for his acoustic 12 string proficiency and this was clear as his chops were strong. Most notable were his lyrics: thoughtful and poetic.  He did a few Monkee tunes as well and near the end of the show, sang his one top forty hit, “Joanne.”  My eyes got a little misty.  This was a grand way to start 2019 at the Rogue.

Opening for Nesmith was guitarist Scott McCaughey, a wild-haired, spirited performer who surprised me.  His guitar playing was solid and I thought, well this will just be a pleasant interlude.  Then he began singing his quirky, often funny lyrics and he had the audience chuckling and encouraging him.  He got lost a few times, forgetting words and/or music but came out of the spin with self-deprecating humor and we loved him all the more.  He had a stroke in 2017 and talked some about his bewildering recovery, and how he can mostly count on his memory but not always.  “I’m not asking for pity,” he said.  “The music stands on its own.”  McCaughey heads up two bands, one in Seattle and one in Portland, where he lives.  He was an auxiliary member of REM until their breakup in 2011, and has had a long musical career.  After each great show at the Rogue and listening to the personal stories of fine musicians I’m a believer in this:  music can save the world!

Catch you on the flip side. . .

Music For A Winter Solstice

P. D. Kelley

Sunday evening, December 9th, was brisk and foggy but inside the Rogue Theater, the crowd was enjoying the soft but vibrant sounds of Windam Hill. As a record label its success has been exceptional and a number of fine musicians have contributed to include George Winston and Will Akerman. Now bigger parent companies market the brand but co-founder Akerman is still active in the band of the same name. The style has been called “soft jazz” or “new age” but I think the music transcends these genres and “band” may not be as accurate a description as “a varying collection of excellent, versatile and like-minded musicians.” The group on this night consisted of five players on guitar, piano, violin, drum and reed. All played together, all played separately, featuring Akerman’s fluid and graceful style on guitar and long –time band member Alex De Grassi on guitar as well with some robust and stately playing. My favorite was Barbara Higbee, mainly on piano with a turn or two on the violin. “Angelic” is an overworked term to describe a voice but nothing fits better in defining Higbee’s delicate but clear soprano. The musical selections were mostly original but some familiar seasonal tunes were included as well. This is music that can make you relax and drift but also can be energizing as well, especially when you realize the quality of the sound. This is what you want playing in the background at any holiday party or when curled up with a loved one before the fire.

Get out the eggnog, pop in one of their CD’s and prepare to go on a short vacation.

Catch you on the flip side…

The Tommy & Jerry Show

P. D. Kelley

Starting out last Saturday, December 8th to a packed Rogue Theater crowd was Jerry Douglas, standing and playing a slung over the shoulders lap steel guitar. The uplifting, and invigorating sounds of bluegrass, country and folk floated across the stage to an appreciative audience and the three time Country Music Association Musician of the Year and 14 Grammy award winner never disappointed. He has a relaxed and intimate stage presence and his musicianship is superlative. He’s produced many albums and played with a variety of folks from Dolly Parton to Keb’ Mo’ to Elvis Costello. He’s been in a band with Alison Krause for twenty years. It was wonderful. How could it get better? Well, right now he’s touring with the next guy who came on stage.

Where do you start with Tommy Emmanuel? The story goes that Rolling Stone asked Eric Clapton in an interview what it felt like to be the greatest guitar player in the world. “Go ask Prince.” he is credited with saying. Prince might have said, “Go ask Tommy Emmanuel.” The title of Greatest is impossible to assign and the truly great musicians are notoriously generous to their fellow players, but surely Emmanuel is on the short list.

