From Press Release:

You are invited to the 23rd annual Guitar Center Drum Off Grand Finals on Saturday, January 14th, 6:30pm at Club Nokia in Downtown LA. An evening packed with performances by the drumming elite, the show will feature the top five undiscovered drummers in the country + exclusive projects from world-class drummers including Terry Bozzio (Frank Zappa, Missing Persons), Dennis Chambers (Santana, Parliament/Funkadelic), Aaron Spears (Alicia Keys, Usher) featuring Jabo Starks (James Brown), Mike Portnoy (Dream Theater, Avenged Sevenfold), Brooks Wackerman (Bad Religion/Tenacious D) and Ilan Rubin (Angels & Airwaves, Nine Inch Nails).

Hosted by Stephen Perkins (Jane’s Addiction), the evening will also include a special Guitar Center Drum Legend award induction featuring Peter Criss (Kiss) and Terry Bozzio.

We’re very excited about the show and hope you all can make it! For tickets and further info, go here.

This will be the biggest drum event of 2012, don’t miss it!

Revisit our pictorial coverage of last year’s Drum Off Grand Finals.

Hot Poolside Action
Unlike most poolside videos filmed in the San Fernando Valley, the only money shot here was the $8 on Starbucks. And the only fluffing going on was of hair. Good thing. Hollywood Drum recently got Glen Sobel and Jason Sutter–both hot-off summer tours–together by Sutter’s backyard pool, called “action” and let the camera roll.

A Coming Together
Sutter, who previously played for Smashmouth, Chris Cornell, and Foreigner, spent his summer out with seminal 70s glam-rockers, New York Dolls. Sobel was just home from his first tour with another 70s icon, Alice Cooper. Both bands towered early in the era’s music and culture landscape, and continue to cast long shadows of influence. The subterranean, trans-everything basement art-punk of the Dolls, and the subversive, counter-everything theatrical shock-metal of Alice Cooper were archetypes for emerging genres. Urban rock clubs and mid-western arenas would be changed forever. Generation gaps and parental dismay, however, would remain as always.

The connection is more than theoretical. Cooper and the Dolls have teamed for a week-long Halloween Night Of Fear Tour in the UK. Spooky. And Sassy. It was only right that Sutter and Sobel would also team for an hour-long Early Afternoon Of Hot Poolside Discourse in the L.A. Valley. Sassy. And Spooky.

We present the result here. Two busy L.A. rock drummers talking about their summers, drums and drumming, 70s rock n roll, and sharing a candid perspective of life on the road. Have a look. You know you wanna.

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From Press Release:

“I never imagined that the tour would have received the overwhelmingly positive reactions that it did,” says Jason Bonham. “It’s been beyond my wildest dreams to come out represent my family, my father and the music of Led Zeppelin.”

Bonham is talking about the Jason Bonham’s Led Zeppelin Experience concert, which thrilled audiences last year on an acclaimed and successful 38-city trek of North America. After postponing a handful of dates due to vocalist James Dylan falling ill, it will now stop at The Greek Theatre in Los Angeles on Friday, October 14.

Jason Bonham’s Led Zeppelin Experience is a unique trifecta of an over-the-top rock concert featuring the unforgettable blues-rock music of Led Zeppelin, atmospheric video and light displays and the history that Bonham shares with the legendary rock n’ roll band. The show features Jason Bonham on drums, Tony Catania on guitar and theremin, Stephen LeBlanc on keyboards/pedal-steel guitars, Michael Devin on bass and James Dylan on lead vocals.

The band performs 20 iconic Led Zeppelin songs encompassing the band’s albums including their 1969 debut Led Zeppelin (“Your Time Is Gonna Come,” “Babe I’m Gonna Leave You,” “Good Times Bad Times”), 1969’s Led Zeppelin II (“Thank You,” “Lemon Song” and “Moby Dick”); 1970’s Led Zeppelin III (“Since I’ve Been Loving You” and ”Celebration Day”); 1970’s Led Zeppelin IV (“When The Levee Breaks,” “Black Dog,” and “Rock and Roll”); 1973’s Houses Of The Holy (“The Ocean,” “Over The Hills And Far Away”); 1975’s Physical Graffiti (“Kashmir”) and many more Led Zeppelin favorites.

For tickets and additional information, please visit here.

Revisit our coverage of The Groove Remains The Same featuring Jason Bonham.

