Wolfgang's Vault, the website devoted to concert recordings and paraphernalia, has signed a deal to offer tapes of shows from the legendary L.A. folk and blues club the Ash Grove. The first show from the Ash Grove vaults, a Freddie King concert from 1970, has been posted.
The Vault, which has collections from Bill Graham's shows in San Francisco and New York, the Record Plant, King Biscuit Flower Hour and other properties, is digitizing more than 100 concerts from the Ash Grove, which was open from 1958 to 1970. Among the artists whose recordings will be offered are are Taj Mahal, Little Richard, Big Mama Thornton, Merle Travis and Mance Lipscomb.
Video is Freddie - from long ago.

The musical breeding ground that gave the world the Doors, Love, Guns N' Rose, Buffalo Springfield and too many hair bands to count will be celebrated during a three-day festival in June.
The Sunset Strip Music Festival will be held June 26-28 and take place in the Strip's current clubs  the Viper Room, Roxy, Whisky, House of Blues, Cat and Key Club.
An opening night party will take place June 26 at the House of Blues, hosted by Mark McGrath. Event will pay tribute to the Godfathers of the Sunset Strip - specifically the club owners Lou Adler, Mario Maglieri and Elmer Valentine.CNN''s Larry King will interview the three "godfathers"on June 28 at new London West Hollywood Hotel.
Updates on the bands playing on the Friday and Saturday night bills will be posted on the event's MySpace page.

Classical music as theater? Let the experts wax on about the brilliant performances conductor Gustavo Dudamel elicits from his band; from the point of view of an enthusiast, Dudamel is a thrilling showman, a dancer on the podium who the Los Angeles Philharmonic responding with multi-hued and multi-layered performances on Sunday afternoon. If the marriage works as well as it did on his first concerts since being named music director designate of the L.A Phil, we could be in for a very long honeymoon.
Dudamel takes over from Esa-Pekka Salonen in the fall of 2009 and his two-week stay at Walt Disney Concert Hall - works by Berlioz, Profkofiev and Salonen over the weekend, Ravel, Bartok and Debussy starting Thursday - instantly became one of the hottest tickets in town. "60 Minutes," the New York Times, L.A. Times and the New Yorker have let their jaws drop as they chronicle the 27-year-old Venezuelan's emergence; his Sunday show supported their enthusiasm.
He had the tall task of conducting Salonen's post-9/11 piece "Insomnia," a work given its darkness by odd-sounding Wagner tubas, nine basses bowed in unison and a vast assortment of percussion. As is his wont, Dudamel found the light inside the work and elicited a striking depth of field.
To some degree, it reminded these ears of the difference between John Adams conducting his own work and Salonen taking the podium to lead an Adams piece such as "Naive and Sentimental Music." Adams opts for precision, detail and control; Salonen produces a fuller canvas.
Dudamel took a back seat on Prokofiev's Piano Concerto No. 1, a showy sprint of a piece that Simon Trpceski blazed through. Within the context of setting a land speed record, Dudamel got the orchestra to play with a sense of give and take, laying back in some passages and creating tension in others. (The conductor won charm points by sitting on the podium during Trpceski's far gentler encore). 
After two works that required some deference on Dudamel's part, the conductor went wild on Berlioz's Symphonie fantastique, a 50 minute five-movement work from 1830. Working without a score, Dudamel through himself into Berlioz's self-portrait and provided a dizzying focal point for the work. He conducts with his entire body, assuming the hop-hop-hop of a child pretending to ride a horse, standing on his toes and reaching over his head to draw out delicate tones from woodwinds, and shimmying with his shoulders, hands by his side, during a particularly whimsical passage. He twists in a two-armed backhand motion to summon a powerful entry, waves the baton at knee height to goad some swirling bass tones and culls a few buoyant bars out of the violins just by moving his head left and right. 
This is what will keep audiences coming back for more. The orch responds to his enthusiasm and generates a sound that is playful and enticing; as animated as he gets, the playing never becomes  a series of curlicues. Can't wait to go back for more.    

