Once again, the contributors from the Southwest have puzzled together an excellent section for you. We begin with recounts of the South by Southwest storm that tore through Austin from Eric and Chris, continue with further tales of the Albuquerque Underground from the desk of Don McIver, bend an ear toward the Gothic Theatre in CO with Jeff, and round it off with rain delays and the kick-off of festival season in Tejas. Keep your eyes on the screen and your ear to the breeze as the words swallow you whole.

Chris Gardner

In This Issue:
South by Southwest: Spotlights In Austin – by Chris Clough
South by Southwest Wrap-Up – by Eric Rothschild
The Withdrawls - by Don McIver
The David Nelson Band in Colorado - by Jeff Buske
The David Nelson Band in Albuquerque - by Don McIver
Stir Fried - by Jeff Buske
ThaMuseMeant and The Motet - by Don McIver
Washed Out In Austin – String Cheese by Chris Gardner
Old Settler’s Music Festival - by Chris Gardner

South By Southwest: Spotlights In Austin March 13-19

By Chris Clough

From March 13-19, the interactive, film, and music worlds converge in Austin, TX for the mammoth festival, South By Southwest (SxSW). The festival combines the best of feature and documentary film with innovation in interactive technology, and open-panel sessions with the film’s directors, and the technology’s designers. The festival is capped off in true Austin fashion, with an extended weekend of musical spotlights on hundreds of new and captivating artists, as well as the old and proven. These spotlights are something of a bittersweet experience: while the purchase of a wristband (between $75 and $100, depending on the date purchased) allows (mostly) free access to any act throughout the weekend, the featured bands and artists are only allocated 45 to (the rare) 90 minute spots. Therefore, festival-goers are provided with a large and assorted palate of different artists to choose from; however, the actual sessions are so short that the audience often gets a chance to only whet its appetite for each act. Still, the week can be an endless foray into the arts that anyone can appreciate.

The week begins with film, and there is much to choose from. This year SxSW featured many different musical documentaries and feature films showcased within theaters such as the Paramount, the Alamo Draft House, and the Dobie Film Center. Among the documentaries were “Bittersweet Motel,” director Todd Phillips’ representation of his experiences on the road with Phish during the summer of 1997, and “Neil Young: Silver and Gold,” directed by L.A. Johnson, a live concert video shot recently in Austin. The festival also featured “Don’t Look Back,” a documentation of Bob Dylan’s 1966 European Tour, when he first introduced his electric sound. This film, which previously was shown in New York, provides the video footage which accompanies the double live CD “Live at Royal Albert Hall,” released by Dylan in 1999. It accurately depicts Dylan’s attempts to break free from the constraints of his label as a folk- only artist, and provide a new electric sound, despite the shouts of “Judas” from the disapproving English crowd. Among the other films of note were “Grass,” a documentary on marijuana production directed by Canadian Rob Mann and narrated by ex-Cheers bartender, natural born killer, and pot enthusiast Woody Harrelson, and “Around the Fire,” a feature on coming of age on-tour complete with a mythical (Dead-esque) band and a mystical (Dead-esque) soundtrack featuring Phish, the Meters, String Cheese Incident, and even a “Brown Eyed-Women” by the Dead themselves, surprisingly provided by the usually reluctant Grateful Dead Records.

Of course the festival is founded first on live music, and there was plenty to be had during the extended weekend. Unfortunately, there were almost always multiple acts of interest at once so catching everything became difficult. Thursday night Cypress Hill rocked La Zona Rosa, reminding us all that they are among the masters of hip hop. The hour long set was highlighted by an intense “Clock the Hammer,” a “Hits From the Bong,” and some “new shit” from their new release due out this spring. Later that night Los Lobos provided some Latin action across the street at Austin Music Hall with a high energy, multi-accordion set highlighted by a “Bertha.” As always, Los Lobos threw a kick-down party in Austin, where the bouncing sounds of East L.A. are always well-received. Thursday night provided the best jazz of the weekend as well, underground at the Elephant Room. The showcase was highlighted by Eric Mingus, (son of Charles) who showed off his inherited talent, and his more modern influences with a cover of the Who’s “Baba O’Reilly,” and the Sex Mob, jazz veterans of New York’s Knitting Factory who brought the house down in their headlining set.

Friday night showcased southern rock as Gov’t Mule shook Scholze’s Beer Garden, with former Drivin’ n’ Cryin’ frontman Kevn Kinney (joined for a song by Warren Haynes) providing an inspiring opening set. The Mule brought their usual heavy-duty hard rock, Allman’s style, and their set was a good one highlighted by Warren on the inimitable Mule>I’ve Been Workin’> Mule, and accented by the booming bass of Allen Woody, and the concise machine gun action of drummer Matt Abts.

