The Return of the Prodigal Reviewer Son

 

No column logo, so a new Mask-R-Aid music notation selfie will do.

                                                   
     Thank you to those who have recently reached out online or asked me in person if The Hosey Report has returned/started to cover music again. The answer is yes and I am very excited about it.

     This blog had sadly swerved away from music coverage in the last few years, especially following my heart attack and massive open-heart surgery in late 2017. On top of that, suffering from a painful, sometimes almost crippling case of writer’s block for several years didn’t help, and this blog went much too infrequent for my liking. Things picked up in frequency for an unfortunate reason, as the COVD pandemic hit and I addressed nothing but that issue for about two years. In that time, I did start taking photography much more seriously, and am heartened by my progress as a photographer, being able to express myself artistically and politically, as well as the generously warm response from you fine people.

     But I need to be sure that I do not forget that I am a writer at heart, in talent, calling, vocation and art and any other way it can be referenced. Having been a newspaper reporter and editor for more than 18 years and a freelance writer for more than 35 years, it gets in your blood, just like the ink we used to print with not so long ago. Slowly, the urge to write about music returned, and a few bands and musicians (Monkey Wrench in particular) reached out to me about writing about new musical releases, etc., and I started buying some music, at Bandcamp and elsewhere, with much of it making me want to write about it.

     It has also led me to look for some interesting, off the beaten path type photo mini-essays, such as the one I published on the guitarist playing serious metal favorites outside Starbucks on Delaware Avenue in the middle of a workday. I’m finding some really good music, my lovely wife and by far the better photographer in our marriage Val Dunne and I are going to more shows and I feel an enthusiasm for all of this I haven’t felt in years. Most of my new reviews have been either CDs or digital recordings, and those will continue, and I will also review the occasional live show and conduct a couple of interviews.

     It’s good to be back, and performers wishing to contact me can email me at kjhosey@roadrunner.com or comment here; email me for my mailing address if needed.

Brandon Delmont: Soul of a Delmont

 

       Brandon Delmont may be best known as the talented drummer for girlpope, but the composer and multi-instrumentalist has been more than busy since that band ended its career. He has and/or still performs and writes for bands including the Lindbergh Babies, A House Safe for Tigers, Odiorne and the underrated A Son of the Sun.

     This year, he released a new 7-song recording, “Soul of a Delmont,” for NocturnalSol, and it is simply wonderful. Melding jazz, pop, soul, funk and rock. the all-instrumental recording allows Delmont to stretch out and work with some fine musicians, while apparently playing much of the music, from drums to other instruments. “It’s McLemore” starts things with horns, guitar and organ leading a smooth but soulful song with some swing and 1970s feel, and adds a real cool organ solo from Janes “Jamie” Burgess, who supplies most of the trumpet and trombone here. “”Way of War” is a bit more mellow, with the horns swelling to a stronger trumpet lead and more funky rhythm guitar.

     My two favorite songs come in the middle of the recording: “926” is basic, majestic jazz and soul with some bluesy heat and slower tempo, while “Sort of Blue” sounds a bit like a tribute to Miles Davis’ classic “Kind of Blue,” with moody lead trumpet and a smokey backing band. Elsewhere, “Now and Ben” blends 60s pop, rock and soul while swinging organ and trumpet both take leads and Joey Tosto plays a sweet guitar solo; “Ready, Set, Go!” Is another slice of pop and soul, and “Casi En Casa” is regal jazz, soul and pop well mixed.

     Brandon Delmont and NocturnalSun can be found on Bandcamp, Delmont also on Apple Music and both he and several of his bands can be found on Facebook and other social media.

The Greg and Jim (and Cathy and Jim) Band at Duende

 

   In some ways, Thursday, August 11, 2022, could be called a virtually perfect day. The weather was a wonderful sunny 75-78 degrees, there was a bit of a breeze and the Greg and Jim Band performed two sets of original roots rock, Americana and country and western to a large, appreciative crowd at Duende at Silo City.