He comes from humble beginnings and, if you get a chance, look up his bio, especially the treasured story about his first guitar and the Chet Atkins connection. At some point he left his native Australia, moved to England, then went from sideman to solo and developed into the phenomenon he is today. Many tours and PBS specials are under his belt and to see him on the Rogue stage was more than a thrill. He is not just a dazzling guitar player but is also a stellar percussionist. At least one of his guitars has a bald patch on the face where Emmanuel has rasped, scratched and popped. He is all over the instrument plucking and strumming on every part, creating sounds that are his personal signature. He employs a style called Travis picking in which he uses all ten digits to create bass lines and chords that produce rich harmonies to make the guitar sound like more than one instrument. He can play any genre and does: country, jazz, folk, blues, bluegrass and pop. It is not an exaggeration to say that he demonstrates complete mastery over the guitar. His stage presence is engaging and charismatic and his audiences clearly love him. We were in a swoon at the Rogue and got a double treat when he and Jerry Douglas did a few numbers together. He has a newly released album and another coming out in which he plays duets with, oh name anybody that’s anybody, and they’ll be on the album. After he finished up a Beatles medley to include “When I’m Sixty-four”, he said he would be that age next year. I thought, yes Tommy, we’ll still need you and feed you! But I’ll end with a comment from a fan and professional musician who said, after Emmanuel’s dramatic encore, “That was God talking!”

Catch you on the flip side…

The Quintessential Quintet

P.D. Kelley

The Dave Bromberg Quintet can do it all. On Tuesday, October 2nd, the Rogue crowd heard blues, bluegrass, western swing, folk, country, classic pop ballads plus a little gospel. And it was just grand! Bromberg himself is a versatile musician: if it has strings he can play it. At 73 his picking doesn’t appear to have slowed down. His voice warbles at times but is true in tone and, man, is he sassy. He bantered with the audience for the entire show and sang lyrics that had us all chortling. “I’ll Take You Back” is a blues tune that starts out with the classic she done me wrong scenario and then Bromberg ramped things up. “I’ll take you back” he sang slyly, “when snakes have knees and money grows on trees. I’ll take you back when the preachers on TV send money to me. I’ll take you back when igloos have steam heating and Donald Trump stops tweeting.” And like that for about ten more couplets. This night he switched back and forth from acoustic to electric guitar and it was obvious he was having as much fun as his audience. Early on he said he was impressed with the Rogue Theatre and that he was happy to be on tour with the best band he’s ever had. Mark Cosgrove on guitar and mandolin was the acknowledged master, better than Bromberg, said Bromberg. He also played both acoustic and electric and held the crowd in thrall during a marvelous solo when he owned the stage all by himself. Suavek Zanisienko stayed on his electric bass and was masterful without being flashy. The surprise was his superb vocals in a high tenor that was startlingly clear and pure. Josh Kanusky on drums was also impressive but Nate Grower on fiddle was simply stunning and made his instrument soar. All his band mates watched him in awe when his playing was featured. The band mixed it up, gathering together in an intimate circle with Kanusky playing just one snare, for a sweet rendition of “Will You Still Love Me Tomorrow.” There might have been some dry eyes in the house but mine weren’t and the crowd sang along just because it felt right to do so. As part of an encore, all five did an acapella version of “It’s Me Oh Lord (Standing in the Need of Prayer)”. After the concert I heard so many positive comments, mostly that it was one of the best shows folks had been to in a long time and I agree. It was just like a perfect meal: not too little, not too much, some of this, some of that and we all left the table pleasantly full. Dave and Company, we’ll take you back when flowers smell sweet and we need another treat.

Catch you on the flip side…

Johnny’s Back

P.D. Kelley

How lucky are Rogue Theatre audiences to get to see Jonny Lang twice in nine months? I always say we have the most enthusiastic fans and one of the favorites is Lang. The crowd at this sold out performance showed him some love on September 1st. This time around he seemed truly stunned by the wild reception and he thanked everyone several times for “coming out tonight” followed by that infectious grin, just before he launched into another incredible number. There were some blues tunes but not so much as last time, plus the jazz, the R & B, the gospel and the rock. He and his band are nothing if not versatile and I say again that this performance still falls into one of the best I’ve experienced. Zane Carney playing lead and rhythm guitar seems to be Lang’s touchstone as they are old friends and Carney is a splendid musician. Like last time, Carney opened for Lang and once again demonstrated his musical proficiency. He also has a charming stage presence and some funny patter that gets the crowd laughing. He did some jamming with Charles Jones, a truly gifted keyboardist who apparently is on temporary loan to the band. Carney has played with many famous folks to include U2 and he and Jones had some fun with I Still Haven’t Found What I’m Looking For. Barry Alexander was still on drums and still stellar. Jimmy Anton reprised his soulful bass chops and when all these mates took their final bow, I could feel the connection among them. They seem to love as well as respect each other, as people and as musicians. Lang, as always, showed his appreciation for his band and extorted the crowd to “give it up” for each one. The final encore number was, as in December, Lie to Me, first slow and soulful, then at blazing tempo meant to rock the house and it did. What was different was just before this, Lang came out on stage solo with just an acoustic guitar and sang a couple numbers to include Breaking Me. If you’ve heard this song, you know his tone is true but the voice is so compelling he sounds like he’s near an emotional collapse. I’ll bet there wasn’t a woman in the house who wasn’t moaning just a little with him. Good-looking men who are suffering are almost irresistible. Last time I said that seeing Jonny Lang live in concert should be on your “Ten things I need to do before I leave the planet” list. Make that five.

