Matt Vasquez – “Salt in the Wound” on the river
Happy New Year to everyone! It’s 2025. I’ll be 55 this year. This site passed its 20-year milestone in December, and although I’ll never churn out music posts the way I did in those blog-crazy 00’s, I sure do love that Ickmusic is still here, and continues to persevere through these wild times we live in. When a great artist or tune or live music moment occurs in my life, I love that I can come here and share/document the experience.
Tonight, it’s another visit with the very talented Matthew Logan Vasquez, who captured my attention back in 2010 with his band Delta Spirit. Their standout album History from Below was released that year, and among the great tracks was “Salt in the Wound” – an introspective, philosophic, and quite poignant look at this life we live, and this beautiful earth we tread upon.
Last year, Matt released Frank’s Full Moon Saloon, a stripped-down reimagining of many Delta Spirit tunes, including “Salt in the Wound.”
In this video from last May (back in ol’ 24!), Matt performs the song on the banks of the Blanco River near San Marco, Texas. It’s simply Matt, his Martin guitar, and a gently rolling river. It hits just right for me, and maybe it will do the same for you.
- Check out Frank’s Full Moon Saloon on Bandcamp.
- Visit Delta Spirit’s site.
P.S. As some of you may know, Matthew is very close to both the boys from Deer Tick and Dawes (check out Middle Brother). Brothers Taylor and Griffin Goldsmith of Dawes both lost their homes last week to the awful fires in the Los Angeles area (they live in Altadena). Even with all they’re going through, they took time to visit Jimmy Kimmel Live last night to perform an acoustic version of “Time Spent In Los Angeles,” while raising money for Musicares. It was moving, and you can watch it here.
A Leif Vollebekk Masterpiece: “Sunset Boulevard Expedition”
Brand new Leif Vollebekk!
Leif released ‘Revelation‘ on September 27th, and it took me until today to make it to “Sunset Boulevard Expedition,” the penultimate track on the album.
Sir. Inject this into my veins and let me live in this track for a few days, please! A slow-building melancholic monster of a tune, 8 minutes and 19 seconds of bittersweet and wistful beauty.
The transition mid-song to the dreamy refrain: If I have to live without you / I’m just gonna dream about you / I’m not gonna let you fade away / I’m not made that way – with accompaniment by the Brooklyn Youth Chorus and the heavenly swells of Sara Pagé‘s harp.
The spoken words of the final moments. The genuine ACHE he feels, and the way the song just washes over me as I listen.
The drummer on this tune? The legendary Jim Keltner, honorary Traveling Wilbury, who has played with so many popular musicians in the business. Please check out Leif’s story about calling up Jim out of the blue, and how the song came together. It’s here on his Instagram post.
Listen to this song. Find and take in the lyrics and the imagery they evoke.
Just stunning.Christopher Owens is back with new music
After a (close to) 10-year hiatus of new music, Christopher Owens is back with the recently announced ‘I Wanna Run Barefoot Through Your Hair‘ (due in October). Chris was a founding member of Girls, who split in 2012 after releasing their stellar standout album ‘Father, Son and Holy Ghost‘ in 2011. He released a few solo records over the next few years (his first, Lysandre, is my favorite), then sort of receded into the shadows. This 2023 piece by Adrian Spinelli sums up Christopher’s story, and a lot of the struggles he’s been through. On top of that, his Girls band mate and friend JR White passed away in 2020.
After leaving San Francisco last year, it appears (based on his Instagram) that he’s moved to the Washington Heights area in NYC, gotten married, and has clearly rekindled that creative musical spark.
“No Good” is one of the first released singles, and definitely captures the Owens/Girls sound – the blend of sunny & melancholy guitar with Christopher’s vulnerable vocals.
“I Think About Heaven” continues to grow on me. I can’t help but hear “Ventura Highway” in the guitar melody, but after more listens, I’m finding more and more to enjoy – it’s a sweet six minute meandering journey (in a good way).
You can pre-order the album on Bandcamp. Welcome back, Christopher!
Album cover photo by Sandy Kim.
