Tuesday, October 25, he pays a repeat visit to the favored hometown venue of SOhO. Even during lockdown, the inspired singing songman was an intrepid streamer-performer, then jumping back into the touring swim - once allowed - with Toad and also in his solo artist garb. Glen Phillips, of Toad the Wet Sprocket and Glen Phillips-ian fame, has not been a stranger in this strange pandemic epoch, thankfully. Nick Mason’s Saucerful of Secrets | Credit: Jill Furmanovsky Featured in the ranks are two women horn players/background singers - noted trombonist Natalie Cressman and trumpeter Jennifer Hartswick - and famed percussionist Cyro Baptista, whose musical toolbox included slap-happy swimming flippers. And the crowd went mildly wild, a jamband-icious bunch which transformed into a bobbing, undulant mass of seduced humanity.Īnastasio, a fine and tasty guitarist and affable, mild-mannered example of a charismatic rock star, led a band with a big, fat, friendly and dance-able sound. With his own organically-grooving group Trey Anastasio Band (TAB), Anastasio stopped by the Arlington recently for the group’s first official local outing, as part of an only 11-show fall tour. Trey Anastasio’s old and occasionally reunion-izing band Phish swung through town in 2014, playing at the Bowl. Tall Phish Tale Phish’s Trey Anastasio (center) and band at the Arlington Theater | Credit: Josef Woodard Sign up for ON the Beat, Josef Woodard’s semi-weekly newsletter preaching the gospel of eclectic music tastes. On Friday (October 21) at noon, Gill sits down to do his musical business on the piano at State and A (Anapamu), in front of Old Navy. We just caught Gill on the big stage of the Santa Barbara Bowl, during Johnson’s homecoming, sold-out two-night stand, where he bounced between vintage keyboards (his preference) and a kindly, long-armed accordion solo up front. Take, for instance, an Independent-hosted performance by Zach Gill, he of Animal Liberation Orchestra and Jack Johnson band/ally fame. Most of what happens on the pianos follows the happenstance plan, with some notable exceptions. Roving up another block, a young woman flanked by friends played pleasant pop ditties, calling on lyrics pulled up from a cell phone. One block up, the pianist is more on the avant-garde/catch-as-catch-can side of things, mashing together some dissonant notes, but also keeping up a propulsive rhythm.
One era’s dance music is another era’s retro flavor du jour. One of his passerby-fans asked “do you play anything danceable?” Voila: he busted into a snort of ragtime. A pianist on one block was quite adept, shifting between classical and pop music. On this month’s “First Thursday” evening, flitting between Thursday night activities and the pre-DakhaBrakha concert Ukrainian festival outside the Granada Theater, I took a few-block tour of the piano promenade.
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