Saturday night, however, provided the real fire. The night began back at La Zona Rosa for the most unexpected surprise of the entire weekend, and the most captivating performance of the festival provided by a veteran who has shared the stage with (perhaps) the best rock band ever: John Paul Jones. Those of you who are thinking Coverdale/Page or even Page/Plant, you are way off. John Paul Jones, who is tireless in the studio producing such acts as Lenny Kravitz and (Austin’s own) Butthole Surfers, is ageless on stage. Jones mastered four instruments during his all-to-short 45 minute set: the bass, the bass mandolin, the mandolin, and the sit-down slide guitar. He was ably backed by drummer Wendell Bryant, and Nick Biggs, who played the Chapman Sticks, a stringed instrument with the neck of a giraffe and the wail of a banshee (or, in this case Robert Plant). Jones’ set featured pieces of instrumental virtuosity from his new album, as well as (lyric-less) covers of Zep “dinosaurs” “Nobody’s Fault But Mine,” “When The Levee Breaks,” and “Black Dog.” Jones hinted at “Goin’ To California” during a mandolin jam, and “Babe, I’m Gonna Leave You,” during a bass solo. Hands down, this was the best incantation of Led Zeppelin since Bonham’s death, and that includes all of the attempts by more notable band members Jimmy and Robert. Among the other artists that lent their talents to Saturday night were Austin’s own reggae champion Papa Mali, Cincinnati funk surprise Freak Bass, and former P-Funk all-star Bernie Worrell and his Wu Warriors who rounded out a great bill at Top of the Mark. Also, the comedic talents of self-proclaimed rock supergroup Tenacious D were put on display at the Austin Music Hall. “The D,” a duo which is led by rock god Jack Black (who can also be found in movies such as “Mars Attacks,” “Cable Guy,” and the newer “High Fidelity”), played many of the hits from its hysterical HBO show.

Still, the night was capped off with (along with Jones) the most inspired performance of the festival provided by the North Mississippi All-Stars in the friendly confines of the Continental Club. The brothers Dickinson (Luther and Cody) and bassist Chris Chew brought R.L. Burnside to life in Austin, led by Luther with his amazing slide work (he’s right there with Derek Trucks), Cody with his thunderous rhythm, and Chew, whose massive frame seems to chuckle at the comparably small frame of his bass. The crowd at the Continental Club was highly comprised of musicians who truly seemed to be captivated by and appreciative of the lesson in Southern rock given by the All-Stars. It was truly the perfect way to cap off a long week of festivity

South by Southwest Wrap-Up
March 16-19 Austin, TX

By Eric Rothschild

Every March in Austin, TX a storm blows through town that has the turbulence of an East Texas twister. The thunder is made up of a myriad of sounds - a resonation from bands of all parts the world and spills out from the doors of clubs from all over Austin. The students take shelter in the solace of Spring Break, but for musicians, managers, record label reps, journalists and anyone else in the music biz, SXSW Music Festival is anything but a break. There is as almost as much palm pressing as there is music, but when all the business cards have been swapped, it's the music that is still pounding through your head for weeks afterward.

Hairy Apes BMX - The Mercury - 3.13.00

Doing it like we do, the Austin Crew kicked off the festival a little early with a journey into the world of titanium funk, the Hairy Apes BMX. The Apes were playing there first show at the newly renovated Mercury, and there homecoming was a celebrated one indeed. It was a Monday night, but many showed up for the Butt Moving Xperience.

The show got to a spicy start with a cover of Tito Puente's "Mamba Diablo". The crowd was yelling for "FANG", but got a dose of "Relapse King" and "Acid Trip" to get things warmed up. Matt Dillon's vibes were in full effect as the Apes dove into many of their newer tunes that will be featured on their second album which should be coming out this summer.

As the rhythm section got hot, the drumming started a fierce beat that turned into "FANG". Several members of Larry joined the Apes on stage for what could've been the Mercury's first Samba Orchestra. The all-star percussion jam was yet another shot of Apes nastiness that traveled straight through the vein, into the feet of the sweaty, Monday night crowd. Bassist JJ Richards took the vocals on the tune "Jimmy Hat", passing down some words of wisdom for those making sweet love after the show. The Humpty Hump and funk styling kept the crowd entranced as Zac Baird dropped more laser synth madness into the mix.

They wrapped things up with another new tune that had all the edge of Rage Against the Machine or a particularly heavy 311 tune, chock full of politically driven lyrics and a smoking collaboration by all in the band.

SXSW Jazz Showcase - Elephant Room - 3.16.00

Enticed by two local bands I hadn't caught before, as well as a performance by Charles Mingus' son, Eric, it seemed the Elephant Room was the place to be. I headed down there at half past eight and waded through a smoky sea of people, cocktail glasses crashing as the festival tide started to rise. I found myself a seat behind the soundboard - a great place to see LOTS of action go down as bands (and new settings on the soundboard) rotate on and off the stage every 45-minutes to an hour.

Austin's Blue Noise Band was the first to take stage and they instantly carried the crowd to sea with their stewpot style of jazz, a skilled blend of Klezmer gone metal and fusion gone to space. After being sent far into the orbit, the band would take the listeners back to their squeaky seats with a speedy transition from avant-garde weirdness to a traditional sounding standard.