Ick’s Pick: Dave Alvin and Jimmie Dale Gilmore’s ‘Texicali’
A dozen years has passed since my last “Ick’s Pick,” so why not pick it back up? I’ve been combing through the HTML wreckage of my web site for the last few weeks – fixing dead links, images and such. Why? Because I’m a music loving tech nerd, and I find value in this web site (almost 20 years in!), which at the end of the day is my documented journey through my love of music. My ‘Ick’s Pick’ series was/is a way for me to focus on new music, some with artists I’m familiar with, others brand new to me.
So it’s 2024, I’ll turn 54 in a few short weeks, my kids are grown-ups now (bonkers!!), and I feel like Ick Pickin’!
Scouring my weekly AllMusic New Release email earlier today, my eyes were drawn instantly to this new release from OG roots-rockin’ troubadours Dave Alvin and Jimmie Dale Gilmore. It’s midafternoon, and I’m closing in on two listens through this record. As you’d expect if you’ve spent any time listening to Dave or Jimmie over the years, you’re in store for 51 minutes of quality roots / country / blues & ballads. The album title is a nod to the gents’ home states – Jimmie’s Texas and Dave’s California. They trade verses throughout – Dave with his low & lonesome register, Jimmie with his signature higher pitched delivery.
Four tunes are highlights for me so far. Three of them consecutively (4, 5 and 6 on the album):
“Trying To Be Free” – This is how I love Jimmie Dale Gilmore – a mellow, mid-tempo melodic tune (track down “Tonight I Think I’m Gonna Go Downtown“); this is a plaintive plea to love him or leave him. They’re two like-minded souls with an independent streak, that itch to be “free.” “If I lose you here perhaps I’ll find you there.”
“Blind Owl” – Dave strips it down with some bad-ass boogie blues, in honor (I’m assuming) of the late Alan Wilson, aka “Blind Owl.” Wilson was the leader, cofounder and co-lead singer of Canned Heat. Wilson, I didn’t realize until today, is sadly a member of the “27 club” along with Hendrix, Joplin, Cobain, etc. He died in September 1970.
“Death of the Last Stripper” – Dave and Jimmie team up on this achingly beautiful ballad about the death of a woman, neglected and forgotten by family and friends. “We’re the only ones in the world who even know that she died.” From the first notes to the last second piano flair, this one is just gorgeous and sad.
“Down the 285” – Here’s another slowed down tune featuring Dave and Jimmie. It’s infectious, and you’ll be singing along by the end – “I’m making the drive down the 285, and I can’t take my eyes off the moon.” And Alvin’s line “And I will not cower in my darkest hour…” Sublime.
This, friends, is why you listen to new music. Many of your old favorites, God bless ’em and keep ’em, never stop delivering. I woke up today oblivious to this album, but I now have it (and especially these 4 tunes) etched into my music loving soul.
Buy Texicali on the Yep Rec store.
Dave Alvin‘s site.
Jimmie Dale Gilmore‘s site.
The Light Nights – Camera Obscura
If my Tuesday night hadn’t been spent catching Kamasi Washington’s Mesa gig, you would have found me Wednesday night at the intimate & awesome Crescent Ballroom watching Scottish band Camera Obscura. I fully realize I missed a terrific and rare opportunity to see a great band live, and most notably to hear the voice of Tracyanne Campbell in the flesh. But alas, I am old, I’m a working man, and yada yada didn’t happen.
I can report though that I’m instantly smitten with a tune off their new album, Look to the East, Look to the West. The song is “The Light Nights,” and it hits all the same sweet spots for me that “Honey in the Sun” did a few years back.
The band is currently winding their way through the southern and eastern U.S., and will wrap their U.S. leg at Webster Hall in NYC on June 20th.
I highly recommend this great tune.
Let Tracyanne’s smooth, flawless voice wash over you like a cool babbling brook in the Torridon Hills…
” I want to be sun-kissed and put on your wish list immediately.”Photo: from https://www.camera-obscura.net/
Recap: Kamasi Washington at the Mesa Arts Center
Kamasi Washington wrapped up the US leg of his Fearless Movement tour on Tuesday (June 11) with a stop at the Ikeda Theater (Mesa Arts Center) here in Mesa, AZ.
