Thursday, July 27, 2023

Paul Cebar Tomorrow Sound Rewrites Night of the Iguanas



You could feel Tennessee Williams' presence under the canopy at the Hook and Ladder on a hot and humid Sunday night in South Minneapolis.  But what many concert goers expected would be the night of the Iguanas got up-ended by the powerful funk and poly rhythms of Cebar's Tomorrow Sound.

 I knew we were in for a special night when Mike Fredrickson, Tomorrow Sound's propulsive bassist and band barometer, climbed up on the bank of speakers to take a peek at the audience prior to their opening set.  Fredrickson's face transformed into one big mischievous grin as he peered around the corner of the speakers before turning back to his band mates to relay his impression of the crowd.  Whatever   Fredrickson said must have been truly inspiring as Tomorrow Sound came roaring out of the blocks.  Led by Fredrickson's ferocious bass playing , the likes of which this writer has not witnessed since seeing a young Kenny Gradney in the mid 70's at the peak of Feat's fame, and the incomparable drumming of Reggie Bordeaux, guitarist/vocalist Cebar and multi-instrumentalist Bob Jennings conjured up one funky treat after another to the delight of the many sweaty dancers.








Thursday, July 13, 2023

Robert Gordon (March 29, 1947-October 18, 2022): Rockabilly Vocalist Extraordinaire and Collaborator with Great Guitarists

 I am a little late in acknowledging the passing of Bethesda, Maryland native and perhaps the best pure rockabilly voice since Elvis, Robert Gordon, who died of leukemia last October.  Gordon deserves all the credit in the world for single-handedly reinvigorating the American music genre of rockabilly.  

In addition to being blessed with a great set of pipes, Gordon also had the good fortune to work with some of the greatest guitarists in history.  Having a discerning ear for guitar players should be  of no surprise to anyone familiar with the D.C. area's wealth in guitar talent, where Gordon grew up.  Gordon hooked up with guitar god Link Wray early in his career only to be topped by his short but storied collaboration with the king of guitar, Danny Gatton.  The mixing board tape of Gordon and Gatton's live tour which later became the legendary bootleg "The Humbler" is deserving of its iconic status in the pantheon of rock music's G.O.A.T.

 As if Wray and Gatton were not enough, Gordon worked with the great British guitarist Chris Spedding throughout his career.

I first encountered Gordon in 1977 at the University of Maryland's Ritchie Coliseum where Gordon


opened for Southside Johnny and the Asbury Jukes.  I immediately went out and purchased his album "Fresh Fish Special" which only confirmed Gordon's immense talent in my mind.  Growing up in Northern Virginia there was great diversity in music influences among my friends but one artist we all could agree on was Robert Gordon.  When I moved back to my home state of Minnesota to attend college I continued to follow Gordon and tried to attend the few shows he performed in Minneapolis.  I loved his album "Are You Gonna Be the One" with the Marshall Crenshaw numbers and Danny Gatton's guitar work.  When he played First Avenue in support of that album the review of the show had about two sentences on Robert before the concert reviewer blew his journalistic wad praising the virtues of this "unknown guitarist", Danny Gatton.  Considering First Avenue was the house that Prince built (so to speak) and its stage was no stranger to great guitarists, I had to chuckle reading the Gatton initiate's review.

Having decided to stay in Minneapolis, my opportunities to see Gordon were few and far between.  I seem to recall a brief and rather disappointing performance by Robert at the Cabooze Bar sometime in the late 1980's or early 1990's but that was about it.  That is until he blessed Minneapolis with one of his rare performances from the tour Robert Gordon and the Gang They Couldn't Hang.  Robert and his Gang were in fine form that night leaving me with fond memories of the preeminent rockabilly artist of our time .  


For my review of that show click here:  Robert Gordon & his Gang Can Still Hang With the Best of Them  



Monday, June 26, 2023

International Blues Guitarist Otis Grand Dies at Age 73




I was terribly saddened to learn of the passing of another great blues guitarist, Otis Grand, who died on June 9, 2023.  Grand, whose real name was Fred Bishti, was born in Beirut, raised in the San Francisco Bay Area but found his fame in Britain.  He was regarded as one of the best blues guitarists on the European circuit yet kept in touch with his many friends in the U.S. blues scene. Under appreciated in America, Grand also wrote and sang and put out several blues cds that were as good as any in the blues genre.  With exquisite taste in singers, side men and women and material, I have 2 or 3 of Grand's cds in heavy rotation on my disc player most weeks.  His collaborations with the cream of the crop of U.S. blues singers like Sugar Ray Norcia and Curtis Salgado capture some of their best work.  For those unfamiliar with Grand's work, here is one of my favorite Grand originals,"Finish Line", off of his cd "Nothing Else Matters" featuring Curtis Salgado on vocals and a stellar horn section that includes  the late great Bob Enos and Ritch Lataille from Roomful of Blues and Sax Gordon among others.



