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Southwest Regional Report
Edited by Chris Gardner - cgardner@tstar.net
Well, we finally have word from the furthest reaches of the Southwest region, that would be Utah. I will gladly send a free tape to anyone who can argue convincingly for Utah's inclusion in the Southwest Region. Remember, only you can make this section grow, so keep chaining those aural adventures with words and sending them my way!
Chris
Big Ass Truck - 2/??/99 - The Mercury - Austin, TX Galactic - 3/6/99 - Antone's - Austin, TX The Funky Meters - 3/5&6/99 - Fox Theatre - Boulder, CO Spring Groove - 3/22/99 - Albequerque, NM Black Crowes - 3/30/99 - Brady Theatre - Tulsa, OK Magpu, waltermitty, & Strangefolk - 3/31/99 - Tree's - Dallas, TX Smilin' Jack - Sounds From Behind the Zion Curtain
Big Ass Truck
The Mercury, Austin, TX
Late Feb/early March (not exactly sure)
by Eric RothschildBig Ass Truck, and their Rage Against the Machine meets P-funk Allstars style of sound, returned to their adopted home of The Mercury for yet another bombastic few hours of in your face rock and roll that, well, only the Truck can deliver. Littered with tunes from BAT's most recent release "Who let you in here?", the show also featured some hard hitting favorites of old, including "I'm a Ram" and "Sweetness".
The show was quick to blast out of the unearthly element of the Mercury and into the realm of the Truck, as they launched into "Hands of a Working Man" to start the show, which was followed by the thump driven "3X Over". Blistering renditions of "30 K Gs", "9 Bullets" and "Lil Tico" worked the crowd into a sweaty frenzy that was apparently felt on stage as guitarist/keyboardist Steve Selvidge had to strip out of his shirt.
The high flying jams continued as bassist (and former Mercury soundman/bartender) Dros Liposcak and drummer Robert Barnett bestowed an original twist to 70s influenced funk, which was complemented by the rhythm guitar work and vocals of Robert Grant. The interplanetary groove flew out of control and into the masterful hands and back out of the vinyl collection of Colin Butler, the Truck's deejay, during stellar versions of "Who Let You in Here" and "Portugese Man O' War".
Galactic
3/6/99
Antone's - Austin, TX
by Eric RothschildThough Jack Frost never really made his way down here to Texas, anticipation was high for the warm, bracing breeze of swampadelic-funk that New Orleans' Galactic brings to town. You'd never have guessed they were over 500 miles from home as the warehouse walls of Antone's, Austin's Home of the Blues, blossomed into century old oak trees and a dense bayou haze that is found only in the steamy clubs of the Crescent City.
The air was electric, with flares of excitement shooting in all directions of the packed bar. Arriving about an hour after doors opened, it was tough to claim a spot of my own in the tight quarters. Wiggling and writhing my way through the shoulder to shoulder throng of people I found my plot just as the band took stage.
They kicked off the show with "Freedom Acid Jazz Groove", a newer song that got all in attendance shaking a little leg with its melodious twists and turns that quickly showed the ever growing talent of each member of the band. From there they rocketed into a medley of instrumentals that was highlighted by drummer Stanton Moore's solid rhythm, which laid a concrete foundation for the others to build a groove on.
After some stout jams, the heat really picked up as Theryl "Houseman" deClouet strutted his way from the dressing room to the stage. Wrenching through favorites like "Something's Wrong with this Picture" and "Love on the Run", de Clouet's soul-heavy vocals demonstrated Galactic's divergence as both an instrumental and lyric based band. As Houseman stepped off the stage, the rest of the band tore into a roller coaster ride of a jam with several extended crescendos that came crashing down to finish up the first set.
The second set included another appearance by Houseman and a five-minute introduction story to "Change My Ways" which left many in the crowd hooting, hollering, and even some testifying for more. Fiery versions of "Crazy Horse Mongoose" and "Witch Doctor" followed in the razor sharp manner that have bolstered Galactic to the top of their game and beyond -- keeping me dancing up such a storm that I cleared at least a three foot circle to shake it in. Then, after tearing down the house in the second set, Galactic came back out to play half an hour past the 2 o'clock a.m. service limit.
It seems like every time I see these guys their performance is tighter and tighter. Each member sharing the limelight with the next, though this Saturday night may have been stolen by Moore and keyboardist Rich Vogel, whose jazz and funk fueled finger dance on the ebony and ivory keys was lower down and dirtier than I have heard before.
Cheers to all y'all as the fellas of Galactic have done it again -- delivering the finest, most skillful and creative funk around. Guess we'll have to do it again sometime.