From Press Release:

The 13th Hollywood Drum Show will be held for two days, October 1 and 2, at Solar Studios in Glendale. The show will feature a showroom with exhibitors ranging from equipment dealers to music instructors, beautiful vintage and custom drums as well as clinics and live performances.

The Hollywood Drum Show is the only event of its kind on the west coast. It’s the one place, in one weekend, to find rare drums, vintage kits, accessories and hardware, hard-to-find parts and memorabilia from manufacturers, dealers and private collectors from across the country. Additionally, some of the finest craftsmen in the industry present the best examples of unique custom drums. There is also a consignment area.

The Hollywood Drum Show is known also for its yearly giveaways of thousands of dollars worth of drums and equipment. This year, top-of-the-line snare drums and gear from George Way Drums, Vaughncraft, Tempus, Ludwig, Drum Workshop, Johnny Craviotto, Mayer Bros., Pro Drum Shop, Symphonic Percussion, JCTPO, REMO, San Francisco Drum Company and Dunnett Classic will be raffled throughout the weekend. Vintage snares, cymbals from Sabian, Zildjian, Paiste and Bosphorus, and Pro Mark sticks will also be given away.

The clinician schedule (subject to change) is:

SATURDAY
Noon: Jason Sutter
2pm: Dave Elitch
4pm: Thomas Lang

SUNDAY
1pm: Frank Capp Trio
4pm: Stanton Moore

Other recording artists, celebrities and other special guests are set to appear as well.

The Hollywood Drum Show was founded in 1997 by Hollywood-based drummer and avid vintage drum collector, Kerry Crutchfield.

For tickets and additional information, please visit here.

Revisit our coverage of the 12th Hollywood Drum Show, and our Q&A with Kerry Crutchfield.

Legend
A rumpled clump of orange and red felt and feathers lay half-covered in clear plastic upon a newly custom-built drum riser in NBC Burbank Studio 11. Celebrities rarely live up to their larger-than-life personas in person, and this seemed no exception. One of rock and roll’s most iconic and illustrious drummers was barely noticeable amidst the buzzing pre-production activity on The Tonight Show set. But it was still early by traditional rock star standards.

On cue, the furry heap magically arose, opened wide manic eyes, took-in the scene around him and slowly muttered, “Aaaaah!…rough night”—instantly assuming the center of attention. Animal had awakened. And I was in the presence of a legend.

A History
Animal, traveling with a certain Miss Piggy (who happens to share a remarkably similar speaking…er, yelling…voice), was on set to sit-in with OK Go on the band’s version of “The Muppet Show Theme” off the just-released The Green Album—featuring classic Muppet songs re-imagined and performed by contemporary artists. His performance would involve dual-drumming duties and obligatory “battle” with founding member Dan Konopka. The two drummers have a history.

It’s unclear exactly how it happened or who challenged whom, but at last year’s Webby Awards show, Animal and “Danimal” became entangled in a no-holds-barred staring contest that concluded with Dan acquiescing to be Animal’s personal roadie for a year. All I can say about that is when I arrived on stage, Animal’s six-piece tequila-sunrise drumset had already been fully set-up and Dan had a very early call time. And, of course, Animal was fast asleep on his riser.

Beat Drums!!!
Shortly after awaking and shaking-off the night before, Animal was behind those drums, stage left of Dan, in full-force and ready for sound check and camera blocking. A real pro. Never having heard the arrangement and without so much as a paradiddle warm-up, he ripped into the song and a solo-spot that was so dense, fast, and precise in execution it left the skeptical in the room scanning for the Pro Tools rig and scrutinizing every blurred stoke for authenticity. But those of us familiar with his dizzying technique knew better. All Dan could do was smile, shake his head and hold on. Hold on and lock in. They sounded seamless together. Unlike that staring contest, this clearly appeared to be all in good fun.

Off The Chain
Animal and his “people” tend to keep a pretty short leash (short and chain-linked) on public appearances and publicity outside of official Muppet business. As far as I can tell, he has only been interviewed once in his career. And that was by Kermit…THE Frog—not exactly objective press. So, we were stunned and thrilled to receive word that Animal had agreed to Hollywood Drum’s request for a backstage video interview. We think the idea of speaking with a drummer, to drummers, about drums appealed to his…sensibilities. Shortly after initial show taping began, Animal sat down with Dan for a chat.