In  2013 Grand returned to the place of his birth, Beirut, Lebanon where he and his Blues 65 Band was the closing concert at the Zouk Mikael's International Music Festival under the stars in an ancient amphitheater.  A generous friend, Otis invited many of his American blues musician friends to play in his band and share in a most unique and special life experience.  Mr. Grand will be sorely missed.



Wednesday, June 7, 2023

Alejandro Escovedo Trio Get In Your Face at the dakota


 June 2, 2023 Minneapolis, MN

The last time Alejandro brought a band to town it was pre-covid and the band had just survived a close call when their vehicle hit a deer on the way to Kansas City.  Escovedo, who had been on the road constantly since recovering from a serious illness years earlier, announced to the crowd that his current tour would be his last.  At least for a good while.  It was July 3, 2019 and the band had the 4th of July off but were doing a show in Madison, WI on the 5th. It was not the first time I drove for over 5 hours to see Escovedo and was hoping it would not be the last.


Fast forward to June of 2023 and Escovedo was back.  This time with a slightly pared down band, just drums and keyboards to accompany his capable guitar work.  As usual, he picked incredibly talented musicians, Mark Henne on drums and Scott Danbom on keyboards and violin, to accompany him.  Although Escovedo's reputation in the music world is such that musicians line up 10 deep for a chance to add him to their resume, I have toyed with the idea of what a "help wanted" ad for a spot in his band would look like.  I imagine it would read something like "versatile musicians wanted, steeped in improvisation,  not easily flustered and comfortable with any genre from punk to folk or country to jazz".



The reason I mention this is because I am sure neither Henne nor Danbom ever thought they would be doing experimental theater, playing table side at a jazz club, when they signed on to be in Escovedo's band.   So seven songs into his performance at the already intimate dakota jazz club, Alejandro asked that the house light be turned up.  Danbom traded his keyboards for a violin and Henne his drums for a tambourine and they ventured out into the audience to serenade us tableside. But that is quintessential Escovedo.  Restless, ever changing, mixing things up and never resting on his laurels, of which there are many.

But I am getting ahead of myself.  The show for my son and I started with the trailing, ethereal guitar notes to "Way it Goes" as we were being seated at 7:30 pm.  I later learned from AE's setlist that he had opened with "Wave".  Word to the wise to be prompt and when they say "music at 7:00 pm" they mean it.

"Dearhead on the Wall" was next, followed by a rousing version of another track off Boxing Mirror,
"Break This Time", which featured some chunky rhythm guitar work by Escovedo.  While I have become somewhat spoiled by the long list of great lead guitar players Escovedo usually brings on the road with him, it was refreshing to hear Escovedo's guitar work with emphasis on rhythm front and center.

Escovedo continued with his career retrospective playing "This Bed is Getting Crowded" off of Street Songs of Love followed by "Teenage Luggage" off  his collaboration with Italy's Don Antonio, The Crossing.  Escovedo took the opportunity to mention how he was looking forward to returning to Italy later this year to work on another project with his friend Don Antonio.

Alejandro dedicated the next number, Ian Hunter's "I Wish I was your Mother" to his doctor.  The performance was especially poignant in light of the fact that his doctor (who saved his life) recently lost his mother and this was her favorite song of Alejandro's.

It was at this point that the house lights came up and the trio ventured out into the audience to play a 3 song acoustic set of  "Something Blue", "San Antonio Rain" and a song he rarely plays live "Last to Know".   Below are a snippet from "San Antonio Rain" and the full "Last to Know".








Following the acoustic set the band returned to the stage and kicked off with one of the nights highlights, a powerful rendition of "Sally was a Cop".  After being relegated to a tambourine the previous three numbers Henne was chomping at the bit to get back to his drum kit.  You can see why Escovedo picked him to play in his band.  The Austin transplant and native Philadelphian propulsive syncopated drumming was exactly what the song called for.  It also helps to have a solid harmony singer in addition to being a great drummer.  