On tenor and soprano saxophones, David Lobel leads the troupe through improvisational jams with the toot of his horn. He has impressive back up with the rhythm section of Tom Benton (bass) and Jeremy Bruch (drums), who have no problems taking on blistering solos themselves. Adrian Quesada strummed away at the jazz guitar, which also flew high in the start-stop mechanics of the Blue Noise Band, which can leave you breathless, dancing or just mulling over a flood of thoughts, sounds and what ever else goes soaring through the air.

Next up was another group that is quickly writing chapters into the book of local lore, The Golden Arm Trio. Graham Reynolds looked almost sinister as he took reserve behind the drum set, before launching into several cleverly written, original compositions that were moving - some classical numbers, other tight jazz tunes that Graham kept taut through fierce drumming and dazzling work on the baby grand piano. I was in awe of the performance that flew by as fast as lightening strikes.

After the Golden Arm Trio cleared off the stage, Eric Mingus stepped on. Clouds of smoke departed like the Red Sea as Mingus' presence was powerful, though all on stage with him was a thin, electric stand up bass. The spoken word performance got off to a thundering start, as words piled on top of the next like a building storm-front.

The first piece gave a hauntingly intimate look into the life of the artist, easily shaking Eric from his father's shadow. The solo rendition of The Who's "Baba O'Reilly" was also a nice treat in the performance as Mingus wielded an oral strength that could take spoken word to new heights. The tracks ranged from bluesy to jazzy, but all reverberated thick from the heart and soul of the man, brining together an uninhibited buzz that stayed with the crowd long after the performance.

The last act of the night also left a stain on the crowd, but this was a tattoo of different sorts. New York City's Sex Mob attacked the crowd with a brash swagger that almost brought the low ceiling down even further in the basement jazz joint. Bandleader Steve Bernstein came at the crowd with a raucous slide trumpet that jumped from one jaunty composition to the next, with few stops in between.

The horns shrieked like sirens, then would melt into solos by each of the members. Kenny Wollenson's drums and Tony Scherr bass kept the constant chaos rolling, as the sounds embraced the listeners like a tight glove hung out the window of a vintage Cadillac in torrential downpour. Sometimes soothing, others a downright flood of sounds played past two, ending with a instrumental version of the Rolling Stones' "Ruby Tuesday" that came to a crashing crescendo and the Sex Mob was off to their hotel in Fucksville, TX ($59/night, 45 miles from the city).

Gomez - Friday 3.17.00 - La Zona Rosa

The weekend was already taking a toll on me and it was only Friday. Early Friday evening at that, but I was in a rush to get downtown as a friend had just called and said the line to get into the Gomez show was looking long. Part of this may have been the Manchester, England band's radio broadcast the day before, as well as the media blitz by local entertainment rags and the attention of national press like Rolling Stone. I've been eager to catch these guys live since a roommate picked up their debut CD "Bring It On" a few years back.

Gomez brings a lot to the table. They draw from a diverse well of influences, blending the incessant instrumentation of the jamband genre with the complexly simple stylings of Brit-Pop. Frontman Ben Ottewell's gritty, blues vocals can shine like a search light through a thick fog, and the music behind him follows. Raspy, yet soothing, Ottwell and Co. combine hypnotic psychedelia with rootsy rock and rhythm and blues. The Yardbirds meet Radiohead.

They kicked the show off with "Get Miles" an introspective tune that bubbles with despair and loneliness, though it quickly brought the show into full swing. "Las Vegas Dealer" followed; it was littered with rave-like rhythms and poppish chords that made the debaucherous tune stand on its own. A groovy little bass line got "Get Myself Arrested" going and also moved the crowd into a frenzied bounce.

A few of the tunes gave a quick glance into Gomez's ability to let loose into the realm of the improv jam, though most of these were cut short due to the time constraints of the festival's curt sets. "Revolutionary Kind" was a space odyssey in itself as lax tempos were peppered with transcendental samples that floated off on their own. The opening harmonica lines of "Whippin Picadilly" picked the crowd back up and spit them out as the set came to a close

The Withdrawals Albuquerque Press Club

By Don McIver

Located at the top of Highland Circle, overlooking Huning Highland Park, and tucked behind Memorial Psychiatric Hospital and the Central Avenue on-ramp to Interstate 25, the Albuquerque Press Club is a magical venue. Built in 1903, the Whittlesey House became the Albuquerque Press Club in the mid-seventies. Imbedded in the hillside and at 3 stories, the log cabin design with a huge covered porch out front is part bar, hang out spot, and live music club. The Press Club is a members only club whose membersobviously appreciate a good live performance. And on Saturday, March 11, 2000, the Withdrawals filled up the 39 foot living room with their own brand of "Tribal, Urban, Desert Music," to a dance frenzied crowd of members and "guests."