Nuance?
My intial thought after watching the resulting interview—aside from wanting more—was just how fitting Animal’s portrait of a drummer (not simply a monosyllabic rock drummer) is in many ways. There is the energy and physicality to be certain. The off-beat, eccentric side. The sharp and easy-to-laugh humor. The commitment and dedication without taking things too seriously—work is play after all. And most strikingly, the caring, sensitive, open and giving side—the still depth beneath the active surface. Animal is happy to shout out his influences, fondness for women, and proclivity for all things loud, just before demurring to Dan’s news of his soon-arriving baby boy—sentimentally, quietly cooing things like, “Little baby? Awwww…lit-tle boy…awwww…” and granting Dan time-off from his roadie duties.

Then, “Go get drums! Now!!!”

Watch our exclusive video interview with Animal. NOW!!!

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DAN!!!
An email from Dan Wojciechowski tends to have lots of CAPS and exclamation points in it!!! Much like his drumming.

I tend to not be a fan of lots of caps and exclamation points in emails—stylistic affectations that give a sense of manic energy or someone trying too hard. I know Dan (Danski, Wojo, Woj) and, in his case, either attribute is way off. His use of emphasis—both literary and musical—conveys pure and genuine enthusiasm, positivity, generous spirit, good humor, commitment and an energy that is far more accurately described as inspired than manic. Indeed, his personality simply seems too big for conventional letter-case and punctuation. It’s fitting. I read his emails with the same joy they’re written. We recently exchanged a few, leading up to last Saturday’s Peter Frampton (his current boss) concert at the Greek Theatre.

Far Away Land
Wojo graduated from the University of North Texas the year I arrived as a freshman. That was a little bit ago, friends. Among drummers there, his legend was already secured. Two years in the prestigious One O’Clock Lab Band; a stint on snare in the elite, ass-kicking NT drumline; and the throne in some the best local bands of the time. From day one—really until the day I split town years later—I made a point, a cheerfully-kept point, of going to hear him play at every chance.

Some of my earliest recollections of a young Wojo playing are with a homegrown original pop/ska outfit called The Plunge. They played regularly in our funky little college town and the gigs became a ritual. This guy was exciting to watch. A wide, toothy smile belied, or perhaps perfectly complimented, a fierce inner focus and discipline. He sat low behind big drums and high cymbals, and moved fluidly with absolute confidence and deliberation. His playing was consistent, precise, smart, structured, and always deep in the pocket. Everything in its place. Controlled, yes. Soulful, always.

Special Place
To be sure there were a handful of other great drummers around at the time whose playing I love to this day, a few of whom have achieved drum-celebrity status. But I’ve always held a special place for Dan. For me as a college freshman, he was the first drummer near my age and within my musical circle who I could point a finger to and say, “That guy is a pro.” Those other drummers around were great even then, and Dan, certainly, remains a constant student; but he was the first guy to blur the transitional line between working musician and honest-to-goodness pro for me. I knew it was time to step up and I held Dan as an early model for my own transition.

Not surprisingly, Wojo ruined every band he ever quit. Starting with The Plunge. It was a firsthand reminder of the critical, existential even, importance of the drummer in a band. It’s one thing to listen to The Who post-Moon; it’s another to have your favorite night-out ruined. Thanks, Dan.

Hopefully he won’t be ruining Frampton’s outstanding band anytime soon. I suspect not.

A Discovery. A Reunion.
The Greek Theatre is always a joy. Most all outdoor concert venues, as the summer heat of the day relaxes into dusk and the cool of night, are a joy; each with its own unique charms. The Greek’s charm is its particular location, tucked into the lush, secluded Griffith Park hills. Adding to the joy this night was the open-air ride up Vermont Avenue and discovery of free venue-adjacent motorcycle parking. A good start.

There’s a long list of reasons we play drums. Some are uniquely personal; some more generic. Here’s but one reason it’s good to be “the drummer”: You get to play with the rock star and not have to be the rock star. Immediately, as I entered the theatre, I see Woj huddled with John Good and Scott Garrison of Drum Workshop. I’d like to see Frampton try and casually hang out in the lobby before the show. There’s a virtue to that kind of anonymity I think. Anyhow, I hadn’t seen Dan in years. Big hug. Some hanging, some laughs, some catching up, some thanks to John for the beer, and it’s nearing showtime.