I became aware of Kamasi Washington back in 2015 with his release of The Epic, which introduced a lot of us to his unique brand of spaced out jazz, funk and R&B. He’s a breath of fresh air in the music landscape, someone unapologetically unique. So when I heard he’d be playing an excellent venue 25 minutes from my home, I couldn’t pass it up.
Fearless Movement was released earlier this year, and the ensuing tour has focused solely on songs from that collection. The band is made up of Kamasi on sax (& some keys), Brandon Coleman on keyboards, Miles Mosley on bass, Tony Austin on drums, singer Patrice Quinn , DJ Battlecat on the rig, Ryan Porter on trombone, and Kamasi’s father Ricky Washington on flute and soprano sax.
Kamasi Washington 6-11-2024 As you’d expect, the musicianship is top shelf, premium-caliber stuff. The rhythm section alone had me spellbound at times. Tony Mosley on upright bass, three stripes painted on his face, dressed like a counterculture paramilitary badass, whipped out his bow and effects for a couple of really cool solos. Tony Austin, behind the kit, with his varying tempos, fills and rapid fire attacks. Each song tends to go several different directions style and tempo-wise, and Tony was on point, tapping and crashing and filling and just complementing the musicians so well.
Although the set list has been static during the tour, it’s clear that each song is an adventure in improvisation. It had been a long time since I was up close and personal with a jazz group, so from the 5th row, watching Kamasi and the band trade measures was something to behold. There were some cool moments during some solos when Kamasi and trombonist Porter would talk on the side and coordinate their next horn part – Kamasi playing a little sample off-mic into Porter’s ear. Nods were exchanged, and they’d roll into that next horn part a few moments later.
Kamasi took some time to introduce some of the tunes. The intro I enjoyed most was his story behind “Asha the First.” Kamasi has a 3-year old daughter named – yep, Asha. He told the story of her love for playing around on the keyboards at home – at all hours of the early morning and day. Kamasi witnessed an epiphany for Asha one day when she figured out that she can go back to the same notes and repeat them. Kamasi then played a little sample on the keys of what she played that day. Five notes followed by a slightly different five notes, then repeated (and repeated). Kamasi recorded her that day, and turned her tune into “Asha the First.”
Kamasi Washington and band 6-11-2024 Another tune that resonated with me was the opener “Lesanu” – which Kamasi mentioned is a prayer in gratitude… to Music. I can relate, as can those of you who find yourself at this web site , or in the crowd at live shows. Music doesn’t hit everyone the same way. For people like Kamasi, myself, and probably you the reader, music is life itself. It’s woven into our DNA and our thoughts at every waking hour.
The new record also features a cover of Zapp’s “Computer Love” – one of my favorite old school joints from the mid-80’s. Kamasi mentioned his admiration for late Zapp frontman Roger Troutman (I was lucky enough to see Roger & Zapp on that ‘Zapp IV’ tour way back then). Patrice Quinn did the female vocal honors (Shirley Murdock was the singer on the original), and DJ Battlecat was on the talk box. Great to hear!
“Interstellar Peace (the Last Stance)” was a journey out to the cosmos – written by keyboardist Brandon Coleman, Kamasi mentioned that he and Brandon share a love for all things space, and are buying up “bootleg rockets.” In my quieter moments, I listen to a lot of ambient “space” music, so this was cool to hear.
All in all, just a great night for a music lover. The Ikeda Theater is a beautiful venue. It was probably 40% full and I was sitting in the 5th row. There was room to sit back, stretch out, sip a little Maker’s Mark on the rocks, and just be surrounded and awash in amazing musical talent.
Kamasi and band will play the Hollywood Bowl Jazz Festival on June 16th, and then, other than a couple of one offs, they have some time off until October, when they kick off their European tour. See Kamasi and the band if you can!
- Kamasi Washington’s site.
- The show on Setlist.fm.
- My Flickr album from the show.
Kurt Elling, SuperBlue and Endless Lawns
Photo credit: Dave Stapleton Kurt Elling.
Voice extraordinaire. Born 1967 in Chicago (3 years my senior), raised in Rockford, Illinois. He discovered the wonders of jazz while attending Gustavus Adolphus College in St. Peter, Minnesota. He developed his vocal chops back in Chicago while attending the University of Chicago Divinity School. Then he signed to Blue Note Records in the mid-90’s. Long story short, this man has been releasing records showcasing his vocal jazz since the 90’s.
