Govt. Mule 10/28/16 College Street Music Hall

Packed house for a pre-Halloween jam session with the Mule. While I have reviewed leader and guitar god Warren Haynes in this blog many times in recent years, it has been at least ten years since I have seen him at the helm of his original band. GM started in 90s as a southern rock jam band, hitting the scene in some seminal festivals like the HORDE tour. The group was a trio of Haynes, Matt Abts on drums, and Allen Woody on bass. They toured relentlessly and achieved some fame. Bassist Woody took the hard partying regimen seriously and died in a pile of cocaine. I think it was a formative moment for the remaining two who have had to mourn, then navigate their future. Haynes went on to play lead axe for the Allman Brothers, Phil and Friends and other festival pillars. Abts remained largely out of sight, but manned the kit for GM. On this evening, they were joined by bass, keys/trombone, and Steve Ellison on sax and flute. The first set had some original GM staples like Unring That Bell, a soul rocker Feel Like Breakin Up Somebody's Home. After the requisite ( and possible homage to Woody?) Thorazine Shuffle, it was cover time. Marley's Lively Up Yourself, Dave Mason's Sad and Deep as You, Birdland by Weather Report, and a classic In Memory of Elizabeth Reed by the Allmans. Haynes is such a musical chameleon, that a bass audition to fill Woody's shoes must be nerve-wracking. Bass player wanted must be fluent in rock, funk, jazz, jam, metal, reggae, blues, soul, and standards and keep partying to a minimum.

Andrew Bird 10/14/16 College St. Music Hall

Quirky indie phenom Bird has been at his craft since the late nineties. Obtuse lyrics, with a distinctive voice backed by a standard guitar, bass, and drums. Bird plays guitar, violin (plucked,bowed, and looped), and even some xylophone. His regular releases are pop, folk, or rock. The violin is such an expressive instrument, he could also lean classical or jazz. There have been several radio-friendly "hits" over the years, including a duet with Fiona Apple. Good light show and sound for a pretty packed house of beards and trucker hats. Closed the show with a couple of almost bluegrass numbers showcasing acoustic instruments and close vocal harmony.

John Raymond and Real Feels 10/7/16 Firehouse 12

Made it to the 10pm set at the Firehouse. John Raymond on flugelhorn, with guitar/effects, and drums. Its's hard to think of the flugel without conjuring images of a bloated Maynard Ferguson blowing a head gasket on lightning fast runs, or the crossover sappiness of Chuck (muppets impersonator) Mangione, but the flugel has a creamy brass tone. Raymond has a good command of the instrument, add odd guitar fills and steady jazz drumbeat, which gave a Medeski, Martin, and Woods feel. Started with a Radiohead cover, then a mournful Amazing Grace which melted with flugel personality. Good trio, with some positive "feels".

Vetiver 10/6/16 Cafe 9

Vetiver is the brainchild of Andy Cabic, a cohort of Devendra Banhart and the folk revivalists. Cabic on acoustic guitar and vocals, lead guitar/pedal steel, and drums were the trio. Clever folk melodies that had some open spaces for jamming. Cabic's got a soothing voice, kind of a slurry, not so smartass Loudon Wainwright. Lead guitar was excellent, he was able to switch from pedal steel to stratocaster with ease, with one solo sounding downright Tom Verlainey. Drummer used brushes and mallets that pushed some songs into jazz territory. I recently picked up a re-issue of folk casualty Karen Dalton, with liner notes that thank Vetiver. Cabic and company sound familiar and new, folk and jazzy. They said their mini tour of the northeast enabled them to pick apples and do some hiking, genuinely nice guys.

Woods 9/30/16 Spaceland Ballroom

Woods is billed as a freak-folk outfit. Two guitars, bass, drums, and keys/sax player comprised Woods. A second drummer/percussionist was on stage, though I think he was part of the opening band that just refused to exit stage right. The show started with some pedestrian pop gems that eased the crowd into the kicked-in-the-balls falsetto of the guitar singer frontman. An odd dub reggae workout gave insight into Woods' omnivorous musical sensibility. Next up was a lengthy dervish jam that oozed middle eastern sounds. At this point in the show, the disarming high voice, that didn't fit the bearded, spectacled, trucker hat wearing singer, seemed comfortable. Woods can definitely jam, their trippy lyrics often revolved around dark and light. The keys/ sax player looked like a mashup of Kenny G and Ted Nugent ( minus the right wing bloviating).