Alive!
There would be no support band. For good reason. Frampton played nearly two hours before intermission, and a near hour and a half after. The tour is billed as Frampton Comes Alive! 35, and the complete 1976 chart-busting double-live record comprised most of the first set. Voice box and all. The second set was largely instrumental blues material off his more current releases. It is definitely a compartmentalized structure for a live show, but ya’ know what? Totally worked for me. The old. The new. Deal with it. That the show flowed and ebbed so tidily was a fortunate consequence.

LED screens behind the band projected mostly sentimental images highlighting Frampton’s tenure as rock’s flaxen mane-ed, flared collar-ed poster boy. Otherwise, the stage basically consisted of Frampton’s three Marshall cabs and Fender amp; bass and rhythm rigs; Hammond organ and Rhodes enclosure; and drums. That’s it. Rock and Roll.

Frampton brings great energy, humor, and humanity to the stage. He also brings serious guitar chops. His singing is strong, if a bit weathered. His guitar playing has aged to perfection. Better than ever, I’d venture. In fact, crack journalist that I am, lacking pen and paper I would occasionally text myself a note for later reference; somewhere during the extended solos of the second set I typed: “frmptn a mf’r!!”

Rear Stage
Speaking of…there’s Danski rear stage. Everything I related above, every descriptor and contemplation of the early Dan Wojciechowski may rightfully be copied here, in increased font size, bold, italics, and underlined. Maybe even a fancy font color. His playing elevated an already high-flying band with Rob Arthur on keys, Adam Lester on guitar, and Comes Alive-era bassist, Stanley Sheldon. Dan brings everything to the Frampton band. His big-band conception of composition and voicing; stylistic diversity and authenticity spanning years of studio work, and journeyman gigs ranging from LeAnn Rimes to Olivia Newton-John; smooth brush chops and rudimental acuity; and, notably, a mean blues/rock sensibility honed over a long association with guitar hero Andy Timmons. Dynamic. Musical. Supportive.

One quick additional note. Dan has this thing that I know well, and recognize as pure Dan just as clearly as the features of his face. He has made an art and a signature of the double crash. He’ll intently look up and eyeball a pair of large diameter, high-hanging crash cymbals the split second before sending them exploding, ringing and wobbling in unison. It’s a thing. Makes me smile every time.

Wojowhatski?
This is the perfect band for him; and he the perfect drummer for this band. It was exciting as ever to listen to him play live again these many years later; and personally satisfying to see him getting the reward and recognition he so deserves. Now if Frampton could just get his last name right on stage.

Krugman, Woj & Garrison

So Fine
A little post-show hang, satisfied goodbyes, a quick walk to the moto, and whee!, whee!, whee!, all the way home. A good night. But why is “Black Hole Sun” in my head? It was a Peter Frampton concert, right?! He would have to play that last.

Clearly, this is not a show or drummer review. It is more of a Valentine. An homage to my old friend and one of my still favorite drummers. Great show, Dan. Or better yet: GREAT SHOW, DAN!!!

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From Press Release:

San Jose, Calif., — Enter Music Publishing, publishers of hip drumming magazines online and offline, isn’t just obsessed with selling magazines. The company has a strong commitment to the community and drummers in need.

Last year, Enter Music Publishing, in conjunction with the San Jose Jazz Festival, sponsored Rhythm Night, a benefit for the family of deceased Little Feat drummer, Richie Hayward. The night was a tremendous success with more than 500 drummers and fans attending.

This year, Enter Music Publishing is sponsoring its second annual benefit, DRUM! Night, which promises to be an exciting drumming festival with a diverse lineup of drummers and percussionists. On Friday, August 12, drummers will descend on the San Jose Repertory Theatre in the heart of Silicon Valley to witness an evening of amazing drum clinics and performances by Terry Bozzio (Frank Zappa, Missing Persons, Jeff Beck), Thomas Lang (Spice Girls, Tina Turner, Stork), and Santana’s fiery percussion section: Karl Perazzo & Raul Rekow, with special guest Armando Perraza (formerly of Santana).

The event will actually be kicked off at 4:30 in the afternoon when Street Drum Corps puts on a street concert outside the venue.

The concert also includes a raffle of thousands of dollars in drumming gear. Proceeds will be donated to the Performing Arts Music Program at Lincoln High, a San Jose magnet school. With over 40 course offerings in dance, music and theater arts, more than 900 Lincoln High students of all ability levels study and learn to attain the highest levels of achievement.