Catch you on the flip side…

Smooth Vibes from Mr. 335

P.D. Kelley

On the Indian Summer evening of September 25th I and my fellow fans got to listen to one of the great jazz guitarists, Larry Carlton. As a studio musician of many years, associated with Steely Dan and Joni Mitchell, to name but a few, and a former member of The Crusaders and Fourplay, Carlton can do it all from fusion jazz to soul and rock. Just name it, he’s played it. The first set of the show was mostly fusion jazz with other elements to be sure, but these were longer numbers and featured outstanding performances by his band: son Travis Carlton on bass showed that DNA will tell; keyboardist Mark Stephens was inspired; Gary Novak on drums put on a clinic as to the intricacies of a jazz beat, and Bob Reynolds on tenor sax took things to a rich and bold level. Carlton, playing his Gibson ES 335, made everything seem effortless. His musicianship was a marvel and it is clear why he is a four time Grammy winner. The second set was just as entertaining and Carlton played some crowd favorites to include Steely Dan’s “Josie” and The Doobie Brothers “Minute by Minute”, the theme from Hillstreet Blues as well as a few oldies but goodies from his Crusader days. Of course his signature tune, “Room 335”, brought some juice to the room as well as a soulful rendition of Michael Jackson’s “She’s Out of My Life”. The Rogue crowd, as always, showed their appreciation with a boisterous outcry for an encore and Carlton and company obliged with their version of Santo and Johnny’s “Sleepwalk”. A reviewer writing about a show Carlton did last month thought the encore should have been more up tempo. I disagree and anyone from my generation who remembers slow dancing in the gym to this gorgeous number knows that it is a very sweet way to end the night.

Catch you on the flip side…

Oregon’s Favorite Band

P. D. Kelley

I have never been to a Floater concert and I finally got the opportunity to see what some call one of the best ever alternative rock bands last Friday, September 28th. They have been to the Rogue a number of times and seem to have a wildly devoted fan base here in the Northwest. They actually have been voted Oregon’s Favorite Band and were inducted into the Oregon Music Hall of Fame last year. I was sitting between two Floater fans, one my guest for the evening and another who informed me somewhat feverishly that he had been following the band since its 25 year inception and had seen them in concert more than 30 times. He was typical of the crowd that evening: enthusiastic, boisterous but not out of hand and fun to watch. Even the mosh pit wasn’t as wild as I’ve seen elsewhere. Just lots of hopping and bopping with an occasional body slam, but folks were mostly focused on the musicians on stage. Rob Wynia on bass was a tall, commanding presence and he provided the only vocals. He has a perfect voice for a rocker, alternating between raw energy shouts and strong but melodious singing. Oh, and he plays a mighty fine bass. Lead guitarist Dave Amador is not flashy but is a strong talent. He and Wynia have been playing together for a quarter century and it shows. Drummer Mark Powers replaced founding member Pete Cornett last year and he more than fills the bill. He’s got a great kit and he was a whirlwind this evening, providing a driving, hard hitting beat that had everyone on the move. It’s hard to put this group into one genre. Certainly they qualify for hard rock and roll but there seemed to be metal, grunge and psychedelic elements as well. I read, and my concert mates confirmed, that the group will often do one concert with electronic instruments (as it was this night) and the next concert will be all acoustic. I have a feeling I sampled only a bit of what Floater is capable of. Unfortunately, there seemed to be a problem with the sound and there was too much reverb on occasion. At times the lyrics were blurred although what ones I did hear were edgy, sometimes defiant, and mostly compelling. I definitely want to hear more from these guys so I plan to buy a CD, watch some YouTube, and be in the front row balcony when they come again. Catch you on the flip side…