Heading into Los Angeles,  Bruce Springsteen and the E Street Band are at a baker's dozen moment. Not only have they performed 13 shows since their Oct. 2 kickoff, 13 tunes have made it into every evening's set list. Two songs - "Lonesome Day" and "Girls in their Summer Clothes" - have been given different nights off  to keep their tallies at 12.
From the new album, Springsteen has performed nightly "Radio Nowhere," "Magic," "Livin' in the Future," "Devil's Arcade," "Last to Die" and "Long Walk Home." He has yet to perform "You'll Be Comin' Down," "I'll Work for Your Love" and the hidden track, "Terry's Song." "You're Own Worst Enemy" has been performed three times.
In preparation for Springsteen's two shows at L.A.'s Sports Arena on Monday and Tuesday, here's a breakdown of the shows by the numbers and bit of what to expect.
A musical triptych in the middle of the show featuring "She's the One," "Livin' in the Future" and "The Promised Land" and a closing of the main set with "Last to Die," "Long Walk Home" and "Badlands."
A main set of about 18 songs and a four-song encore that will include "Born to Run" and "American Land."
Springsteen has performed 49 different songs on the tour, 10 of which have been performed once and eight of which have been played only twice. At the last show, Friday in Oakland, Springsteen premiered three tunes: "Two Hearts," "Racing in the Street" and "Working on the Highway."
From the catalog,  Springsteen has played three of the 15 tunes from the last E Street Band album,  "The Rising." The rest:
"Born to Run": 7
"Darkness on the Edge of Town": 7
"Born in the U.S.A.": 5
"The River": 4
"Tunnel of Love": 3
"Greetings From Asbury Park": 2
"Nebraska": 2
"The Wild, the Innocent...": 1
The only cover came in Toronto in which he was joined by Arcade Fire to perform that band's "Keep the Car Running."
Set lists of all Springsteen shows appear on backstreets.com.

For one night only, architect Frank Gehry is going to make changes to the L.A. building he designed,  Walt Disney Concert Hall.
Sunday night, black carpet will cover the entire stage except the well, which will be red carpet. Red material will drape from the ceiling and over the organ, and there will be a red backdrop around the stage.
And some concert-goers will be seated on an elaborately decorated stage, getting a closeup view of  Portuguese fado star Mariza.
"I love it - I'm having my own taberna," Mariza said during a recent promotional visit to Los Angeles. Mariza is at the tail end of a North American tour ostensibly in support of her CD-DVD release "Concerto em Lisboa."
Disney Concert Hall, come Sunday, would well be the largest taberna in the world; tabernas, in which the mournful fado music is sung, more often than not by men, in Portugal might accommodate 50 or 60 people.
But Mariza is no simple saloon singer. She has been opening the world to the style that has rarely traveled beyond European borders, and even then, its audience has generally been limited to France, Spain and Portugal.