The Withdrawals: Keith Thomas-piano, rhythm guitar, lead vocals; Andrew Dunn-lead guitar and vocals, Danny Pfeiffer-bass, flute, vocals; Chuck Hawley-guitar, vocals, trombone, and Kevin Kinane-drums, percussion, harmonica, vocals, have been a staple and instrumental member of the Albuquerque music scene for over ten years (with numerous line up changes).

With a varied repertoire of danceable tunes, the Withdrawals like to play live. Anchoring that live performance is Pfeiffer's fat, groovy bass lines that always seem to be hovering just at the edge of hearing but infectious in their ability to make a crowd dance and Kinane's kinetic, frenzied drumming which defies all categorization and can best be described as an octopus playing a drum kit. How else could you explain all the varied sounds coming from just one guy?

The Withdrawals have all the components of a really good band (a charismatic vocalist with a great stage presence and good solid voice, a lead guitarist who writes really great riffs, another guitarist who's quirky playing and composition adds an element of unpredictability to their live shows, and a very in tune and very laid back rhythm section) and have, at times, looked like they were ready for a major break through, but being from Albuquerque has only hindered their chances. Let's face it, Albuquerque is no Austin or Boulder and certainly doesn't support bands from larger markets as well as it should. So why should anyone pay attention to a band from Albuquerque?

Because the simple fact is, the Withdrawals are good. All comparisons aside, the Withdrawals can rock the house as well as any band that has come through town. And this night was no different. Whether it is the quirky reminiscing of Keith talking about fishing moving into the very danceable "River" or the religious zeal of "Don't Want None of It," the Withdrawals bring dance music to audiences that may have tuned it out, thought it was co-opted by techno and ravers or taken over by drum machines and djs. Dancing is what one does at a Withdrawals show and at moments, when the music is grooving and the crowd is transfixed, you can feel the rough hewn logs of the Press Club dance too, sending a message back in time to the architect Whittlesey that says, simply, "Thank you." The venue was right, the music was right, the people were right, and the energy was great. From the Albuquerque underground, I'm Don McIver. Keep a space on the dance floor for me.

Dave Nelson Band
The Gothic Theatre - Englewood,CO
March 23, 2000

By Jeff Buske

Another show at the newly renovated gothic theater, a theater with a history. It's been there, from ballroom to burlesque to rock to abandonment, and now it has come full circle to become a great place to boogie. It goes as far as to include nice hand-painted and fully sculpted walls and ceilings, right down to a nice cloud effect above the lower bar. As Vince form Leftover remarked of the Gothic's decor, "It looks like the inside of the belly of a whale". And so this is tonight's setting for the David Nelson Band, a band with a pedigree. The talent in this band is obvious, and the show (and webcast) begins...

LONESOME L.A. COWBOY opens the show with the sweet and joyous sounds from the stoniest of all instruments, the pedal steel! The Gothic has a balcony, which wraps around both sides of the stage. We use this to catch a birds eye view of Barry Sleiss tearing it up on the steel and electric guitar.

Next comes a Robert Hunter/ David Nelson collaboration: BORN SIDESTEPPER with Mookie Siegel on keys including a Roland xp-50 that he coaxed some nice Jerry sounding melodies out of. Sidestepper ends with the closing refrain, "You know you're in love once more."

Next, JOHN HARDY'S WEDDING a great country rock style tune. Like most great country, it is a tragic outlaw love song with lines like , "baby buy you a new diamond ring, you can wear it 'till they gun me down."

IKO IKO this is a great Mookie show piece. Jammin'! This includes some great piano>guitar interplay which leads into…

NAKED EYE featuring the great refrain, "It was such a good idea at the time."

Next bassist, Bill Laymon stepped up to sing the first tune of the evening from their new album, Visons Under the Moon, KEROUAC. This is a nice tribute to the late great Jack.

ROCKY ROAD BLUES followed, which featured Dave throwing down some nice Berry-inspired guitar licks Dave sits for a an acoustic interlude, and Barry heads over to the pedal steel for… FREIGHT TRAIN BOOGIE

Bill Laymon sings a song described as a, "Rodgers chestnut," LOCHINVAR which has a nice country, latter day Byrd's feel.

Dave gets crazy with a backward version of PANAMA RED which he claims to have recited backwards phonetically correct. so I guess it would be DERAMANAP>PANAMA RED Dave has played this tune so much that besides playing it backwards he decides to spruce it up with a nice reggae tilt.

Next came a tune with a real nice 70's Dead sound, with Mookie up front;ITS A DIFFERENT WORLD>LONG GONE SAM> this was a great segue that ended with >JUPITER HOLLOW , Long Gone Sam is another new tune penned by Robert Hunter, and it is a jammer. It erupted out of a nice spacey jam with overtones of Estimated Prophet , after Long Gone Sam, some nice Playin' reprise lines were thrown in along side a great wah-wah infected jam.

Leaving no left turn unstoned came the epic, FABLE OF A CHOSEN ONE Dave, referring to the mile high air asks if anyone has any oxygen to spare?