The kicker? I had never heard or seen his name uttered through all these years. Not, that is, until watching the GRAMMY pre-awards broadcast on February 4th, when the award for Best Alternative Jazz Album was given out. It was Meshell Ndegeocello who won the award (for The Omnichord Real Book, which I still need to listen to); but among the nominees was 7-string guitarist Charlie Hunter, who I’ve listened to and followed on and off for years – so it caught my eye. The nomination was for SuperBlue: The Iridescent Spree, by SuperBlue, featuring Charlie Hunter and Kurt Elling. “Hmm, interesting,” I thought, and dialed it up on Apple Music on my way to pick up some dinner. Super interesting sounds, and a really unique singer. Who was this guy? A song about the #9? A beauty of a tune called “Little Fairy Carpenter,” the funky explosion that is “Bounce It.”
I was impressed and wanted to explore more about this group. To YouTube I went, and the very first thing I stumbled upon was a SuperBlue performance at Bimhuis, a jazz concert hall in Amsterdam. It was live streamed in November 2023, and I’m telling you, if you haven’t experienced the instrument-like voice of Kurt Elling, you can do no better than starting with this SuperBlue performance with Kurt, Charlie, Julius Rodriguez on keys, and Marcus Finnie on drums.
Now I need to tell you why I start the below show at 49:00. By all means, zip back to the beginning and watch it all. But first, immerse yourself in the splendor that is “Endless Lawns” – a beautiful, soul-filling journey where Kurt shows off every facet of his remarkable vocal control and range. I can’t get enough!! I listen to it almost daily, and it’s such a part of me at this point that it’s hard to believe I first heard it just a matter of weeks ago in early February.
The music itself was written as the instrumental “Lawns” by the late jazz composer and artist Carla Bley in 1987 (an artist who I also was shamefully not familiar with). Kurt took the song and composed some seriously deep, cosmic lyrics that evoke the wonders of the cosmos and its connection to us and to love. It first appeared on his 2018 album The Questions, with trumpet player Marquis Hill adding some soothing solos. Then it was redone for the 2020 SuperBlue album. Personally, I listen to The Questions version more often, but both are fantastic.
It goes without saying that I cannot wait to see Kurt live somewhere, some time. I will make it happen.
Dig into this “Endless Lawns” performance, all the way through now, start to finish. Do not miss the ending, which will make your mouth drop.
Thank you Kurt, and my bad for missing out on you all these years.
Recap: Springsteen in Phoenix (March 19)
It’s been 19 days since the tour opener of the 2024 incarnation of Bruce Springsteen & the E Street Band. The show took place here in Phoenix, his first show here since March 2016 (!) when Bruce and the Band performed The River start to finish, followed by a greatest hits set.
It’s been 19 days, and it’s that old familiar feeling of slowly coming down from the experience of spending a few hours with Bruce. Stats-wise, it was my 10th E Street show, and 18th seeing Bruce (other shows include the ’92 band, solo tours, and the Seeger Sessions Band).
It’s been 19 days, and I’m still set list tracking as they travel from town to town, busting out the deep cuts (“Jole Blon,” “Tougher Than The Rest,” “Viva Las Vegas”).
Yes, friends, somehow eight years passed between getting to see Bruce, and I can confirm that the magic and buzz you feel for weeks on end after a show still endures. And this time, I brought my youngest daughter – a senior in high school with mere weeks left in her school year. Crazy to think that the last time I saw Bruce she was only 9 years old. Now, she knows that special feeling too.
I will offer one gripe about the ticket prices. The last several times, I bought pit tickets for under $200. This time around, with Ticketmaster’s brilliant “dynamic pricing,” those same pit tickets were going for $750! I’m still not a rich man, so I held out until a couple days before to see what I could stumble in to. In the end, I opted for behind the stage in the corner of stage right. Not optimal, but it was a cool vantage point, and what the hell, you’re in the building seeing Bruce Springsteen.