“We’re really enthused to be sponsoring this event to assist music education in schools,” said Phil Hood, publisher and co-founder of Enter Music Publishing. “San Jose schools have a great reputation when it comes to the performing arts and we’re dedicated to supporting the arts through events like DRUM! Night.”

Doors will open at 5:00, an hour-and-a-half before show time, allowing
attendees to have their stick grips analyzed and tuned-up by local drum teachers, witness music demos, test new drum gear, and get in on a special autograph session featuring Brian “Brain” Mantia (Guns ’N Roses, Primus), Jimmy DeGrasso (Megadeth, Alice Cooper), and other notable Northern California drumming dignitaries.

Like last year’s Rhythm Night, DRUM! Night will help kick off the 22nd Annual AT&T San Jose Jazz Festival, one of the largest open-air jazz festivals in the world. SJJF closes off the entire downtown area, erects multiple outdoor stages, and draws up to 100,000 music lovers who converge from Friday afternoon to Sunday evening to enjoy jazz, blues, salsa, Latin, R&B, electronica, and many other forms of contemporary music.

For tickets and additional information, please visit here.

Resident Orlean
The poster pretty much says it all, Boys and Girls. A Stanton Moore clinic and Trio performance every Wednesday in July at The Mint. This is good news for L.A. drummers and connoisseurs of NOLA-imported funk. The real, unpasteurized stinky stuff.

Moore is already a familiar sight and sound at the storied mid-Wilshire club, playing there regularly with his trio, The Meters Experience and occasionally the stunning quartet Garage a Trois. He’s now making the place home for a month. Don’t be surprised if he’s standing outside on Pico Boulevard in robe and slippers, scratching himself, coffee in hand, shouting “Get off my lawn!” at traffic.

Free Clinic
So, a free one-hour clinic will precede each evening’s show from 7-8pm. According to his management, the clinics will be presented in four consecutive parts over the course of his residency:

“1) New Orleans Street Beats: Stanton will cover some of the history of New Orleans second line and Mardi Gras Indian rhythms and the similarities and differences between them. 2) Buzz Rolls: Stanton will cover the 5 exercises he used to help develop his unique approach to buzz rolls and will discuss how he integrates them into his playing. 3) Stickings: Stanton will cover some of the sticking techniques he uses most and will demonstrate how to apply them around the kit. 4) Funk: Stanton will cover some of the different aspects of funk and New Orleans funk drumming, as well as how to develop playing in between straight and swing.”

And Funk Will Follow
This is just the kind of L.A. drum event we around here at Hollywood Drum like to get behind. In conjunction with Stanton, we will be giving away a pair of tickets each week of July on our Facebook page.

Stanton is an old friend of Hollywood Drum and the subject of one of our earliest reviews and interviews. We’re happy to support this great series and encourage the community to get in on it. Summertime and the drummin’ is greasy.

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From Press Release:

Vitello’s Jazz Club in Studio City in association with the Los Angeles Jazz Society asks the Los Angeles jazz-loving community to come out and support the victims of the recent earthquake and tsunami in Japan. Musicians and fans will be coming together on Saturday, April 9 for an all day / all night concert event that will raise funds for the Japanese Red Cross.

Performances continue from 11:30am until 11:00pm and those attending will enjoy the delicious Italian cuisine of Vitello’s. There will also be a silent auction featuring an array of items donated by music celebrities as well as by various musical instrument and electronics manufacturers, with all proceeds going to the Japanese Red Cross.

While the earthquake and tsunami disasters have left us all speechless, the gift and power of music has inspired these talented artists to donate their time, their talent and their voices to this relief effort.

Daytime ticket: 11a-5p
11am: Doors Open - USC Honors Combo w/ special guest Bob Sheppard
12:05pm: USC Thornton jazz Orchestra big band directed by Bob Mintzer, w/ guest artists (Bob Sheppard, Dan Fornero, Peter Erskine, et al)
1:00pm: Vitello’s All Stars, w/ Bob Sheppard, Larry Koonse, Tom Warrington and Joe La Barbera
2:00pm: Mitchell Long, Larry Steen, Aaron Serfaty Brazilian Trio
2:30pm: David Arnay Trio w/ Ralph Humphrey and Larry Steen
3:00pm: Takako Uemura / Japanese Lullabies
3:15pm: THE TRIO (Chuck Berghofer, Terry Trotter, Peter Erskine)
4:00pm: YELLOWJACKETS (Russ Ferrante, Jimmy Haslip, Bob Mintzer, Will Kennedy)