The opening of AEG’s $100 million Nokia Theater is 2½ weeks away and a recent tour of the downtown L.A. venue revealed an impressive building that could take business away from the Gibson Amphitheater, the Kodak and certainly doom the Shrine.
The Nokia has some rather smart design elements working for it, beginning with the full service lobbies — that means bars, food and restrooms — on each floor, much like the Kodak Theater and Walt Disney Concert Hall.
The orchestra level is practically a hall unto itself: 4,340 of the venue’s 7,100 seats are in the the lower level and it actually looks like several hundred more. The upper reaches of the hall can be blocked by curtains to make the room feel like a small theater and not an undersold venue. The back of the balcony, which has only eight rows, is 210 feet from the lip of the stage.
That sort of versatility is key in this day and age: the Nokia is larger than the Greek (5,700 seats) and Gibson (6,200), but by eliminating the balcony, acts that could quickly sell out the Wiltern (2,200) or Kodak (3,100) or not quite fill the Greek have an  option. AEG is anticipating a schedule of 120 concerts per year.
The orchestra level seating area is wide, but does not fan out as much as the Gibson (formerly the Universal) Amphitheater and feels more directed toward the stage, similar to the Greek. Patrons, or at least 90% of them, will be viewing a performer straight on. And no crazy colors like some other venues – this is all dark blue seats.
Stage’s length (180 feet) and width (80 feet) are staggeringly large and an extensive catwalk system will make it possible for a band to stage a full-on arena-size show in the venue. To get that catwalk system in place, though, means an extraordinary amount of air space between the floor and the ceiling.
Sides of the venue are dedicated to large opera-box like spaces. There are six on each side, three stacked on top of three; the view from the unfinished box, looking out at a sea of seats and the stage, makes the place look enormous. Two 16- X 29-foot LED screens will flank the stage.
Backstage has a dozen dressing rooms and a good-sized hospitality suite. Combined, the hospitality and VIP suites total 12,000 square feet.
A double bill of the Eagles and Dixie Chicks will open the building Oct. 18. They load in on Oct. 15 and knowing the Eagles fastidious attitude toward sound reproduction, the room should be pretty well tuned early during their run. (The two bands perform Oct. 20, 21, 24, 26 and 27). To get the hall off to a decent start, every wall is covered with a soft absorbent material, even the walls in hallways near the concert hall.
Sugarland, Little Big Town and Jake Owen follow on Oct. 28, Queens of the Stone Age perform on the 29th; and Oct. 30 welcomes Neil Young. Concerts will have start times of 8:15 while sporting events at Staples Center across the street begin at 7 or 7:30.
The first awards show booked for the Nokia is the American Music Awards on Nov. 18. Company has about 20 other kudosfests targeted for the venue including the Emmys; about the only ones that are off-limits are the Oscars and the Tonys.
Aretha Franklin will perform at the Nokia six days after she is honored as MusiCares Person of the Year at the Recording Academy gala, which has been held recently at the neighboring L.A. Convention Center.
AEG, which is overseeing and will run the L.A. Live complex, will be asking a lot of concert-goers to park east of Figueroa and, more than likely, south of Pico. Other L.A. Live tenants — hotels, restaurants, etc. — will likely offer their own valet parking services.
A year from now, AEG plans to open the 2,300-capacity Club Nokia, which is slated to do 150 events per year, including concerts and private parties.
The concert calendar for Nokia Theater to date:
Video Games Live, Oct. 19
Anita Baker, Nov. 3
So You Think You Can Dance, Nov. 21
John Fogerty, Nov. 23
La Quinta Estacion, Nov. 24
Enrique Iglesias, Dec. 7
Michael W. Smith, Dec. 9
Tori Amos, Dec. 16
George Lopez, Dec.. 26, 27, 31
Chinese New Year Spectacular, Jan. 18-20
Aretha Franklin, Feb. 14
Russell Peters, Feb. 16
Larry the Cable Guy, March 1

A day after witnessing Ornette Coleman’s sumptuous concert at UCLA’s Royce Hall, I am still taken aback but how gracefully this 77-year-old saxophonist performed so rigorously and with such intensity.
Nearly every moment of the 85-minute show found him performing, primarily on alto sax but also sawing away on the violin and using the trumpet for bullhorn blasts, never resting while his three bassists or drummer solo. Song after among was a group effort, tribute to him sticking to his guns and insisting the musical form he birthed  nearly 50 years ago continues to resonate artistically.
This was one of those concerts in which a review doesn’t seem to be enough. Rebel music delivered in a stately fashion by musicians comfortable in their harmolodic skin. They know where to start and stop; the rests after a handful of bars of music are plentiful and shocking. That several of the songs from his “Sound Grammar” sounded richer in Royce than on the recording only drove home the idea that this music continues to grow after it is set on tape. (A concert at Walt Disney Concert Hall in '04 yielded a similar response).
Sure Coleman was known as wild man in the 1960s, one of the guys the Jazz Police decided was out to ruin jazz as if he, Sun Ra, Albert Ayler and Sam Rivers had conspired to make nothing but noise. If the music had no validity it would not have been recorded, right? Not only was it recorded, it was issued by Atlantic  Records where he was a labelmate of Charles Mingus, John Coltrane and the Rascals.
His slowdown over the last two decades has often worried those who want to hear new recordings or hope that one of his rare appearances will occur in their town. He has a performance Oct. 28 in San Francisco and gigs in Croatia, Spain and Hong Kong next year; earlier this year he performed at the Bonnaroo Fetsival. He continues to compose.
Last year, the hoopla afforded his fine album “Sound Grammar” overshadowed the divine reissue of some early recordings issued by the fine Bay Area reissue label Water. That album of superb recordings from 1959 and ‘60, “To Whom Who Keeps a Record,” sounds “startling and fresh” according to NPR critic David Was. The band was his classic lineup: Don Cherry on trumpet, Charlie Haden on bass, and either Ed Blackwell or Billy Higgins on drums. One fabulous record store labels it essential.
The reissue only exists because Filippo Salvadori, a native of Naples who founded the Water label in the Bay Area, was a fan. Atlantic had issued the LP overseas in 1975, but never in the U.S..
Having struck up a relationship with Warner Music, which owns Atlantic, to reissue Aretha Franklin and Otis Redding albums on vinyl, he approached them to do the Coleman reissue.
“I was trying for that one for a long time,” he says. “Right now, it’s easier to sell ‘70s folksinger-songwriters but years ago it was different – a lot more jazz.. And that’s one of the things you have to take into consideration when you decide what to reissue – you can’t afford to make mistakes.”
By the time WEA gave the OK to the Coleman tapes it didn’t matter: The album was too important. Besides, there is always a thirst for Ornette Coleman recordings.
For the record, Coleman and his band performed the following songs at Royce Hall on Sept. 26, 2007:
Following the Sound / Sleep Talking / Jordan / 911 / Call to Duty / Turn Around / Out of Order / Bach / Those That Know Before It Happens / Taking the Cure / Dancing In Your Head / Song World / Song X / Lonely Woman