The band thanks their fans in web land. Dave begins to fake losing his voice with a croak, his band and partners in crime, smile and play the one and only encore: EARL'S GIRLS I had to ask Bill after the show for the title to this tune, featuring great world weary lyrics with the refrain, "Been on the job too long.” Before the encore a drunken attendee yelled, "Second set will be better yet" to which Dave joked, “Come see us in Boulder tomorrow."

This was a weekday and it was a really good dose of Grateful Dead family music, but I shared the guy's sentiments exactly. An evening of David Nelson and Band is good for whatever ails ya, but you can never get enough!

David Nelson Band
Sunshine Theater Albuquerque, NM
March 29, 2000

By Don McIver

Some tunes just feel like a part of you. You hear them and you know them. So, when I sat down on the concrete steps with the chain link fence behind me (the management at the Sunshine Theater cages its over 21 patrons so they can have yet another “All Ages” show) and put my pen down, “Panama Red,” the first sound check song of the David Nelson Band (hereafter referred to as DNB) transported me to that cosmic nether world of familiarity, yet timelessness. Peter Rowan’s song, as done by New Riders of the Purple Sage, is a classic song, a song one can’t escape from if raised in the 70’s. And DNB with David Nelson as one of the founding members of New Riders and original vocalist of “Panama Red”, takes you to that familiar yet timeless place. Featuring a hodgepodge of experience and backgrounds the David Nelson Band are an eclectic group. Based out of Oregon, the members hail from Baltimore, Maryland, Petaluma and Santa Cruz, California. Formed in 1994 and featuring David Nelson on vocals, electric, and acoustic guitar, Barry Sless on electric and pedal steel guitar, Mookie Siegel on keyboards, accordion, and vocals, Bill Laymon on bass and vocals, and Charlie Crane on drums, DNB is an experienced band with a variety of musical adventures and styles behind them. DNB has members who have not only played in New Riders of the Purple Sage (David Nelson, Bill Laymon), but have played in Jefferson Starship (Bill Laymon), Kingfish (Barry Sless, Mookie Siegel, and Bill Laymon), Cowboy Jazz (Barry Sless and Charlie Crane), Ratdog (Mookie Siegel), JGB (Bill Laymon), Big Brother and the Holding Company (Billy Laymon), the Uptown Rhythm Kings (Charlie Crane), the Wildwood Boys (David Nelson), the Good Ol’ Boys (David Nelson) and the Jerry Garcia Acoustic Band (David Nelson).

Obviously influenced by close contact and collaboration with Jerry Garcia, David Nelson’s voice is reminiscent of Garcia in that while not a great voice it carries emotions well and pulls off Robert Hunter penned tunes (“Long Gone Sam”) like Hunter wrote them with Nelson’s voice in mind. Likewise Nelson’s guitar work is a mixture of clean, crisp riffs that fit within the melody of the song and solid rhythm work while other members (namely Barry Sless and Mookie Siegel) take up the melody or lead instrument chores. Bill Laymon and Charlie Crane’s rhythm work anchors the song so that the more melodic instruments can drift off into space or stray off the original melody.

In concert DNB are polished and clean, and while the energy and attendance were low at this show (only three more shows on this leg of the tour in Flagstaff, Tucson, and Phoenix before taking off 13 days so that Barry Sless can sit in with the Zen Tricksters) they maintained their high standards and put on a good, solid show with occasional glimpses of inspiration and brilliance. Their set list for this evening included the following: Diamond Joe, Lochnivar, Contract, Fable of A Chosen One, Naked Eye, Different World ->, Long Gone Sam ->, All You Need is Love/Put a Little Love in Your Heart ->, I'm Cryin' ->,Rocky Road Blues, Just a Season, Iko Iko, and Kick in the Head.

Stir Fried
The Gothic Theatre Englewood, CO

by Jeff Buske

Stir Fried played the Gothic Theater last night. Not being entirely familiar with their music, it was a great introduction. Their name says it all. They are a conglomeration of many styles of music and musicians. Joanne Lediger, who shared vocals with John Makowski, really belted it out. Buddy Cage was stellar as always. If you're not familiar; listen to his work with Bob Dylan, especially Blood on the Tracks. Jan London played some great lead including a JJ Cale cover that displayed a Houser influence. The band really enjoys Panic and are influenced by their percussion heavy sound without being derivative. The bass provided by James Alvin Harrison was really tight, and the percussion headed by Chris Lacinak, drumz and Vincent Lorenzo rounded out the sound nicely. Some highlights include their Jones>Hey Pocky Way (Meters)>Jones sandwich. I noticed some of their tunes demonstrated the timeless quality of great groups like The Band and Son Volt. They ripped through two sets of music that can be summed up by the title of their current release, Electrifried, which features the great fiddler himself, Vassar Clements. John Markowski, vocals and guitar, has a lasting memento of this Colorado tour in the form of a tattoo. Not an ordinary piece by any means, it consists of a string of roses and crystals that wrap entirely around his neck. In between tunes, he thanked the Denver artist who was in attendance. If Stir Fried comes your way from back east and you happen to be a fan of jam heavy, southern fried rock, don't even pause. Just go out and get Fried.