Top to bottom, the set list did not disappoint, but if I were to give some personal highlights:
- “Thunder Road”- among my top 3 Bruce tunes. The opening harmonica, the opening verse, the deep history steeped in this song; the bare bones versions I’ve loved (MTV Plugged, Live 85-95). Everything about it. Tears welled in my eyes.
- “Don’t Play That Song (You Lied)” – From his latest album of lesser-known soul covers. This was the surprise of the night for me. The great background vocals with the singers stepping to the front with Bruce. This had me revisiting the album in the days after the show, and definitely gave me a new appreciation for this Ben E. King tune in particular.
- “Last Man Standing” and “I’ll See You In My Dreams” – both acoustic, with the latter closing the show. They’re from his 2020 Letter To You album, and they pay tribute to his late bandmate George Theiss of Bruce’s first band, the Castiles. Bruce does such a great job of setting the background in an emotional, poignant way. And for me, I’m just as happy watching Bruce alone with his guitar and voice – after all, those Devils & Dust and Ghost of Tom Joad shows are among my favorites. More goosebumps.
- “No Surrender” and “Darlington County” from Born in the USA, which always hit right with me.
- “Darkness on the Edge of Town” and “Backstreets” – the classic ballads, goosebumps every time.
- Last and not least, looking over at my daughter and seeing a big smile plastered across her face, singing along to a bunch of the classics. A memory for a lifetime. Magic in the night.
All I can hope for as a fan is that this wasn’t my last time seeing Bruce the Band. I pray for more.
And now, 19 days later, I scan tonight’s show at the Forum in L.A… and… look at that, another tour debut! He just opened with “Open All Night” (last played in 2014). Lucky dogs. Off to Twitter for some breaking videos.
- “Thunder Road”- among my top 3 Bruce tunes. The opening harmonica, the opening verse, the deep history steeped in this song; the bare bones versions I’ve loved (MTV Plugged, Live 85-95). Everything about it. Tears welled in my eyes.
Jeff Tweedy’s “Jesus Wept”
Crikey, it’s been almost 14 years since I last wrote here about the great and underrated Jeff Tweedy. As time chugs along, the presence of Jeff’s music – both solo and with Wilco – are like an ever present, familiar, warm blanket. And since NPR posted this short & sweet set back in early 2018, I’ve kept coming back time and again to this 3 minute masterpiece mid-set.
It’s “Jesus Wept,” a poignant, beautiful acoustic ballad he wrote for Mavis Staples’ 2013 album One True Vine (which Jeff produced). The subject is loss, and it hits in such a unique and powerful way. Tweedy’s wordsmithing has always left me in awe, and this tune is no exception.
My throat quits when I try to say / How I long for the day / How I wish there was a way / I could see you again
or the chorus:
Side streets I have worn
Through late summer storms
I should have told you
I could live without you
But I don’t want toBless that man, and how lucky we are to have him around singing his songs.
So, this is from NPR Music’s 10th Anniversary Concert, which took place December 2nd, 2017 (seems like ancient history after all that’s happened since). The venue is the 9:30 Club in Washington, D.C. (where I saw one show – Mike Watt’s fireHose in 1991! but I digress).
The video below picks up at 7:56 – the start of “Jesus Wept.” By all means, watch it. I’ve wanted to share this for a long time. C’est magnifique.
Raul Malo’s Beautiful Playlist + Declan O’Rourke
I’ve been following Mavericks front man and Golden Voice Extraordinaire Raul Malo on Spotify for some time now. He has some hidden treasures there in his many playlists – for me, two playlists in particular have me coming back for more and more: Groovy Sounds and Beautiful. I encourage you to click those links and check them out. Scores of great music, familiar and (so many) unfamiliar – spanning the genres, from latin to classical to country to pop and onward…
Listen to this one from the “Beautiful” playlist. I hadn’t heard this tune from Irish singer/songwriter Declan O’Rourke before. On April 9, 2022, it reached my ears (thanks Last.fm). Instant connection – a soaring, gorgeous vocal performance from Mr. O’Rourke.
Take a listen.
Update: On November 18th, the Mavs came through Scottsdale, and I got a chance to meet the man himself, and to tell him how much I dig not only his music, but his Spotify playlists! I don’t care how old I get, I’ll never stop being a music nerd.