Next up was "Too Many Tears" before a clever reworking of his closest thing to a hit single "Always a Friend"  which he transformed into a medley with Smokey's "Tracks of My Tears" and "Lively Up".  No Escovedo show would be complete without "Castanets" after which he took an extended break causing many in the crowd to to think the night was over.  He rewarded those who stuck around with a heartfelt "Sister Lost Soul" dedicated to all his friends who have left us too soon before ending on a punk rock note with "Chelsea Hotel 78".  



Later this summer Alejandro, Nancy and their two dogs are renting an RV and driving to Calgary.  Normally this would be a beautiful road trip but sadly there are currently approximately 400 forest fires raging across Canada. I pray this turns out better than their Honeymoon when they were stranded in a hurricane down in Baja.  Please be safe and we will be praying for rain.














Friday, May 26, 2023

Curtis Salgado Band at KJ's Hideaway, St. Paul, MN Make Magical Music Memories

 


If there is a better band on the circuit today I have yet to hear them.  The immensely talented and ever affable Curtis Salgado brought his crack band into the intimate confines of KJ's Hideaway in downtown St. Paul on a Friday night in May.  When they were done, the audience was left with a thoroughly satisfying evening of good music performed to a "T" and delivered with  humor and context that only comes from an authentic soul survivor of the Bar Wars.  

Perhaps most remarkable is the level of Salgado's game these days.  At a time when audiences have come to expect that when they go to see one of their music legends that they will be at some stage of diminished capacity.  That is clearly not the case with Salgado or his guitarist Alan Hager, both of whom are performing at the peak of their music prowess.  

I can't say enough about Mr. Hager's guitar playing.  Perfect tone, economic riffs with subtle embellishments that covers the range of styles from cool jazz to nasty slide to flat-out rock n roll and delivered in such a nonchalant, effortless manner that belies its difficulty and complexity.  Watching Hager play last night I couldn't help but think of Denny Freeman, the king of taste, tone and effortless playing.  Salgado has found the perfect foil in Hager both as a player and songwriter.

Surrounding them is an excellent rhythm section of younger but seasoned pros:  Patrick Seals on drums, John Walcott on bass and Gabe Plotkin on keyboards.  Plotkin, who was just on his second gig with the band, was the consummate pro nailing even the more difficult material like  his Booker/Fess inspired solo on "Hail Mighty Caesar".

Throughout the night Salgado maintained a conversation with his audience setting up each number with context or an interesting anecdote.  His taste in material was impeccable; appealing to music geeks as well as the casual listener.   Salgado won over the geeks early in his first set with the Syl Johnson cover Star Bright, Star Lite:


Other notable cover material included OV Wright's "Born All Over", Little Milton's "I Found Me a New Love" featuring stinging guitar work by Alan Hager and a powerful performance of Big Joe Williams "Baby Please Don't Go".

 He hit my favorite selections off his latest CD, the phenomenal "Damage Control" performing "Count of Three" after prefacing it with a "Five Royals" story and for all the criminal defense attorneys like me, "Your Gonna Miss My Sorry Ass" which is a big hit with some of my clients.

Curtis was in fine form and clearly enjoying himself even taking a request of one of most popular songs, "I Want My Dog to Live Longer".  Special mention goes out to the band's roadmanager/soundman who sat next to me most of the night.  What I took for an ipad was actually the new digital handheld version of a soundboard and they must work as the sound was excellent all night.   For the night's final selection Curtis ventured out into the audience to emphasize his gratitude for the very appreciative audience. All in all the Curtis Salgado Band delivered one of the most enjoyable evenings of music that this writer has experienced in a very long time.





This was my first show at KJ's Hideaway but I will be back if they keep booking acts like Salgado which are ideal for smaller venues. It is nice to go to a venue with a relaxing atmosphere like KJ's with its low-key friendly staff, good beer selection (cocktails and wine as well) and decent menu.



Thursday, April 27, 2023

Minnesota Gives Blues Legend A Fond Farewell



April 27, 2023.  Mystic Lake Showroom

Minnesota Blues fans gathered to pay their respects to one of the last truly great blues artists still on the circuit.  It is pretty much just Bobby Rush and Buddy Guy left from the greatest generation of blues artists that migrated up from the South to Chicago to break into blues scene.   Buddy seemed to emphasis the point with his selections of material.