ThaMuseMeant/The Motet
April 1, 2000 El Rey Theater - Albuquerque, New Mexico

By Don McIver

Few voices make it past the outer, middle, and inner ear; past the typanic membrane, oval window, and 8th cranial nerve into the temporal lobe. Even fewer voices cut through the random noises of everyday life, cutting through the sound of breaking glass, conversation, the clapping of hands, and the firing of neurons and the sound of your own heartbeat and touch you where you live. Aimee Curl's vibrato on "Why you taking the moon?" is one of those voices.

Consisting of Aimee Curl on bass and vocals, Nathan Moore on banjo, acoustic guitar, harmonica, and vocals, Jeff Sussman on traps and hand percussion, and David Tiller on fiddle, guitalin, guitar, and viola, ThaMuseMeant, calling Santa Fe home, have made Albuquerque a frequent stop on their seemingly constant touring. And tonight, a primed and ready crowd, filled the El Rey Theater to show their support, especially since ThaMuseMeant was celebrating the release of their fourth cd, Grow Your Own. With lighting provided by the Energy Theory Experience, and films projected upon the blank walls on either side of the screen by Basement Films, the El Rey indeed looked like a celebration.

Opening for ThaMuseMeant was Albuquerque's favorite prodigal son now Portland, Oregon resident, Lewi Longmire (formerly of Apricot Jam (AJ)) and Boulder, Colorado based, The Motet. Lewi played many new tunes for the Albuquerque crowd, demonstrating that indeed he hasn't been resting on his laurels since the untimely and mournful break up of AJ. And primed and ready for a good night of musicianship, the Albuquerque crowd greeted the amazing intro of The Motet with energy and dance. Consisting of Dave Watts (Tony Furtado band and more), Scott Messersmith, Jans Ingber, Michael Tiernan, Kurt Reiber, and Steve Vidaic, the Motet were, simply put, amazing, grabbing the crowd from the beginning and holding them out on the dance floor for the entire set. Albuquerque is a fickle town, yet with the playing and energy of The Motet, the city got up out of their seats and welcomed The Motet as one of the family.

And with ThaMuseMeant closing a completely satisfying night of music with "Why you taking the moon?" Albuquerque indeed became a family, a family that supported and cherished each other and humbly welcomed the addition of The Motet as one of their own. The family will be gathering again to dance to ThaMuseMeant at the ever mysterious and enchanting 3sidedhole (http://3sidedhole.web.com) during Memorial Day weekend.

Washed Out in Austin or Why Now is the Time
String Cheese Incident Stubb’s Barbeque – Austin, TX March 30- April 1, 2000

by Chris Gardner

The rain pelted the ground, digging holes into the mud on this uncommonly chilly April Fool’s Day in the middle of Texas. The wind whipped pellets of rain sideways, peppering the stubborn and faithful mercilessly. Slowly, the overstuffed venue began spitting its contents into the street and toward the heaters and dry rooms. The sound was as bad as the rain. It popped, snapped, faded, split, crackled, eventually forcing the band into a 5 on 1 assault of the drum kit when it abandoned them entirely. Bill Nershi and a newly shorn Michael Kang treated those within 20 feet to an acoustic Wheel Hoss, a bluegrass instrumental, and the full band joined in on what, from all appearances, was a screaming version of San Jose before succumbing to the elements.

This is the catch that baffles me still. Despite knowing that the aborted set included Herbie Hancock’s Chameleon, Paul Simon’s Under African Skies, and Texas’ first Joyful Sound. No one I saw or have spoken to since left disappointed. Here’s why…..

String Cheese Incident’s first trip to Texas in nearly eleven months opened with a ranging Come As You Are that set the tone for a crisply played and expansive weekend of music. They stretched on for two and five-eighths sets, proving note by note that they are riding the crest of a creative surge. They are evolving as players and as a unit at a furious pace. The funk that emerged during 1999 was in large part due to the absurd progress of pianist Kyle Hollingsworth, and the culmination of this trend in Herbie Hancock’s fusion milestone Chameleon is a feat. The funk has done wonders for Keith Moseley’s role as bassist as well. Keith dropped Leshious biscuits on the crowd throughout the weekend, the best of which rattled rib cages and up-ended hairs. Assuming a more active role in the direction of the jams, Keith is asserting his will more effectively in shaping the sound.

As a whole, the band listens better every night. While Michael Kang, fiddlin’ mando wizard, was once the undisputable leader of the jam, that truism has fallen quickly to the wayside. The jam was once a series of solos punctuated by a volcanic explosion from Kang that undulated, wavelike, as it returned to the theme. The Stubb’s jams have legs. They begin as always with a destination in mind, but rather than adhere to the trodden path, they bob and weave, rise and fall through uncharted areas at the suggestion of each player. Kyle is more apt to settle into blanket tones that provide a bed for exploration, while Billy is more likely to lay out and pick his spots. Keith now initiates pace changes rather than simply follow Travis’ cues. While Kang was always content to lay low and accent from time to time, his ability as a complementary player is growing by leaps and bounds.

