There's probably not much point in trying to buy any albums by the California Guitar Trio in Ann Arbor this week. If the reception for Saturday's festival performance was any indication, they're already all sold out.
But first things first; the Trio didn't show up until after intermission. The night started with quick sets by ex-Michigander Rachael Davis and folk veteran Bob Franke, followed by a delightful appearance by Cathy Fink and Marcy Marxer. The duo demonstrated the tight harmonies and instrumental rapport that have kept them making music together for, as they said, "twenty-ahem years." Most enjoyable might have been "Here is the Chorus," a devastating dismantling of the cliched structure of the standard pop song.
Billy Jonas, the one performer scheduled both nights, got the audience singing along - apparently, one of his favorite pastimes -and briefly showed off his inventive ability to use a variety of "found objects" as percussion instruments.
Speaking of Larkin, she seemed a bit nervous in the unfamiliar role but did fine. Performing a handful of songs herself, she mostly kept her trademark guitar wizardry under wraps, but her terrific sense of humor was on full display. It's hard to imagine many other performers successfully pulling off a song about going to the mall in which she alternately channeled Marlene Dietrich, Carmen Miranda and Ethel Merman.
Kate and Anna McGarrigle wrapped up the first half with a bittersweet and somewhat lackluster set. "Goin' Back to Harlan" and a couple of others were pleasant enough. But technical problems apparently forced them to scale back their plans, and seemed to throw them off track for a ragged take on the chestnut "Rocky Road," which sounded like it had the potential to be a winner.
Maine's Ellis Paul got the second half off to an energetic start with a set that closed with his, um, "hit" - "World Ain't Slowin' Down," from the Jim Carrey movie "Me, Myself and Irene." But then came the California Guitar Trio, the hit of the night.
This all-instrumental act features, guess what, simply three amplified acoustic guitars doing folk-jazz-rock takes on -well, just about anything imaginable and then some. (One number was described as a Japanese folk tune with some King Crimson and surf guitar thrown in, and that's just how it sounded.) The three are all amazing players and they work together astoundingly well. The audience ate up every fascinating note.
Most impressive was a gorgeous, energetic rendition of Beethoven's Ninth Symphony that sounded, in its way, just as majestic as any orchestral performance. And how to follow that up but with a zippy version of the '60s rock instrumental "Pipeline" by the Chantays.
Jim Lauderdale had the unhappy slot falling between the festival's surpise hit and its headliner, but he held his own. Lauderdale lives in Nashville, and his strong voice and heartfelt songwriting make him the kind of person that city should make into a country star, but never does. Best was "King of Broken Hearts," the title coming from Gram Parsons' description of George Jones.
Taj Mahal sold out two shows at The Ark last year and likely played the biggest part in Saturday's sellout as well. And from the moment he stepped out on stage in his wide-brimmed white hat, sunglasses and flowered shirt, it was as though he'd brought the weather with him from Hawaii.
Unfortunately, the abrupt change in climate left him somewhat hoarse. He called it "the weirdest voice I've been in in probably 40 years," and indeed, in its lower range he sounded alarmingly like Harvey Fierstein.
He didn't let that slow him down, though; his guitar was just fine, and he rocked through a terrific set that included "Fishin' Blues," "Stagger Lee" and "Sittin' on Top of the World," wrapping up with a raucous "The Blues is All Right." Yeah, it is - and so is the folk.