Mr. Guy opened with a rousing version of his signature song, “Damn Right I’ve Got the Blues”.  It was immediately apparent he hadn’t lost his guitar playing prowess.  Right before segueing into his next song, he looked out into the audience and said “I hope everybody here likes the blues because if you don’t you came to the wrong fucking house!”  Buddy then says “Next I’m gonna play something so funky you can smell it stink!”  Launching into ...


Monday, January 16, 2023

The Passing of a Legendary Blues Guitarist


 It was with great sadness that I learned of the passing on Christmas Day of Luther "Guitar Jr." Johnson.  Perhaps most famous for being a long time member of Muddy Waters Band and later the Legendary Blues Band,  Luther also fronted his own band, the Magic Rockers based in the Northeast United States.  In addition to his recordings with the Muddy Waters and Legendary Blues Bands, Johnson had an extensive discography both as  the main artist but appearing as a guest artist as well.  Johnson's guest appearance on the Nighthawks critically acclaimed  "Jacks and Kings Sessions" garnered a grammy nomination.  Luther's unique sound, a combination of hard-edged Chicago blues and southern (Memphis) soul made for compelling live performances of which there were many.  Lovingly known as "Gunther" by some of his Magic Rockers band members for his sometimes manic driving behavior on tour, Luther was old school as in the "show must go on".  Luther had a sense of humor too.  A long time sufferer of diabetis, Johnson titled one of his album's "Doin' the Sugar Too".  For the uninitiated I would recommend that excellent cd as well as "Slammin' the West Side" both with his band the Magic Rockers.

Below is a gem of a video courtesy Ferrini Productions YouTube Channel shot at the Nightstage Club in Cambridge, MA.  Luther starts with a rousing version of Come Baby with Ron Levy on piano and Jerry Portnoy on harp.  Later Luther brings  up on stage Pinetop Perkins.  Great performances and interviews all around!


Wednesday, August 24, 2022

Antone's 47th Anniversary Shows: Anson Funderburgh, Sugar Ray Norcia, Lou Ann Barton, Bob Margolin & Roomful Horns

 July 14, 2022




The city, Austin.  Breakfast?  Just grab a couple of eggs and find a clean stretch of sidewalk and decide between sunnyside up or over-easy.  Another day of 110 degrees and not a cloud in the sky.  I decide to ditch breakfast completely for a midafternoon outing to the shrine of brisket cuisine, Franklin's Bar-B-Q.  A pound of brisket, 2 sides and a couple of Shiner Bocks later and I understand the meaning of King Khan & the BBQ's "Waddle Around" intimately.

I uber back to my bat cave for that Southwestern tradition, the siesta.  Did I say bat cave?  Chicken coop would be more accurate.  Not for the accommodations, but rather, the cacophony of chicken noise that greets you at dawn every morning as every household near my Air BnB seems to own roosters.

Feeling renewed and refreshed from an air conditioned nap, I am ready to face another night of great music and libations at Antoneland.

 Being a creature of habit I take the short uber trip down to South Sixth Street determined to get corroboration for my side project:  The alleged musician brawl at the 12 Anniversary Show the night of July 16, 1987 . That would make this the 35th Anniversary of the alleged brawl between blues legends over who played second to last (i.e.  just before the headliner). 











Wednesday, August 17, 2022

Antone's 47th Anniversary Shows: Johnny Nicholas and Friends Turn Antone's Into a Louisiana Roadhouse


July 13, 2022



It was a phenomenal night for midcentury Louisiana music Wednesday night as Johnny Nicholas and his band the Westerlys moved state borders that night putting Antone's smack dab in the middle of Louisiana.

Was there a rip in the fabric of space time Wednesday night in Austin, Texas?  Some physicists are theorizing that a wormhole or portal may have appeared in the vicinity of Antone's Nightclub.  Those fortunate enough to have entered the club that night were teleported back in time to when Louisiana music ruled supreme. The key to the music's appeal was all in its tone.  Tone was everything.  When it comes to authentic midcentury Louisiana music no one around understands it better than Texas blues guitarist and former Asleep at the Wheel singer/musician Johnny Nicholas.  