September Solstice

P.D. Kelley

I’ve enjoyed George Winston’s music over the years and I was thrilled to hear him live at the Rogue last Saturday, September 15th. The stage featured one baby grand piano, one microphone and the simplest of lighting. Out walked Winston, looking like an eccentric professor and carrying a guitar case. The audience responded with enthusiasm and then settled quietly to enjoy the concert. This crowd knew when to clap, when to wait, and there were times one could hear the proverbial pin drop. Winston put on what he described as his “Summer Show” and it was a dizzying mix of modern classical, New Orleans style R & B, as well as what is termed “stride piano”. Think early twentieth century jazz with a dash of boogie, ala Scott Joplin. Winston played some original pieces as well as compositions from his favorite composers. He said he has been influenced by everyone from James Booker and Henry Butler to Frank Zappa and The Doors. In fact, he ended his last set with a stirring version of Riders on the Storm. He finished his first one with a sprightly tune called Sassy played on a beautiful Martin guitar. We were also treated to another guitar number for his encore. As a bonus, he also did a soulful number on the harmonica in mid concert. This supremely gifted musician also seemed to have a fascination for the many sounds a piano can make and he often plucked the internal strings to make notes resonate in interesting ways. At times he made the Steinway sound like a harpsichord using this method. He is also a giving artist with a number of benefit performances and albums to his credit. This night, all proceeds from the sale of his CD’s went to the Josephine County Food Bank. His stage persona was humble and he made several gentle jokes that the audience loved. Near the end of the show he quipped that he had last been to the Rogue Theatre in 2004 which meant that he would return in 2032. George! You’ll be 83. Please come again much sooner than that.

Catch you on the flip side…

Junior, Just Doin’ His Job

P.D. Kelley

On a hot smoky first of August night, the crowd at the Rogue got to have some down-home fun with Junior Brown, billed as an “American Original.” He is that with his custom “guit-steel”, a hybrid double necked electric guitar attached to a lap steel guitar which he makes talk in several musical styles: traditional country, a bit of honky-tonk, some western swing, and near the end of the show, an Albert King blues number that just knocked me out. Then, just to keep up a tradition that his audiences love, he played what he calls his “surf medley”, a combination of early sixties hits like Telstar and Secret Agent Man along with other similar nostalgia that put me back in my living room watching TV as a young kid. According to his official bio he has two guit-steels: Big Red and Old Yeller which I think was the one he was playing this night. And play he can. He is a phenomenal musician and his band is stellar as well. Wife Tanya Rae Brown, played rhythm guitar so fast her hands blurred. She sang some fine backup vocals plus she and Junior did a snappy duet together. All in very high heels. Jon Penner was the solid stand-up bass man and Scott Matthews was on drum, singular. He made a lot of excellent noise using one snare and one cymbal. Brown played some old favorites like “My Wife Thinks You’re Dead” and “Highway Patrol” plus some tunes from his new album, “Deep In the Heart of Me.” He and his band are just a hoot so don’t miss him next time around.

Opening for Junior Brown was Jack Hopfinger, a locally well-known guitarist and instructor who has played for several bands in the valley. He and his strat delivered a pleasing and technically excellent performance with a variety of Americana: pop, folk and country with accents of jazz and R&B. Most songs were original but he did a few covers. His voice is rich as well as mellow and he used it to activate a looper which set the percussive beat. Interesting. Hope he comes back soon.