On Sale Today
Social Distortion House Of Blues Sunset Strip, Dec. 28, 29, 30

On Sale Saturday
Bruce Springsteen And The E Street Band, Los Angeles Sports Arena, Oct. 29
Velvet Revolver /  Alice In Chains, Verizon Wireless Amphitheater, Oct. 26
Paramore / The Starting Line / The Almost, Wiltern, Nov.14
M.I.A.,  Wiltern, Nov. 9

Rufus Wainwright will re-create on Sunday Judy Garland’s famous Sept. 16, 1961 appearance at the Hollywood Bowl.
Show came five months after her historic Carnegie Hall show, the recording of which spent 13 weeks at No. 1. The Bowl show, attended by a record-breaking crowd that Daily Variety estimated at more than 25,000, sat in a drizzle for 2-1/2 hours to hear 24 songs and three encores.
Garland expert John Fricke  notes that not only was the Bowl concert not recorded professionally, but bootlegs have never even cropped up. Much of the Bowl show duplicated the Carnegie Hall show but also included "Never Will I Marry" (replacing "You Go To My Head"), "Ooh, What a Little Moonlight Can Do" and "Just in Time."
She opened with “When You’re Smiling”; closed the first act and later encored with “San Francisco”; danced on “Strings of My Heart”; and noted to the audience “I’m the only woman in the world who can perspire in this weather.”
Daily Variety, in the Sept. 18, 1961 paper, said “It was a nostalgic evening with everyone eager and waiting to greet Miss Garland as she stepped down the runaway, across the lake in front of the stage, and welcomed her audience from the edge
Top ticket price, by the way, was $9.75.
The post-concert party was at Romanoff’s, where Garland table-hopped to greet guests. In the crowd that night was Kirk Douglas, Walter Lang and Mervyn LeRoy.
The review of Sunday's show

ASCAP is assisting Fuel TV with the music presentation of the 2007 Swerve Festival.
Line-up fr the Sept. 29 and 30 event features We Are Scientists,the Black Angels, DeVotchKa, Brazil's Bonde Do Role,  Foreign Born, Illinois, Oh No! Oh My!, Snowden and Thee More Shallows.
Festival will be held  at Barnsdall Art Park, the Vista Theatre and the Echoplex in L.A.

The Faint will headline the second annual Neighborhood Music Festival on Sept. 29 at L.A.'s Exposition Park. Designed to showcase emerging indie artists, the lineup includes Mickey Avalon, Spank Rock, DJ AM, Steve Aoki, Crystal Castles, A-Trak, Kid Sister, Flosstradamus, Shit Disco, Amanda Blank, Santo Gold, Aaron LaCrate, Guns 'N' Bombs, Them Jeans, Royal Rumble, Young Americans, Funeral Party, Brother Reade, Andre Legacy, Dirt Nasty, Lucky I am, Squeak E Clean and DJ Sin. Steve Aoki of DIM MAK Records and Meelo Solis of Stake Productions organize the event. Tickets are either $80 for VIP or $40 for general admission and on sale at www.TicketWeb.com.