So just how does a Greek kid from Rhode Island become a legend in Texas blues and western swing
music?  The answer is complicated but it all comes down to one thing, Providence, son.  "Providence?"  But what about Westerly?  And don't call me "son"!  "Fuck Westerly!" someone yells from the crowd.  That is about all I can remember before everything went black. Seriously, if I were to ask Johnny about it I suppose he would describe his lifelong infatuation with Louisiana and the brief time he spent there as a child all played a role in shaping his career.  Personally, I prefer to believe in the rip in space time theory, so we'll call it a draw. (The only reason I bring up Mr. Nicholas' Greek heritage is when I was speaking with Doug James a week before the show I told him that I was so impressed with Johnny Nicholas he had become something of a god to me and Doug quipped "...you mean a Greek God".  Before I booked my trip to see the Antone's Anniversary Shows I was not all that familiar with Mr. Nicholas other than he had great taste in material and musicians he worked with.  But after doing a deep dive into his career and catalog, his show became my raison d'etre for making the trip.)


"...there was a time, not in the too far distant past, when there were more itinerate musicians from Providence washing up on the shores of the Guadalupe River than tech rich Californians. "



By the "Westerlys", I am , of course, jokingly referring to Doug James and Greg Piccolo, original members of the Roomful Horns and just part of that underground railroad of Providence musicians who helped put Austin on the blues music map.  What?  Roomful of Thunderbirds?  Get outta here!  No, you get outta here.  Truth be told, there was a time, not in the too far distant past, when there were more itinerate musicians from Providence washing up on the shores of the Guadalupe River then tech rich Californians.  Fran Christina, Preston Hubbard, Junior Brantley, Duke Robillard and that's just some of the Roomful of Blues / Fabulous Thunderbirds cross pollination.  Then there was the legendary collaboration between Stevie Ray Vaughn and the full, classic version of the Roomful Horn section featuring Porky Cohen, Ritch Latille and Bubba Enos, in addition to Mr. Low and the Pic that appeared along with the Vaughn brothers on Stevie's Carnegie Hall Live LP.
But my favorite collaboration between Rhode Island and Texas are Johnny Nicholas' big band records with the Texas Allstars.  His 2006 record, "Big Band Bash, Rhythms for Rio" featuring Greg Piccolo and produced by Steven Bruton contains a killer version of Bobby Charles (aka Robert Guidry)'s "Before I Grow Too Old".  On a different album Nicholas did with the Texas Allstars, "Rocking My Blues to Sleep," Johnny does my favorite version of "The Hustle Is On" and considering the competition (e.g. T-Bones Walker's original and Kim Wilson's) that is saying a lot!

I arrived at the "new" Antone's a little before the doors opened so I went into Big Henry's Record Shop next door to kill some time.  This became my modus operandi all 3 shows I attended.  To call Big Henry's a record shop would be a misnomer.  More like a boutique of rare blues, soul and local musician vinyl records in amazing condition for their age.  The young woman behind the counter my first night there was very helpful and knowledgeable about music.  Precisely the kind of person you would want running your music establishment and I am not just saying that because she complimented me on my WFMU cap.  "You know about WFMU?" was my startled response.  For the uninitiated, WFMU is a free form radio station broadcasting over the airwaves from New Jersey to metropolitan New York and the rest of the world via the internet.  Woof-Mu boasts one of the best accessible archives of past shows and serves as an important educational resource for aspiring musicians and music aficionados in general.

Enough with the digressions, let's get to the music.

Tone was dripping off the ceiling at Antone's Nightclub tonight.


The night got off to an auspicious start even before the performers took the stage.  The wonderful selection of taped music played through the club's PA literally set the tone for what was to come.  Tone was dripping off the ceiling at Antone's Nightclub tonight.  AnTone, bon Tone, roulette anyone?  I'm so confused.  If you loved the tone on the old Excello 45s by Guitar Slim and Slim Harpo or anything recorded at Cosimo Matassa's J & M studios you would have thought you had died and gone to heaven.

Johnny Nicholas took the stage, starting out on keyboards for one of his best tunes and title track from his 2006 record, "Broke Again", accompanied by his hand picked band (Scrappy Jud Newcomb on guitar, Chris Maresh on bass and Jordan Cook on drums) which grew larger and more varied as the night progressed.  Next up was another original from that album, "My Rice Ain't Got No Gravy".  Nicholas then told a great story about how he was inspired to write "Down in the Alley", his tribute to Austin legend  Doug Sahm, by watching his distinctive walk late one night as he hung out in the alley following a gig.