Jazzfest anyone?!!?
The Funky Meters
March 5-6, 1999
The Fox Theatre
Boulder, ColoradoThe seventh anniversary of the Fox Theatre in Boulder, Colorado was celebrated in true crawfish ettouffe, Mardi Gras regalia Friday and Saturday. Art, George, Russell and Brian soared into town to funkify the lives of those in the highlands. The flatland funksters were the inaugural band at this special venue, and they've brought that special strut back to celebrate for 6 of the last 7 memorable years.
Friday March 5
Our heroes got right to business tonight opening with a seismic "World is a little bit Under the weather", turning up the heat to get the cookpot a rolling. The fierce funk did not stop raging through a "Just Kissed My Baby", "Africa", and "House of the Rising Sun." Art Neville sauced up the dishes with healthy doses of cayenne keys, and Brian Stoltz tossed in the tabasco with sizzlin' guitar riffs while George and Russell filled our plates with the Nawlin's goods. The whipped into a frenzy funk continued with "Cissy Strut", "Looky Py-Py", a call the station there's a huge "Fire On The Bayou/Aiko", an I'll cool it down bluesy "Voodoo Chile", only to get stoked again with a "Change/Reform." The boys experienced some technical difficulties, but these were overcome and the place rocked with George behind Russell on the riser and the boys getting serious, taking us to new heights of flatland funk. Starship Captain Art Nevile launched us past the gravitational pull and into the "Ain't No Use" earth orbit only to break us out with the still experimental "Jingo" drive. Taking us well passed the known universe only to bring us back because, after all, it "Ain't No Use". All the inhabitants of planet funk were returned safely and the boys splashed down with a "Hey Pocky Way" encore that ended with a very interactive "Sesame Street." Everyone got their earth legs back and left happy anticipating Saturday.
Saturday March 6, 1999
The space time continuum was restored as the boys took the stage jamming quintessential into a "Groovy Lady" that left everyone, including Super Dave and Wonder Erin, in at least 6 inches of the funky stuff. Our trip into orbit started early and the boosters kicked in with a NASA inspired "Funkify Yer Life." Feets were movin' and the boys were groovin through the gravitational pull of the true "Voodoo Chile", "People Say", and another meteoric "Fire on the Bayou." Art initiated a power dive just to check out where we all came from by buzzing the "Soul Island" intergalactic starport. Communicating with the controllers via a Sesame Street tease. Art blasted us back into orbit with the crowd pleasing "Midnight Rider." Altitude was reached and we cruised past the known funk universe into a nebula of dusky grooves with a "Get Out My life, Woman", an uncharted Stolz tune that most had not heard. They slid back into some funky mashed potato jams and into a red beans and rice drums. Then George and the boys offered up a great Happy Birthday to the Fox. Glitter flew, the stars shone, the people cheered and the meters came back with a fired up, its been a long time since I've heard this, look at the kids dance "CHICKEN STRUT." Into Art's "Jambalaya/Do ya, Do ya wanna dance." Into "They All Ask For You/Pocky way" closer. Had I not seen it I would not have believed the joy present in that little mountain room. We all left shedding stardust and sharing some truly great reality. If you haven't seen these guys, catch the next interstellar transport to Mid-Town music in Atlanta. The funk is real and George MATTERS. THE FUNKY METERS FROM 66 to 99
by :Jason and Amy Casey, Matthew Kane,Dave Hadstedt, Erin McKenna, John and Sue Sayers
Spring Groove ’99
Keller Williams and The Slip
Albequerque, NM
Peter BottingWhy did I do this? Why would I book my first out of pocket show on a MONDAY!!! Boy oh boy I am gonna loose my and Norm’s shirt on this one. Spring Groove 99, what was I thinking? 18 tix sold in advance. We are f@#ked! At least it is going to be Keller Williams and The Slip. It’s all good!
This was just a few of the many thoughts that were running through my head all day Monday March 22nd. GAIA Productions and Terrapin productions joined up to produce, promote, and create a show in Albuquerque, NM. For those of you who aren’t familiar Terrapin Productions handles the merchandise for String Cheese Incident and produced the Winter Carnival show that was featured on these pages in February. GAIA Productions is my brainchild. Having lived in NY,NY, Washington D.C., and Denver, I had been used to the idea that music is always around. Coming to Albuquerque, and finding a limited number of shows, I decided I could find a little time outside of running the Help Desk at my "real" job, book and promote a few shows. I had helped a couple of well known bands get booked (Juggling Suns, the Recipe) here and started to bring some other bands in (Moses Guest) and work with the locals (Saturn Return and ThaMuseMeant) to fertilize the scene. Now it was time for the Payoff (Figuratively cause I am still doing this for free), Spring Groove 99 featuring Keller Williams also featuring the Slip. The scene started showing up around 8:00 as the set construction was being completed. They were greeted by Sandy (Norm’s wife) and a couple of large security guards. As they paid the cover and came in for beers I knew it would all be good. Lighting and Set design were provided by the Energy Theory Experience, and sound by Aural Pleasure (Shameless Plugs yes, but they are Very Talented). The Set was an expanding tunnel with tapestries and curtains to catch and reflect the lights and slides and oil projectors. It provided a surreal scene for the bands as well as some Terrific eye candy for the exuberant fans.