All of which is to say, the band as a whole is learning patience.

The gentle sway of Peter Gabriel’s Shaking the Tree is a prime example. Kyle’s organ vamp runs throughout the tune. Keith’s bass line remains a wrinkle-free, phat, and constant. Travis drops subtle highlights between verses. Billy and Kang noodle around each other in the lead in, mimicking and extending each other’s lines before laying low for the initial chorus. They lay a nice, egalitarian bed of sound where none overshadows the other that leads to the jam. Kyle’s solo is flawless. Travis’ fill after the first measure alters Billy’s rhythm and draws Kang into the mix. When the lead switches to Billy, Kyle returns to his former vamp and adds a few choice notes, recognizably altering it. Kang latches onto a single Billy lick and mimics it repetitively throughout his solo, which slides along side the theme, always covering new ground yet staying within reach of the theme. Keith then picks up on a riff and adds a slink to his line just before Kang takes the reins from a now chording Billy. Following Billy’s lead, Kang’s solo begins with chorded phrases rather than single notes, and when the single notes do fall, Kyle responds with washes of sound punctuated by a more active Travis, who builds the jam and coaxes further bombs from Keith.

A few years ago, this 15 minute sprawl would have peaked at the seven minute mark, but this version never truly peaks. The ability to focus on and respond to other players is always facilitated by a simply structured, quiet, slow paced number like this, but it is a collaborative ability that they are beginning to apply across the set. The techno jams (for lack of a better phrase) that pop up from time to time are a result of this growing patience as well. Travis is willing to lay down the same numbing drumbeat for minutes at a time, resisting the impulse to accent and stray. Kyle applies the same restraint to that fancy new Roland, twinkling through hypnotizing, unchanging, star riffs for measures on end as he does in Impressions.

Their songwriting reflects new trends as well. Kyle’s roots rock numbers are already ages better than “Got What He Wanted”. The Phishy Howard suggests a more complex and compartmentalized writing style for Kang, and the lyrics by Keller Williams open doors for yet more exhilarating collaboration. It swings through more structured changes than any other song in their book. Rivertrance follows in the heels of the patience jams as does Billy’s instrumental Drifting Away, and the funky new instrumentals like Black and White explore the groove and open the doors for Kyle and his new found sounds.

For more eloquent proof and explanation of the above, please listen to the May 1999 Impressions from Stubb’s and compare it to the 3/31/00 Impressions. Um, sit down first.

All of this is to say that the String Cheese Incident of today is a completely different band from the SCI that first grabbed me in November of ’98. For that matter, this band is giant steps ahead of the SCI that dazzled us New Year’s Eve. I resisted for a while, but the Friday show at Stubb’s is better than either of the Portland shows.

Here’s the peak of fun. They seem to change faster and faster and improve faster and faster with every show. Which means that next years SCI will scarcely resemble this month’s.

So, the dripping wet crowd that flew from Stubb’s like Jonah from the mouth of a whale was grinning maniacally rather than grumbling and grousing because they knew that the boys felt as bad about the aborted show as the fans did, because they knew there would be a next show, because they knew that the wave is cresting, and because they know that now is the best time to be a String Cheese fan ever.

Old Settler’s Music Festival
Stone Mountain Event Center - Dripping Springs, TX
April 7-9, 2000

by Chris Gardner

Gathering storm clouds darted across the Hill Country sky, rumbling with thunder and ill portent. A broad, blunt, saucer-shaped thunderhead anchored the encroaching front, and fat drops plopped sporadically on necks and shirts, leaving quarter-sized polka dots of water on the onlookers. Bela Fleck and the Flecktones raced through their first two tunes as if they were trying to stay a step ahead of the imminent downpour before settling into their third piece. Bela took the reins of this slow saunter, stepping forward and stringing together rounded tones like pearls. Glancing upward and squinting, a smile broke across his face as the clouds dispersed and fled as quickly as they had come, revealing Orion and a thin grin of a moon. From that spot on, he weather cleared beautifully for the weekend of music ahead of us in Dripping Springs.

Traditionally held at Old Settler’s Park in Round Rock, the festival this year moved to the Stone Mountain Event Center in Dripping Springs, TX. They also dropped the “Bluegrass” to create the Old Settler’s Music Festival. Stone Mountain is a former Boy Scout camp, and it served its purpose exceedingly well this weekend. There were four stages set up such that there was minimal sound pollution from one to another. The grounds were clean throughout the weekend, and the weather was magnificent. Though few abided by the “No Camping Beyond This Point” and “No Ground Fires” rules, all were careful, and any small tragedies were easily averted. The organizers pulled off the event without a hitch and should be commended.