If you had to choose just one word to describe Johnny Nicholas the musician and the person, I would pick generosity.  Here Nicholas had been given a platform at one of the legendary blues stages to showcase his talents and promote his career, which he absolutely did.  But he also used the opportunity to share the stage and spread the wealth with deserving musicians while educating the audience with the history of the local music scene and by exposing them to artists and genres they might not otherwise cross paths with.
Johnny Nicholas, Scrappy Jud Newcomb, Ruben Ramos

Case in point, Johnny's first special guest, Tejano music legend  and Grammy Award winner Ruben Ramos aka "El Gato Negro".  Mr. Ramos looked and sounded great, showing no ill effects from triple bypass surgery earlier this year.  

Joining Ramos onstage was a three woman choir and Nicholas' band expanded as well.  Taking over from Nicholas on keyboards was Marcia Ball which freed up Johnny to play acoustic guitar and harp.

One of the set's highlights was a stirring version of "Wasted Days and Wasted Nights".




Marcia Ball continued the Louisiana theme with nods to Smiley Lewis and Fats.  Johnny Nicholas was featured on harp for "Gotta Get You a Woman".  



Other Highlights from Marcia's set included a poignant "Louisiana 1927" before closing with a Little Richard number which made me think of Bob Bell and John Rossi.

Scrappy Jud Newcomb, Anson Funderburgh, Jordon Cook and Marcia Ball


Johnny Nicholas took back the helm and gave the audience a sneak preview of tomorrow night's show by bringing up Anson Funderburgh for a Lonesome Sundown cover, "I'm Glad she's Mine".


                                                                Johnny Nicholas


The emphasis turned to harp for Sonny Boy's "So Sad to be Lonesome".  Nicholas then brought out another of tomorrow night's headliners, Sugar Ray Norcia, who he practically mugged towards the end of his cameo.  



A personal favorite and fan request was up next, Bobby Charles' "Before I Grow Too Old" which show- cased two members of the original Roomful Horn section.  


It was so good to see and hear Greg Piccolo's rich tenor alongside Doug James' classic baritone.  I don't think there is a better two man sax section in the business and no one can touch them for midcentury Texas-Louisiana tone.  


Johnny called next a number the Roomful Horns knew very well, Earl King's "Those Lonely, Lonely Nights" which featured his guitarist Scrappy Jud Newcomb.


Nicholas shifted geography to Chicago for a story about Junior Wells and one of the Windy City's iconic blues bars, Theresa's, and putting $50 on the table before doing "Hoodoo Man's Blues".
And it wouldn't be a night of Louisiana music without Smiley Lewis'  "Ain't Gonna Do it".  It doesn't get any better than the Roomful Horns swinging hard and Marcia Ball's rollicking New Orleans piano.
Luckily Johnny still had enough time for one last story about Clifford and Big Walter Smith before bringing up Lou Ann Barton for one of her first live performances since the Covid pandemic for "Natural Woman".

All in all a great night for music and celebrating the anniversary of the founding of one this country's premier music clubs.  I have to think Clifford would be proud of the way the new club has continued his legacy of fearlessly booking excellence not just what is popular.

Saturday, August 6, 2022

After 36 Years, Boy How Austin Has Changed!

 July 13, 2022   Austin, TX


Austin's changed, it's true
Show me what hasn't
Tonight the TV's throwing colors on the wall
As watches cities of the world reduced to ashes
From where I sit, at the bottom of the world
Oh, there used to be a phone booth
Down here on every corner
He used to call me up just to say my name
But now anybody get is a busy signal
No I can't call home, from the bottom of the world...

Alejandro Escovedo "Bottom of the World"


The first time I was in Austin was May of 1986.  I had just graduated law school and rather than study for the bar I bought a brand new motorcycle and decided to live out one of my dreams.  I was a huge music freak and thought how cool it would be to follow one of my favorite bands around the country before settling down to a squaresville legal career.  In 1986 one of the hottest bands on the circuit was The Nighthawks.  I first saw the Hawks in 1977 and have been a diehard fan ever since.

