Remember when you used to go out on the town almost every night of the week, sampling the ripe fruits of your town’s musical loins? Are those days gone, perhaps replaced by the fruit of your own loins and the responsibilities of adulthood? A new concert series unfolding at the Harwood Art Center aims to soothe the sonic aches of parents in this particular predicament.
It's a good thing that Mr. Robert "Kool" Bell didn't answer his cell phone when I first tried to call him. Had he picked up, I wouldn't have had the pleasure of hearing his groovy voice mail greeting: "You have reached Kool, and it's kool to leave a message."
Not long ago, the musical road between the ’Burque and El Chuco (that’s El Paso, Texas, to you) was well-traveled. It was easy to find records by Paseños such as Faction X, Not So Happy or Fall On Deaf Ears. Since many Tejano punks were from El Barrio de Ysleta with familia across the border, they also opened that path to exciting Juárez outfits like Setenta Dos Horas. In El Chuco one evening, my greatest regret was having to decline an invitation to a show en otro lado over the Rio Grande. A guero like me couldn’t have asked for a better escort, but being on the New Mexico state payroll I had to work early next morning with a clear head sin crudo.
Soon Albuquerque’s burliest bluegrass band will lose its bass player, Vince Edgerton, to the northerly mecca of Denver. The Porter Draw will continue to perform, but on Saturday, Feb. 27, the bearded ladies gather together for a special final performance with Vince. Blackbird Buvette (509 Central NW) hosts at 10 p.m., and the show is free. (Jessica Cassyle Carr)
Tobias Gebb’s limber drumming and the adept pianism of Eldad Zvulun provide the underpinnings for four different combos (two quintets and two sextets drawn from nine other players) on four Gebb originals and four covers. Things get off and running with Toby Wine’s “Blues for Drazen,” which both altoist Bobby Watson and tenorist Stacy Dillard just nail. Unfortunately, the remaining tracks cannot all sustain that high level. On the upside, Gebb’s ballad “My Love” features sensitive work from tenorist Joel Frahm, who also captures the “out there” feeling on the perky arrangement of The Beatles’ “Tomorrow Never Knows.” On the downside, Gebb’s calypso “Bop Be Dop” never achieves the genre’s centrifugal rhythmic pull, and on “You Don’t Know What Love Is,” Watson’s lovely solo is almost ruined by Gebb’s intrusive castanets. (MM)