Bela’s set kicked things into high gear on Friday night with dazzling musicianship and feats of ridiculous skill. Victor Wooten, always ludicrously skilled, did not disappoint, but when Jeff Coffin, who had been switching between the flute and alto, tenor, and soprano saxes, strapped on the alto and tenor simultaneously, things hit a new peak. Coffin blew distinctly different lines simultaneously, ominous and haunting lines that circled above the crowd, forming clouds of their own. Peter Rowan joined Futureman, who needs to put down the Casio and sit at the kit, for an uninspiring “No Woman, No Cry” before the rousing “Stomping Grounds” encore. Impressive technique, gimmicks, and beautiful solos do not always beautiful music make. There was a lack of conversation between musicians in a set that seemed like solos piled one atop the other to no end, and despite the obvious talent on stage, they never cohered and explored.

Leftover Salmon continued the “pretty damn good” theme with their set. “High Five” with Bela set a new land speed record, and the “Midnight Moonlight” with Rowan was a treat. The rousing “White Freightliner Blues” gave a nod to Texas legend Townes Van Zandt, and “Breaking Through” did just that. All in all, the set was solid but uninspiring, reminding the crowd why they usually play two sets rather than a single one hour set. Salmon was not done, however. After the late set, Salmon donned the costumes and Christmas lights, passed others out to eager revelers and pranksters, and embarked on the extended Bluegrass Ambush. They snuck up on campsites, creeping within feet in silence, and unleashed full tilt bluegrass on the unsuspecting campers, trailing many a startled smile in their wake.

Saturday marked the first Texas appearance for Burlington, VT natives Smokin’ Grass. They lifted the crowd out of its day-long stupor and stirred them into a frenzy with what was easily the highest energy show of the weekend. Smokin’ Grass, true to its name, sets a fire under traditional bluegrass, injecting it with bursts of jazz, gobs of funk, and the occasional crunch and grind of classic rock. Adam Frehm’s dobro work glides smoothly through and around the frenetic rhythms, giving the sound its grit and swagger. Beau Stapleton’s mandolin gets speed wobbles as he blisters through runs. Doug Perkins not only wrecks the acoustic, but he applies an effect to it that makes it growl like an electric. It is confounding to hear this particular sound sing out of Doug’s battered Martin. Eric Hamell’s drums are propulsive yet understated, and Mike Santosusso’s bass work drives the sound. When these elements combine, the result is inescapable bluegrass, but it is bluegrass with a hidden groove that gets your butt up out of your seat and sets it in motion. The set closed with Mike’s “Tow Truck Song”, which is the story of a regular guy trying to only tow people when they need help. He drives around town with no tape deck, and he stuck with classic rock radio. At this point of the song, the “Smoke on the Water” bass line kicks in, which gives way to “Crossroads” and winds up with “L.A. Woman”. The lyrics to the latter two are altered to continue the story of out erstwhile tow truck driver, and the result had people pausing mid- boogie to buckle over in laughter. The crowd erupted so loudly during and after the set that the band seemed a little taken aback. Hopefully, the Texans erupted well enough to warrant a hasty return trip.

The legends, Peter Rowan and Tony Rice, followed on the Discovery stage. For many, this was the most anticipated set of the weekend. Their friends on mandolin, banjo and bass all held their ground as they swung through a series of bluegrass standards including “Molly and Tenbrooks”, “Knockin’ on Your Door”, and a few requisite Bill Monroe tunes. The crowd was active, but many were disappointed that Rice seemed to turn down solos after breaking a nail. Nonetheless, it was an excellent set highlighted by great runs on the banjo and mando as well as Rowan’s high lonesome wail and Bryn Davies steady rockin’ bass.

The evening set with Rice, Rowan, and the Texas Trio ran through Rowan’s catalog with a particularly poignant “Dust Bowl Children” opener. They ran the gamut of Old and In the Way tunes from “Panama Red” to the yodel/wail of “Land of the Navajo”. While Tony Rice played a solo after Panama Red that reminded all in attendance that he is the world’s finest flatpicker, he was clearly affected by the cold weather, and his playing was below his standards. The second version of “Midnight Moonlight” joined the much improved second version of “No Woman, No Cry”, which Rowan has made entirely his own. Rice bowed out of the encore due to the chilly weather, but the Texas Trio stepped it up o a new level. “Fetch Wood and Carry Water”, which may not be the name of the song at all, showcased some of the finest jamming of the weekend. The Billy Bright and Bryn Davies of the Two High String Band on bass and mandolin bring this tune to life, instilling in with the leisurely flow of the Guadalupe River during the summer. The interplay between these three and the delicate and timely presence of the percussionist elicited a beauty from this tune that made any and all in attendance forget that Tony, uh, um, uh, Rice! Yeah, Tony Rice was backstage nursing his injuries.

The weekend closed, for us at least, with a gospel set from the disjointed Two High String Band as Billy and Bryn raced in with mere minutes to spare. Brian Smith carried on admirably with his accompaniment to cap a beautiful weekend in the hills of central Texas, as we all drove away thinking, “Spring is here, everything’s gonna be alright…everything’s gonna be alright now….”