     The pretty much all-star band of Greg Klyma on guitar and vocals, Jim Whitford on bass and vocals, Cathy Carfagna on keyboard, accordion and vocals and Jim Celeste on drums and vocals performed songs from Klyma’s various solo recordings and from Whitford’s songbook from the Pine Dogs and solo work. Whitford has played on several of Klyma’s recordings and Klyma was a member of the Red Liners, basically the last invocation of the Pine Dogs; Celeste is the original/sole Pine Dogs drummer and Carfagna and Whitford have performed together in several bands and setups.

     The band performed some great Pine Dog tunes including “Everybody Looks So Down,” “Whiskey Voice,” “Moving Pictures” and “Good Luck, Money and Gasoline,” as well as Whitford’s solo songs “Mr. Money Man” and “Crash All Night.” Among the notable Klyma songs were “Still No Silver Linin’,” “Jane,” “Kristofferson” and “Davidson County Beauty Queen.” Throughout the two sets, the musicians played well off each other, with no one trying to steal or overstay their welcomes in the limelight, a testament to both the quality of musicianship onstage plus the experience both in general and playing together live and in the studio. Solos were never too long, no preening was on display and the musicians showed honest appreciation of each other’s talents, occasionally injecting some humor. The audience enjoyed the band, danced along and even sang at times, and Duende’s laid back setting and atmosphere/vibe gave the show and evening a fine groove. (Also, not paying $100 or more for tickets and no charge for parking helped.)

     Finally, if you haven’t caught these musicians either solo or with their respective bands, do yourself a favor and do so, and the same for anyone who hasn’t had the chance to catch a show at Duende. Besides a rather extensive beer/wine list, they have a pretty decent appetizer, sandwich and dinner menu.

Matt Smith's Nervous System - Close Down the Dream

      Matt Smith never stopped creating music after playing for years in some of Buffalo’s relatively best known and most successful bands, first Scott Carpenter and the Real McCoys/the Orbits before that, and with The Headhunters led by Terry Sullivan. Smith later basically created his own studio, produces and records his own music and other performers and plays out live again.

     Now recording and performing as Matt Smith’s Nervous System, accompanied by Colin Pratt on bass and Roddy Potter on drums, Smith released an absolutely wonderful album in 2021, “Close Down the Dream.” I could take the easy route and say that the album features 11 songs of Smith’s guitar playing (10 originals, one cover), as well as Matt singing and the rhythm section doing a fine job, and be done, but I am a rock writer, and well…

     The recording starts with “Downer,” a basic drums and bass rhythm before Smith comes in with spare, funky, bluesy guitar that gets more stinging and echoey; while there’s a bit of singing, this is a virtual and winning instrumental. “Everything Isn’t Anything Anymore,” beginning with stripped down, rumbling guitar, has Smith wondering whether or not his work, music or life is good enough or when do you stop trying, themes he returns to often. With this recording released in 2021, no doubt much of the writing and recording went on during the worst of the COVID pandemic, possibly causing some introspection. “A Regular Thing” sounds hot and atmospheric with slower guitar; Smith comes to grips with everyday life and the good and bad of repetition, while his guitar sounds bluesy and even happy at times. “Teardrop Avenue” has an upbeat Motown sound and great guitar work.

     Songs keep excelling in the same mode, and after a cover of the Rolling Stones’ ”Child of the Moon,” “Reality” charges out with a riff endearing to us Stones/New York Dolls fans while Smith seems to sing that people should keep more of their BS to themselves. Some of the best songs are saved for the second half, including pretty much the guitar magnum opus of “Chasin’,” where Smith muses over trying to not fall behind creatively, socially, romantically and so on. The more than 7-minute song features about five minutes of Smith’s guitar rocking, ringing, soaring, scratching and feeding back, a bit like his “Marquee Moon.” Pratt and Potter stay out of Smith’s way while upping the intensity. “Until It Fits” takes the much quieter route, spare and fever dream like (some keyboards nicely accent Smith’s guitar), where the love of a person, vocation and substance seem to blend or at least are compared.

     I’ll stop but believe me, this is one REALLY good recording. Matt Smith’s Nervous System’s music is available on Bandcamp, the band’s website is www.mattsmithsnervoussystem.com and the band also has a Facebook page.