Richard Thompson Electric Trio, Boulder Theater, February 13, 2019.

King Crimson, Paramount Theatre, Denver, September 8, 2019.

A storm blew through Colorado on September 8 and it wasn’t just dumping buckets of rain on the whole region. It was also an electric rumble in the Paramount Theatre in Denver when King Crimson- the great contemporary, full-strength version of the band- returned celebrating their 50th anniversary as a band.

To be sure, there was nothing weak about this 50-year-old group, playing only 12 dates in the US this time around. Fronted by three drummers, guitars, bass and reeds plus filled out the rest in a full, runaway truck kind of way. When all seven men were wailing, it was a mighty storm indeed.

Don’t get me wrong- I yelped with approval when King Crimson lit into “Red”- a masterpiece of chugging darkness. Who doesn’t still get a fist-pumping chill from their grand signature piece “In the Court of the Crimson King?” “Easy Money” was ecstatically edgy and it doesn’t get much better than the brittle scorched earth of “21st Century Schizoid Man” in terms of art rock power.

However, my favorite parts of the show were actually when things got ramped back. Tops for me was “Moonchild” with its alluring melody and almost innocent intent. The sound cleared up, the playing was mindful and a different time and space was created. Another favorite that slowed things down- and benefitted the group- was “Epitaph.” They indulged in some instrumental segues that also created their own space.

So, it’s not all darkness in King Crimson’s music- there’s beauty, thought, intricacy and artistic intent that naturally tempers the red-hot poker stuff.

Certainly nostalgia is a part of it- over a 50 year timeline, fans have a lot of favorite stories and tracks they want to hear. But on stage at the Paramount, this was solid of-the-moment musicmaking that transcended the general patronizing of fandom. It doesn’t look to me like anyone on stage was bored playing any of this stuff- I wouldn’t be- or that it was pandering to “hits.” This was a night of top flight art rock, thundering then moving on.

Ghost, Nothing More, Budweiser Events Center, Loveland, September 30, 2019.

Tommy Emmanuel and David Grisman “CGP and Dawg”, Lincoln Center, Fort Collins, June 22, 2019.

Suzanne Vega, Siobhan Wilson, Boulder Theater, July 31, 2019.

X, Washington’s, Fort Collins, June 20, 2019.

David Bromberg, Cary Morin, Armory, Fort Collins, September 6, 2019.

I can easily see why a veteran musician like David Bromberg still likes to get out and tour. At least at the Armory on September 6, it seemed like it must be a pretty good thing to be David Bromberg- you get enthusiastic response from adoring fans, you get to have a band of top notch players, you get to play your favorite music- both originals and other people’s songs- and you meet, and get to play with, other cool people along the way.

At the Armory, Bromberg himself came out to introduce opener Cary Morin, who supported Bromberg last time he came through. Bromberg sincerely gave Morin warm props and Morin responded by turning in an upbeat blues set featuring blinding guitar runs and his smoky, world-wise voice that prompted a standing ovation from the hometown crowd.

Then Bromberg and his band delivered a diverse show- and I use that word purposely because Bromberg and group didn’t just do one thing, they did many, exhibiting a professional showmanship that kept things lively.

Sure, the music wavered safely within the territory of blues, country and picking, but the instruments kept changing and Bromberg’s wry patter in between tunes injected a sense of humor into it. The band shucked their instruments and gathered around a single mike for an a cappella piece. At the end of the evening, the group lined up across the front of the stage and played a tune unplugged- literally with no amplification. The music was naturally quieter but no less dynamic.

Bromberg also brought Morin on stage to jam with the band on a blues number. All this together shows the seasoned skill Bromberg has for completing a good gig. But the legendary player also seemed to be having a good time and so did the band. The fans certainly were, so this was one happy room. Who wouldn’t want to keep going when things work this well?

Christone Kingfish Ingram, AJ Fullerton, Armory, Fort Collins, October 18, 2019.