When Pigs Fly

P.D. Kelley

If you are a Pink Floyd fan I hope you were at the Rogue Theatre on Friday, May 18th to hear what many critics think is the best tribute band to this iconic group ever: Pigs on the Wing. They hail from Portland so Oregon music fans can be proud. Pigs was formed in 2006 and from their comments in interviews both written and in social media, the band members are reverential about doing justice to the music, clearly wanting to give audiences a true Pink Floyd experience. They also keep up the tradition of producing an entertaining visual feast with a variety of lights, lasers, varying backdrops and projections. The first half of the show was devoted to PF music from the band’s inception in 1965 up to 1973. This was when PF began expanding their vision of psychedelic and progressive rock and Pigs did an admirable job of bringing that sense of newness, I’ve never heard anything like this quality that made PF so memorable. The second part of the performance started out with much of PF’s bestselling album ever and one of rock’s true classics: The Dark Side of the Moon with pieces from The Wall as well. This show was professional, comprehensive, and truly amazing, even if you weren’t a fan of PF. There were all ages in the crowd as well, appreciating the musicianship, not just 50 and 60 somethings reliving their first acid trip. And speaking of musicians, there was Jason Baker on guitar/vocals. Matt Jones on keyboard/vocals, David Lindenbalm on guitar/vocals, Eric Welder on bass, Bryan Fairfield on drums, Pete Galluzzo blowing the sax and stepping in on short notice for absent vocalist Keeley St. Clair was Kris Deegreen. There are some demanding rock arias in this music and Deegreen was up to the task. Kudos must also be given to Doug Layon, the lighting designer and Bryan Corn, the band’s equipment technician and projectionist. Pigs on the Wing had the same response as other groups have had the first time they experience the Rogue Theatre and the enthusiastic reception they get. Actually Baker said, “We’ve never been to Grants Pass and didn’t know what to expect. Now we know and we’ll be back!”

Catch you on the flip side…

Wide Awake for The Wheel

P.D. Kelley

On Monday May 21st, Asleep at the Wheel once again graced the stage at the Rogue and the band made it quite clear that they love this venue and will return again and again. The audience made it quite clear that they love the Wheel and that they will keep coming back to see them as well. For a couple of hours the crowd was treated to the sounds of western swing, traditional country, a little bit of blues and some early rock and roll. The repertoire seemed endless and maybe it is as the group has been going strong for forty plus years with 10 Grammys and twice as many albums under their belt. Respect from their peers runs deep and they have had all sorts of other laud and honor bestowed on them. This seems not to have fazed them and the jovial, let’s have fun attitude is strong. Two great vocalists and fiddle players in Dennis Ludiker (who also plays mandolin) and Katie Shore, gleam brightly. Also shining are Jay Reynolds on the sax and clarinet, Connor Forsyth on keyboards, Dave Sanger on drums, Eddie Rivers on sax and steel guitar, and Josh Hoag on the upright bass. Then, of course, there is The Man, Ray Benson, on lead guitar and vocals. Benson doesn’t walk on stage, he glides, wearing some gorgeous size 16EEE boots and a 10 (20?) gallon hat; he’s just a sharp dressed man as ZZ Top would say. He is finally as tall as his age at 6 feet 7 inches and that voice is still magnificent, with a range from a medium baritone way down to a rumbling bass. As co-founder of the group he is the front man and a head cheer leader and banters with all his musicians as well as the audience in a delightful way. I simply could not take my eyes off him. He and fiddle player Katie Shore have some duets together and she holds her own with a rich but mellow voice that would work in any style of popular music. The band played some oldies and some newer numbers and encouraged the crowd to sing along and we all shouted out about that HOT…ROD…LINCOLN! I’ll be looking to see them on the marquee again.

