Xylouris White w/ Marisa Anderson 11/16/16 Bar

Caught the last half of Marisa Anderson's set. Solitary female guitarist, Anderson has been positively reviewed in this blog before (opened for Tashi Dorji at Cafe 9). Anderson plays loud, just shy of distortion, but the wide open feel to her songs really resonate. Her new record references the American west and has a lighter feel than her previous bluesier outings. Lamenting the recent election results, Anderson played a great take on "Keep Your Lamps Trimmed and Burning" saying it was a historic call for action and readiness.
Xylouris White is the duo of Cretan lutist George Xylouris and Australian drummer (and member of The Dirty Three) Jim White. The lute was amped in such a way as to not sound medieval. Xylouris' vocal style was tender and abrasive. Songs were sung in Greek. White had an odd avant grade drum style that looked like he was a puppet lifting his arms high above his head. He used mallets and sticks to great effect. Both of these musicians were middle aged and hairy. During one soft ballad, George put the lute down and went to the bar to scold some chatty millennials for not respecting his concert space. I know what you're thinking, Cretan lutist was a term that I convulsed toward president elect Trump in a fit of denial, but apart from noteworthy hair, and a language I don't understand, the comparison stops there.

Amirtha Kidambi's Elder Ones Quartet 11/11/16 Firehouse

Still reeling from the election, but made it to the second set at the Firehouse for Amirtha's quartet. Drums, standup bass, and soprano sax were the canvas for AK's harmonium and India-inflected vocal stylings. The group skronked and wailed while AK chirped and warbled over the fray. The harmonium looks like a fancy file folder that is pumped to make a sound somewhere between accordion and bagpipe. I felt bad for this female Indian American citizen who was " grateful for our attendance" , but did not want to "talk much between songs" for fear of losing it. Good set of straight ahead jazz.

Everyone Orchestra 11/9/16 Toads Place

Nice diversion from the verge of trumpocalypse. Everyone Orchestra is a jam alum consortium conducted by SF native Matt Butler. Steve Kimock on guitar, Vin Damico (moe.) on drums, Marc Brownstein (Disco Biscuits) bass, Aaron Manger (Disco Biscuits) keys, Tim Palmieri (Kung Fu, Z3, and local hero) guitar, singer/congas from the Motet, sax and trumpet players nicked from Brooklyn jazzbos Snarky Puppy. The group played extended jams with Butler goading members with hand gestures and iPad directions. Butler had a handcrafted garish suit and matching hat, prowling the stage he looked like a psychedelic mashup of Cab Calloway and Hunter Thompson. The funky soul stylings of the Motet guy grounded the extendo jams. Two full sets of music at this historic venue offered several hours of escapism from this hell-on-a-fast-train "society" that we live in. We can only hope that Johnson and Johnson is working on a long term ecstasy drip that will be over prescribed in 2017.

Ryley Walker w/ Circuit Des Yeux 11/2/16 Bar

Hayley Fohr performs under the moniker of Circuit Des Yeux. She was the cover feature on a recent edition of Wire magazine. Her drone-like guitar was augmented by a truly unusual voice. Fohr looked like your average Chicago hipster, but had a huge baritone voice that assaulted the crowd. She seemed shy between songs, but the voice left a mark. Closed her set with a rousing version of Sam Cooke's Change Is Gonna Come.
Ryley Walker is a Chicago singer songwriter who is comfortable with noise and jazz leanings. He played Wilco's Solid Sound Fest at Massmoca a couple of years ago. His release Primrose Green a few years back was critically received. His song structure is loose, with most songs allowing for some lysergic noodling. The band was Walker on guitar and vocals, another guitar, standup bass, and jazzy drummer. Good version of The Halfwit in Me from his most recent record. He closed the set with a fantastic version of Van Morrison's Fair Play. After the show, the final game of the Cubs-Indians World Series was still going on. I was chatting with Walker who was a Cubs fan natch, as the game went to a 10th inning rain delay, I said to Ryley that he'd always remember where he was for this historic win.

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".