Boz Scaggs, Union Colony Civic Center, Greeley, September 12, 2019.

Keb’ Mo’, Jontavious Willis, Armory, Fort Collins, September 26, 2019.

Greeley Blues Jam, Island Grove Arena, June 8, 2019.

Claypool Lennon Delirium, Uni, Boulder Theater, August 18, 2019.

Bohemian Nights at NewWestFest, Fort Collins, August 9-11, 2019.

Take Me to the River, Lincoln Center, Fort Collins, October 12, 2019.

Sean Kelly, Liz Barnez, Fort Collins Nursery, August 1, 2019.

Absolutes, Bellvue Grange, July 27, 2019.

Lois and the Lantern w/ Liz Barnez, Swing Station, LaPorte, July 7, 2019.

Old Fuss and Feathers, The Exchange, Fort Collins, July 21, 2019.

Sons of Genesis, Senior Center, Fort Collins, July 19, 2019.

David Taylor’s Zikr Dance Ensemble, Denver International Airport, June 7, 2019.

Patrick Crossing, Irish Embassy Pub, Durango, April 19, 2019.

The Rifters, Avogadro’s Number, Fort Collins, April 12, 2019.

Colorado/Wyoming 2019

Lisa See, Hilton Fort Collins, March 10, 2019.

Luis Alberto Urrea, Hilton Fort Collins, November 3, 2019.

Lyle Lovett and John Hiatt w Willis Alan Ramsey, Lincoln Center, Fort Collins, February 9, 2019.

Kodo, Lincoln Center, Fort Collins, February 17, 2019.

CD Review- Kate Wolf “Live in Mendocino” Owl Records 2018

by Tim Van Schmidt

The recently released collection of live recordings by folk icon Kate Wolf, “Live in Mendocino,” is like a beautiful love letter.

The love comes from Wolf’s son, Max Wolf, and Nicholas Wilson, the sound engineer who provided a wealth of original tapes from multiple Wolf shows. Together they have constructed a vibrant and full portrait of Wolf as an artist- from the beautiful, even haunting power of her voice and words to activist rabble rousing and just old-time, jamming-on-the-front-porch fun.

But more, the really deep love here comes from Wolf herself. You can hear it in the way she uses her voice on her own songs and those by others. She loves the words and wraps her warm vocals all around them, cherishing their power. She can be bright and happy, but also moody when it comes to the struggles and triumphs of the heart.

The musical arrangements here are simple, even sparse at times. But another part of the love that is revealed here is in the soul mate partnerships Wolf had with multi-instrumentalist Nina Gerber and bassist Ford James. Gerber’s mandolin and guitar work compliments Wolf’s performances with flair while James’s voice melds smoothly and easily with Wolf’s. Together, Wolf, Gerber and James created a distinctive trio sound that is on full display in “Live in Mendocino.”

Like that beautiful love letter, “Live in Mendocino,” is not just a reminder of a favorite artist gone too soon. Instead, it is a key to unlocking emotions she embodied so well. Dare it be said- some of these emotions are sorely needed today. That makes welcoming new music from Wolf a really worthy job.

If you haven’t pulled out your old Kate Wolf records in a while, don’t. Just go ahead and get a copy of “Live in Mendocino”- you will feel Wolf’s love anew. If you haven’t heard Wolf yet, this CD is an excellent place to start- it has everything that still makes Wolf’s songs and voice an enduring legend.

Paisley Park Studios, Chanhassen, Minnesota, May 13, 2019.

Oktoberfest 2019, Museum of the Pacific War, Fredericksburg, Texas

Baron Wolman, Satellites of Love/Public Library, San Luis Obispo, February 2, 2019.

Carolbeth Hite, Marston Smith/Lord of the Cello

Farmer’s Market, San Luis Obispo, January 31, 2019.

“Steel Magnolias,” Great American Melodrama & Vaudeville, Oceano, February 3, 2019.