Catch you on the flip side…

Brit Hit Makers

P.D. Kelley 

Last Friday, April 6th, Peter Asher and Albert Lee took the stage at the Rogue and entertained us with their musical knowledge, fascinating stories, and wonderful pop songs from the past.  It was sentimental.  It was sweet.  It was not to be missed.  Asher, the “Peter” of Peter and Gordon, is now a grandfatherly type who still plays a decent guitar and has the waspish wit of a very smart man who has met just about everyone in the music industry on two continents in the last forty years.  He made (and still makes) his money as one of the most successful and prolific music managers and producers of all time.  He recognized the greatness in James Taylor when Taylor was still drifting in and out of heroin addiction but Asher’s instincts were correct as they were about Linda Ronstadt and numerous others.  He still keeps a very busy hand in the mix and has an upcoming project with Elton John as well as a weekly radio show on Sirius XM.  Albert Lee is actually a year older than Asher but looks somewhat like an angelic elf with a nimbus of white hair and a self-effacing persona that is a wonder, given his legendary guitar and piano skills.  He is the guy everyone calls to play on an album or to go on tour or to manage a band.  He has been called “Mr. Telecaster” and “a guitarist’s guitarist”.  He and Asher are old friends and the two thought it might be fun to team up every once in awhile and take their audiences down memory lane.  We heard some of Peter and Gordon’s hits and a nice chunk of the Everly Brothers (whom Lee helped reunite and manage over the course of twenty years) as well as a little bit of everything in between.  Lee is not as chatty as Asher but his gentle voice recounted some great career experiences, not the least of which was the delicate dance of working with Phil and Don Everly who supposedly hated each other.  Asher kept unloading little bombshells of delicious info to include my favorite story about Paul McCartney who lived with the Asher family for two years and dated Asher’s sister, Jane, a famous (at least in the UK) actress in her own right.  There was a song that the Beatles had rejected and Asher thought it would be right for him and Gordon and asked Paul to teach it to them.  He did so but the tune needed a bridge which McCartney hand wrote and gave to Asher.  “A World Without Love” was Peter and Gordon’s biggest hit.  Just as I’m thinking, man I hope he held on to that piece of paper, Asher confirmed that it is in a safe deposit box and “If things go to s—t I’m going to run as fast as my little legs will carry me to Sotheby’s (auction house).”  And so it went…a story, a song, another story, another song.  Just delightful!

Catch you on the flip side. . .

Red, White and Bluegrass

P.D Kelley

American Progressive Bluegrass at Its Best

On Sunday, March 18th, the Rogue Theatre crowd got to indulge in a postmodern Bluegrass extravaganza with two bands of similar temperament and musical style: Old Salt Union is currently touring with, and opening for, Yonder Mountain String Band, and if you’ve ever felt you just couldn’t get enough of this fusion of old time stompin’ and pickin’ with modern harmonies and original compositions, then my prediction is you got your fill on this evening. To quote one critic (and I think it applies to both groups) “Old Salt Union has the groove and the chops of a great string band balanced with infectious rock and roll energy.” Co-founder Ryan Murphy plays the banjo with grit and joy and he has gathered some stellar players around him: violinist John Brighton, mandolinist Justin Wallace, upright bassist Jess Farrar and guitarist Rob Kindle. The level of musicianship is top knotch and I defy anyone to not move a body part when listening to what I would call a thrilling performance.

Ditto for Yonder Mountain String Band. These folks are at the top of their game and have been perfecting their craft since 1998. Co-founder Dave Johnston is also the banjo player and his mates include Ben Kaufmann on the upright bass, Adam Aijala on guitar, mandolinist Jacob Joliff and some feminine energy with Allie Kral on the fiddle. She has a stand-out voice to match her compelling work on the fiddle. One of the band members shared with the audience that she was pregnant (visibly so) and that he watched in fascination as her stomach rippled as the baby moved around. Man, that kid is gonna come out kicking in rhythm, and should be singing before he/she can walk. That’s my segue into how fine and sweet the vocals and harmonies were from all five players. The younger crowd was at the front of the stage and danced and whooped it up from beginning to end. The older generation stayed in their seats and were swaying away. Yonder Mountain said they would be coming back to the Rogue on their next tour so make sure to catch them on the next go round.

Catch you on the flip side.

Hot as Hell!