Over the next two weeks I followed the Hawks throughout the Mid and South West racking up over 4,000 miles.  But of all the venues on their itinerary the one that intrigued me the most was the show at Antone's in Austin, Texas.  To blues fans the stories of this club and its legendary owner had reached mythical proportions. So much so, in fact, that I distinctly remember what a let down it was as, based upon its profound influence on the blues music scene, I was expecting the Taj Mahal not a converted Pizza Hut or Country Kitchen.  The physical layout of the modest club was not of importance.  What impressed me was the passion its owner had for the music and his love for the musicians.  I have to admit I was envious watching Clifford Antone introduce the band and hold court.  The sheer joy that Antone exuded was so real and contagious it had me questioning what I was going to do with the rest of my working life.  

Alas, not everyone has balls the size of Clifford Antone and certainly not me circa 1986.  Despite the life changing motorcycle trip, I did return to Minneapolis and embarked on a legal career.



Thirty-six years later I am back in Austin.  Just like my prior visit I came for the music and while the venue is again Antone's it is not the same location or owners.  The good news is the physical amenities at the new location are a big improvement over the converted Pizza Hut and the new owners have done a remarkable job of capturing Clifford and Susan Antone's passion for the music. 

The biggest difference between this trip and my trip 36 years ago is this time I flew.   As much as I wanted to take my motorcycle to relive my youth, the high price of gas and the fact I am now 60 convinced me not to try and make a promise that my body can’t fill.   

For once I would heed my daughter's sound advice, leave the motorcycle at home and have a nice relaxing 2 hour trip by air.   As luck would have it I had booked airfare in the midst of  one of the biggest airline meltdowns in history.

Since I was flying in the same day as my first show I was praying there wouldn't be any flight delays.  Thankfully my darling daughter booked me on one of the first flights of the day out of Minneapolis,  a nonstop on Delta and I arrived on time.  With a half a day to kill and check in time at my AirBnB still hours away, I decided to take the metro bus into downtown Austin and catch a brisket lunch.  

I had of course heard about the legendary Franklin's BBQ and saw that it was on 11th.  I got off the bus by the state capitol and ventured off into the 110 degree Texas midday heat lugging 2 suitcases neither of which had wheels.  God what I would have given for wheels on my luggage!  After walking 5 blocks in the wrong direction I scrapped the idea of Franklin's for lunch and just wanted cold beer and air conditioning. 

That's when I spotted a sign claiming they had the coldest beer in Austin.  Sounds good to me.  At Little Woodrow's  I had a cold beer and a margarita and had a nice chat with Skyler the bartender about this year's Willie Nelson 4th of July picnic.  I grabbed a taco from the food truck, called an Uber and made my way to my AirBnb.  Shout out to my host Robbie for coming to my rescue after the Uber driver dropped me off at the wrong address.  I had just enough time to shower and relax before heading to the show.

So what is my initial impression of Austin 36 years later?  Well, it certainly is true that Austin is no longer the quaint college town.  The food carts along Congress and Guadalupe have been replaced by food trucks.  What was once home to a burgeoning blues scene thanks to Clifford Antone and a slew of transplants from Dallas (the Vaughn Brothers, Doyle Bramhall, Denny Freeman, Lou Ann) Northern Virginia (Evan Johns) Providence (Johnny Nicholas, Fran Christina, Preston Hubbard) and countless other places is no longer the only show in town.  Gone are venues like the Armadillo World Headquarters and musicians like Doug Sahm.  Today's Austin is a sprawling metropolis with big city prices and recognized world wide as a music capital of all genres.  I would be willing to bet there are as many musicians per capita in Austin as there are lawyers per capita in Washington, D.C.  

About the closest (albeit imperfect) analogy I could come up with for what has happened to Austin, is what has happened to Stubbs Bar-B-Q restaurant.  Formerly a red and white checkered vinyl tablecloth hole in the wall  on the first floor of a seedy Rodeway Inn located under the I35 over pass.  The old Stubbs had the greatest old jukebox full of 45s on labels like Excello, Duke and Chess.  



The new Stubbs is now a multi-million dollar amphitheater that, like the HOB chain, rarely books blues acts, but rather is owned by C3 Presents and booked by Live Nation.  


I have a hard time believing its
namesake would feel comfortable at an Anthrax concert in the new version but you have to hand it to his children's marketing and business savvy for taking their father's humble restaurant and turning it into a national brand.



So, yes Austin has changed, it's true, show me what hasn't.....








"I'm going home with the armadillos..."