Music to Your Ears
Several months ago, Alibi reported that Club Rhythm and Blues, sadly, was closing, at least temporarily. The news set off something of a firestorm with regard to those involved in the exceptional Nob Hill live music venue at the time, but came from an inside source and, lo and behold, turned out to be true. Club Rhythm and Blues officially closed its doors following a farewell Halloween show last year. But as further proof of reincarnation, we're happy to announce that Club Rhythm and Blues will reopen in March with a month-long series of events planned as the grand reopening celebration. The doors will open for the first time in more than four months on Thursday, March 4, to reintroduce the club to its former cast of regulars and, with a little luck, a new crop of live music fans. On Friday and Saturday, March 5 and 6, Albuquerque Blues Connection will take the stage, ushering in the first weekend of live music under the new ownership.
Outpost Productions and Weekly Alibi Present Guitarist Extraordinaire Pierre Bensusan
Neil Young and Crazy Horse
Saturday, Feb. 28; Tingley Coliseum (all ages, 7 p.m.): Neil Young has spent nearly 40 years exploring the American Dream on big-picture terms—not just the wife, car and 2.3 kids all crammed into a little house with a white picket fence, but the essence of the American experience. And as an outsider (Young is Canadian) he's been more successful than most.
A polka party brought to you by the fine folks at KUNM. Please show up so Mary B. doesn't go crazy.
Friday, Feb. 27; The Paramount (Santa Fe, 21 and over, 7:30 p.m.)/Saturday, Feb. 28; Sunshine Theater (all ages, 7 p.m.): Go ahead. It's OK to hate polka. Until you see Denton, Texas-based Brave Combo, that is. After that, hating polka—or at least Brave Combo—will be as impossible as remembering the day you were born.
Norah Jones Feels Like Home (Blue Note)
Sublimely gorgeous and simple in its elegance, Norah Jones' second record is everything the 8 million people who bought her debut expected and, surprisingly, more. Teamed again with producer Arif Martin, Jones teeters on the brink of being a jazz singer through 13 tracks of intensely lovely pop, where melodies float effortlessly over quietly understated instrumentation. There are three highly effective covers here, including Tom Waits' “The Long Way Home,” but it's the songs penned by Jones herself and in the company of bassist Lee Alexander that shine most brilliantly. Buy this record.