P. D. Kelley

An hour before show time this past February 17th, the crowd was already wound up at the Rogue Theatre. The merch table was doing a booming business selling the familiar flashing devil’s horns and the concert hall was soon peppered with heads topped with the devilish red glow. Folks were chanting and hooting and calling out for the one, the only, Hell’s Belles! This all female AC/DC tribute band has been dubbed the best ever at what they do by fans, critics, and AC/DC’s Angus Young as well. I couldn’t agree more and these women simply brought down the house from start to finish. All the standards were done from “TNT” to “Highway to Hell” to, of course, “Hell’s Belles”. Australian native and lead singer Amber Saxon belted out number after number with an intensity that never wavered. She is a bit of a diva and played to the crowd with genuine affection. Judy Cocuzza, who recently joined the band, was impressive on drums. Lisa Brisbois on rhythm guitar and Mandy Reed on bass held the center with style and confidence. And then there was Adrian Conner on lead guitar. Diva doesn’t begin to describe her stage presence. Most importantly, she is a sizzling talent on her instrument, which must have had a transponder because she was not hooked up to anything and with her blonde dreds whipping around, sailed back and forth across the stage with, well, demonic energy. She never let up for the entire show so I will also say she is a well-honed and agile athlete. She can play in any position: flat on her back, pin wheeling around the floor, on the shoulders of an admiring fan, or crow-hopping across the stage ala Chuck Berry or Bo Diddly. She is also quite sassy in her bad schoolgirl uniform, in homage to Angus, certainly, but I don’t remember him doing a strip tease. Her cheeky piece de resistance was a flash of her bare backside, showing AC tattooed on the left globe and DC on the right. I was both shocked and amused and ended up laughing with the rest of the audience. Not your mother’s female rocker, for sure! If HB ever plays anywhere near you in the future, get tickets immediately. This is hard rock and roll at its best as well as an event, a celebration, and rowdy, wonderful performance art. I’ve said before that the Rogue’s audiences really respond to the shows with such enthusiasm and this band made it known that they loved their reception here and they loved playing at the Rogue. Come back soon, girls. We’ll leave the marquee on for you.

Opening for Hell’s Belles and doing an excellent job of getting the crowd’s musical juices flowing was Rod DeGeorge and his tribute to the Guitar Gods. With him this evening was Adrian May on drums and Tyler (could not hear or later find a last name) on bass. Praise for DeGeorge’s musicianship and teaching abilities is all over the net and I can see why. His guitar work is stunning, less so his vocals, although that really doesn’t take too much away from this exceptional trio. They made a big, big sound for just three players and all are masterful at what they do, particularly May. Simply one of the best drummers I have seen and heard, completely at ease and compelling to watch. Tyler on bass was right there as well and I haven’t seen an opening act I have enjoyed more since Tommy Castro opened for Lydia Pence last year. The song selection was mostly the classics from the likes of Hendrix, Clapton, Page, et al. DeGeorge also played some original compositions and they were quite good. Look up Dance for a Dragonfly on YouTube. This is one talented guy who knows how to play with other talented guys. What an evening!

Catch you on the flip side…

From Soup to Nuts

P.D. Kelley

Last Friday March 10th the Squirrel Nut Zippers were in town and the Rogue Theatre crowd was treated to one of the zaniest shows ever: wild, wonderful and oh so entertaining. You gotta love the name and, although I’d heard of the band before, I would have gone just to find out what squirrels, nuts and zippers could possibly have to offer! There is actually a drink called a nut zipper (tequila, Grand Marnier and cream) and a candy as well. Rumor has it that the band used to toss these sweets into the audience back in the ‘90’s. Sadly, not today but the great music was enough. Think modern swing, delta blues, gypsy, jazz plus a bit of funk and you might have this group defined in a nut shell (bad pun intended). James “Jimbo” Mathus, one of the group’s founders, played a mean guitar and was an excellent vocalist. Another SNZ original was Chris Phillips holding his own on drums. Dr. Sick was the crazed fiddle and banjo player. He spun his head like a top and whipped around the stage in a manic frenzy and still managed to hit every note strong and true. Tamara Nicolai made a fine showing on the upright bass and Kris Tokarski was smooth on the keyboards. The horn section was bold and rich with Dave Boswell on the trumpet, Charlie Halloran on trombone and Henry Westmoreland on the saxophone. For a dash of color and style look no further than Cella Blue on vocals. She had a classic “big band” voice and changed costumes several times during the show: original, a bit eccentric but always engaging. These folks have had some commercial success and have been around for several decades. They have a well-choreographed but still spontaneous quirkiness that their fans love. Watch for their new album, Beasts of Burgundy, coming out this month.

