Music Picks: Skrillex, Diplo, Wu-Tang Clan, The Health Club
Also, Art Lande, Albert "Tootie" Heath, Gilad Hekselman, The Stitches, The Villains and others
Alex Machacek, Terry Bozzio, Jimmy Johnson
THE BAKED POTATO
Location Info
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Walt Disney Concert Hall
111 S. Grand Ave.
Los Angeles, CA 90012
Category: Music Venues
Region: Out of Town
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El Rey Theatre
5515 Wilshire Blvd.
Los Angeles, CA 90036
Category: Bars/Clubs
Region: Mid-Wilshire/ Hancock Park
Blue Whale
123 Astronaut E S Onizuka St., No. 301
Los Angeles, CA 90012
Category: Bars/Clubs
Region: Chinatown/ Elysian Park
The Baked Potato
3787 Cahuenga Blvd. W.
Studio City, CA 91604
Category: Bars/Clubs
Region: San Fernando Valley
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Tonight's reprise of one of L.A. Weekly's top five jazz shows of 2011 likely will be even harder to find tickets for than the two-day event last November. If you can get in, prepare to be treated to an evening of engaging new music, featuring Austrian guitarist Alex Machacek, electric-bass wizard Jimmy Johnson and former Frank Zappa/Jeff Beck/Missing Persons drummer extraordinaire Terry Bozzio deftly playing the largest drum kit that can fit into this small club — gongs and chromatic piccolo toms are only a small part of the percussion artillery onstage. Johnson's addition to this trio in November was the missing piece that gets the group into much larger venues in future as it offers electric chamber music for the 21st century. —Tom Meek
Art Lande, Albert "Tootie" Heath
R.O.D. HALL, CALARTS (Valencia)
Two bona fide jazz legends might compel one to head to the northern kingdom of Valencia. Pianist Art Lande recorded for German über jazz-art label ECM in the '70s and '80s, including the brilliant duet (with reedman and Keith Jarrett Quartet member Jan Garbarek) Red Lanta. Even though he's hiding under a rock now in Boulder, Colo., Lande still plays with intense artistry and is a must-see for pianists. Drummer Tootie Heath embodies jazz history, having recorded with Coltrane as a young man and played with everyone since, including his also-famous brothers bassist Percy and saxophonist Jimmy and Bad Plus pianist Ethan Iverson. Both gentlemen knew and are honoring drummer/bandleader/Bay Area legend Eddie Marshall, who died in September. Definitely worth the drive. —Gary Fukushima
Also playing:
THE LOONS at El Cid; JACARANDA at First Presbyterian Church (Santa Monica); TONY MacALPINE, ULI JON ROTH, BRUCE KULICK at Key Club; CHRIS CARRABBA at House of Blues; ROBYN HITCHCOCK, SUSANNA HOFFS at McCabe's; KATHLEEN BATTLE at Royce Hall; 45 GRAVE at Five Stars Bar.
sun 1/22
BOOTLEG BAR
People in the music biz throw the word legend around with reckless abandon, but Bernie Worrell comes pretty darn close. The 67-year-old keyboardist was inducted to the Rock & Roll Hall of Fame as a founding member and musical director of Parliament Funkadelic, has collaborated with everyone from Talking Heads to Mos Def, and is still widely considered one of the most gifted keyboard players around. Tonight he'll be joined by Minutemen and Stooges bassist Mike Watt, Blondie keyboardist Jimmy Destri, Beastie Boys collaborator Money Mark, violinist Lili Haydn and a few other "surprise guests" playing jazz standards from his aptly titled recent album, Standards. Seeing these overachieving, underappreciated artists in such a small venue is likely to be one for the ages. —Laura Ferreiro
Blouse, Violet Tremors, Soft Metals
ECHO
The modest name Blouse belies the emotional grandeur of the Portland, Ore., band's music. "I see you often in my head," Charlie Hilton intones with a sad longing over Patrick Adams' probing, Cure-like bass line, as a wave of shimmering synths rises behind them, on their new, self-titled album. Her breathy, sweetly somber vocals on "Firestarter" contrast with Adams' submerged bass and the icy sheen of synthesizer, and the dream-pop idyll "Into Black" is wrapped intriguingly by Unknown Mortal Orchestra producer Jacob Portrait in a ball of gauze. L.A.'s Violet Tremors have a harder-edged sound, as Jessica White declaims robotic slogans ("I want to be pretty") hypnotically over Lorene Simpson's fuzzy, buzzing beats. Soft Metals' synth-pop shares some of Blouse's melodic romanticism but has its own style, with Patricia Hall's ethereal singing draped languidly over Ian Hicks' knotty sequencing. —Falling James
Theophilus London, K. Flay
EL REY THEATRE
It's quite fitting that Brooklyn-by-way-of-Trinidad rapper Theophilus London is joined by a female counterpart, K. Flay, for this pseudo–battle of the sexes hip-hop gathering: The MC's succulent standout track "Why Even Try" from his full-length debut, Timez Are Weird These Days, featured the sprightly feminine charm of Sara Quinn from Canadian indie-rock duo Tegan and Sara. And everything about London's retro-hipster vibe exudes opposite-sex attraction, from the trim blazers he dons onstage to the sexed-up, old-school tracks over which he spits. Flay is hardly a daisy-picker, however. The MC with mad brains — she's a Stanford grad — spikes her syllables with no remorse over sizzling electro-pulses on her breakout mixtape, I Stopped Caring in '96. And expect a similarly unfiltered Flay to appear on her debut full-length, which drops next month. —Dan Hyman
Also playing:
THE ARISTOCRATS at Alvas Showroom; GREGG BISSONETTE QUINTET at Cafe Cordiale.
mon 1/23
The Health Club
ECHO
The Health Club describe themselves as a garage-rock band, but the local trio has an appealingly arty, post-punk attitude that makes its music fresh and open-ended instead of retro. On recent single, "Pistols at Dawn," Gerard Fortich moans enigmatically in a lost and lonely voice about nightmares and neon lights. Interestingly, the song doesn't feature his usual distorted guitar. Instead, Katya Arce's throbbing bass and Gabriel Montez's stark drum machine–like rhythms back Fortich's echoing vocals, and the overall impact is quietly moving. Much of the rest of the time, Fortich buries his hazy odes to beautiful girls ("The Muse From Venus") and the tactile, indescribably confusing mysteries of his girlfriend's stockings ("Fragile") in a sea of gloriously sludgy, fuzzed-out guitar obliteration. —Falling James
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