5:00pm: Break for SILENT AUCTION end day event

Evening ticket: 6p-11p
6:30pm: Alan Pasqua / Peter Erskine / Darek Oles Trio
7:10pm: POEM Quartet (Pasqua, Oles, Erskine, Mintzer)
8:00pm: Alex Acuña - Cajon Master
8:25pm: Franklyn Ajaye - “Jazzcomedian”
9:00pm: Grammy-Nominated Vocalist Denise Donatelli w/ Bob Sheppard sax, Tamir Hendelman p Kevin Axt bs & Ray Brinker dr
9:40pm: Wayne Bergeron Big Band

Tickets available at TicketWeb or Vitello’s website.

General admission is $25, reserved seating for $50 and VIP seating for $100 (per show).
Donation-only options are available here.

For more information contact April Williams.

Reunited…
Like I said in my last Hittin’ post, I’m a sucker for an organ trio. When the anouncement came that L.A.’s most ubiquitous B3-master Larry Goldings would be re-uniting with Peter Bernstein and Bill Stewart at Vitello’s for two nights this past weekend, I puckered up.

The three made their name collectively and individually when they first teamed in 1988 for weekly gigs in NYC. The trio has continued to evolve for over twenty years now and earned recognition as one of the genre’s all-time greats. From those seminal shows, Stewart went on to acclaim and drum-hero status with Maceo Parker, John Scofield, Pat Metheny, and as prolific bandleader. Still based on the east coast, he is a somewhat rare sighting in L.A., and the opportunity to see him just up the street in this musical setting was not to be missed.

Upstairs at Vitello’s is a Hollywood Drum friend and favorite. We reviewed a show there before and subsequently filmed on-location for our first Hollywood Drum Before Dark segment. Bookings like this one add to the club’s growing reputation as one of L.A.’s best jazz rooms. We made the final late show Saturday, and easy curbside parking on the cool, wet night was a good start. As were seats with a straight eye-line to the Gretsch-inspired (wink) four-piece arrayed with three high-ish, tilted Zildjians. The room was mostly full.

…And It Feels So Good
I saw these guys play about five or six years ago at the old Jazz Bakery. The things that made them great then are still the things that make them great now: world-class musicianship, symbiotic chemistry, sharp composition, hip concept. It’s all there. The evolution is subtle yet discernible. If rock is like beer—best when fresh; jazz is more wine. Over simple? Clearly. But, where the raw energy and cocky surety of youth subsides, the refined wisdom and humble confidence of maturity unfolds…ideally. The process just seems to serve jazz musicians well. (Nothing personal against Mick Jagger.) Six years later, the trio exhibited a bit more relaxed approach to their instruments and a slightly heightened (deepened?) sense of purpose. It was interesting and satisfying to hear these musicians who have grown together and separately over twenty-three years reunite.

Balancing Act
As the trio winded their way trough a mix of Goldings’ originals and deconstructed standards, Stewart’s brilliant drumming lit the way. Improvisation, essentially, is spontaneous composition. Some improvising musicians tend to be more spontaneity-driven; some more composition-minded. Stewart manages a compelling balance—supreme control of the instrument and attention to detail complement trusting abandon and big-picture sensibility.

Heads are thoughtful and defined; time-keeping is dense, interactive (physically and musically) and unrelenting; solos are hypnotic, polyrhythmic, and contoured. Everything is round, deliberate, and suh-winging. He created vibey mood on the slower pieces; seamless propulsion on the mids and burners; spasmodic motion and color in the free sections; and hints of cold-sweat syncopation from the Maceo days on a loose, funky straight-eight tune. Square-jawed, stone-faced and serious from the neck up, his body language is circular, fluid and playful. The visual contrast seems fitting.

Open Mic
Goldings is funny. Forget all that talent and resume stuff. Perhaps final-show fatigue and a leaky roof just above his organ on a rainy night had something to do with it, but a bit of slap-happy humor overcame him. During a certain rather lengthy and tangential, hazy but witty, out-loud runaway train-of-thought about set order and song titles (or something) that had me giggling well into the next tune, he—somewhat genuinely confused—checked out the mic and asked, “Is this thing on ramble mode?” I kinda feel the same way right about now. Great show!

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Thanks to April Williams and Upstairs at Vitello’s.