Catch you on the flip side…

A Steampunk Anthem

P.D. Kelley

My winter doldrums have been blasted away after I enjoyed March Fourth’s performance on Friday, February 9th.  I defy anyone to remain glum after being treated to this eclectic band.  Imagine traditional marching band instruments (plus electric guitars) played in a variety of musical styles from hip hop to rock to modern swing to funk to Dixieland.  Then see musicians wearing some parts of band uniforms, all mismatched, madcap and glitzy, and you get most of the picture.  Finally, bring in acrobats and stilt walkers for a Cirque de Soleil feel and the picture is complete.  Well, not quite because the rambunctious sound, the stellar musicianship, and the synergy of the players was just spectacular.  Everyone on stage played to the crowd and they had the spirit of old vaudevillians, engaging the audience with high energy.  The Rogue responded and almost everyone was hopping and bopping for two hours of joyous abandon.  The band got its name from the date of their founding, March 4th, 2003, which that year was Fat Tuesday, or the last day of Mardi Gras when wild celebration explodes before the beginning of Lent.  Appropriate, I think, for M4 (as they are nicknamed) definitely has a Mardi Gras, ‘let’s dance and sing ‘till we drop’ feel as well as the sound of New Orleans style jazz on occasion.  There were many in the crowd who obviously follow this group and they were wearing their own glimmering capes, hats and other whimsical attire.  I feel like I just went on a small vacation and I might have to bring up some March Fourth on You Tube  this coming Fat Tuesday, February 13th.

Opening for March Fourth was a local band from the Applegate, Intuitive Compass.  Jason Dea West and Aurelia Anne Cohen play what has been described as vaudevillian folk music or western swing.  Some have used terms such as rag time or jug band.  Whatever it’s called, it is rich and bold and toe-tappingly good.  Both musicians play a variety of instruments but tonight it was Cohen on the accordion and West on a 1934 National Resophonic steel guitar.  Some might call it a resonator guitar.  Cohen explained that there is a metal plate inside that works as an amplifier and the instrument was often used in vaudeville acts to project sound before the days of electronic amplification.  The crisp, bright tone was just right for the band’s style and repertoire.  Joining them this night was Eric Jones on the stand-up bass and this trio was just outstanding.  Intuitive Compass managed to sound old timey and also fresh and original.  They travel all over the region but play locally as well.  I’ll be on the lookout to hear them again.

Catch you on the flip side…

If He Had a Rocket Launcher…

P.D. Kelley  I’m not sure just what I expected when I took my seat at the Rogue this past Friday, February 2nd, but I definitely got more than just an excellent guitarist with a social message.  The stage set was gorgeous with a camouflage-style backdrop that brilliantly reflected the well-designed light show – a fine complement to a truly outstanding musical production.  Cockburn (pronounced co-burn) was joined by three other accomplished musicians and treated the audience to one great song after another.  Each number was musically interesting, unique in sound and construction, and just plain fun to listen to.  Bassist John Dymond was deceptively smooth and just about perfect.  Drummer Gary Craig switched it up and created moods and patterns to match each song.  If you google the phrase “all the bells and whistles”, a picture of Craig’s drum kit should appear on the screen.  He made some fantastic noise.  John Aaron Cockburn (Bruce’s nephew) mostly played the accordion and my bias about this instrument was blown up.  The sound he added to the mix was very cool and because a note can be sustained for more than a few bars, it can act like a melodious thread that binds the other musical lines.  He also played guitar and violin and it was thrilling to watch him.  DNA will tell.  And then, of course, there is Bruce, guitarist extraordinaire, and at age 72, he appears to have lost none of his chops, although the voice might not be as strong as it once was.  Some of the song lyrics carried progressive social themes, and Cockburn described himself as a “leftie snowflake liberal” (well, he is Canadian after all) but with one exception, the music came before the message and after 40 years in the biz and 30 plus albums he’s savvy enough to know that if folks don’t like your music, your message won’t matter much.  This tour is promoting Cockburn’s new album (streaming, CD and vinyl) Bone on Bone and it, as well as the rest of his discography, is mostly folk rock with touches of blues and jazz.  His band is headed for northern California and he’s the kind of artist who has developed a loyal following over the decades – fans who appreciate his talent and share his politics.  If you missed him this time, check his tour schedule and gather the gang in the VW bus.  He’ll be back here again though, for sure.

Catch you on the flip side…