Keller Williams came on at around 8:30. For those of you who have not heard this guy, rectify that situation as quickly as possible. Standing barefoot and alone he began to doodle on his guitar to start setting the pace. People were hushed as he began to work his magic. For 80 minutes he danced, digitally delayed, re-interpreted, rejoiced, boogied and broke down the barriers of the day to day known as Monday. As the set progressed, people began to shed their woes and shoes and join the barefoot jamboree and by the end of the set he had us ALL mesmerized. The security guards came in from the outside to figure out how one guy could play trumpet, sing, and play bass and guitar at the same time ( they never was quite sure but their jaws dropped and their eyes opened wide) After a sweet encore, Keller’s time was through on this beautiful night.
Then came the Slip. Man oh man can these guys play. Anytime a band can have 100 people in front of them they are excited but on a Monday it is just plain thrilling! The band showed their thanks to the fans for being there and boy was it reciprocated. At the start of the show people were concerned about why Keller went first. By the end of the night no one cared. A 1:20 set brought the scene to a roar of appreciation. I hope someone in the audience or the band can provide me with a set list. Then came the most amazing two hours of music I have heard in a long time. This crowd was dazzled by the talented group of men who graced the stage this night. Spring Groove 99- Keller Williams and the Slip at the Golden West Theater, Albuquerque, NM
Black Crowes http://www.tallest.com
3-30-99
Brady Theater, Tulsa, OK
By: Jennifer KirkPure Rock'n'Roll.
That's what the Black Crowes are to the music in the 90's. This spring the Black Crowes are on their "Souled Out" Tour in support of their new album, "By Your Side." Tuesday night they played at the Brady Theatre in Tulsa. This was my first time to see the Crowes in concert. They've been keeping to a rather steady set list this entire tour, with the exceptional surprise guest, or song. Either way, they kept them coming. Their lighting, I was particularly impressed with. I've been told that the lighting was designed by Chris Kuroda (of Phish). I can't confirm this, but now that I think of it, it appeared "Kuroda-esque."
A few of my favorites from the show include: opening with a really nice version of "Remedy," it really got the crowd going, for a delightful evening. Later they played one off their new album, "Kickin' my Heart Around." They also played "Blackberry" which is from my favorite album of theirs, "Three Snakes and One Charm", a very nice version. The highlight of the evening however was the jam>Whole Lotta Love*>jam>organ solo. (*Led Zeppelin; was only a tease, but you could definitely tell what it was) They also played their new single "Only A Fool", which I really like. Of course they played "Hard to Handle," which Chris accidentally introduced as "Jealous Again," but then he said "Well, I've managed to f#ck up, here's one of the same album, except it's by Otis Redding." Rather amusing I thought. They played a three song encore, closing with a nice "Virtue & Vice".
Overall, a very fine performance by the Black Crowes, one of the only bands keeping rock'n'roll real. I only hope Rich Robinson gets his vintage 1963 Fender Esquire guitar back that was stolen at Grand Rapids only a few days earlier...ouch!
Magpu, waltermitty, and Strangefolk
3-31-99
Tree's, Deep Ellum, Dallas, TX
by Jennifer KirkMy boyfriend and I arrived in Dallas early and checked out Deep Ellum in the daytime, and we also got to watch part of Strangefolk and all of Magpu's sound check. This was my first time to see all these bands.
Magpu (http://www.metronet.com/~lerxst/magpu.html) started their set at about 9:00 P.M. Unfortunately, they were only allowed a 40 minute set, but, it was a good set. The audience got such treats as "Amy Calling," So Many Hats" (a song for all you digital tapers out there), and a preview of what is currently called "The Impossible Song." There was also a nice cover of Phish's "Punch You In The Eye" intro. Overall, it was a very fine performance. These guys, along with waltermitty deserve recognition. Pay attention Texas fans go and see them, these two bands are going to be the next big thing. I for one, have been "magpu-ed."
Next, was a stellar performance by waltermitty. Mitty also only got a 40 min to play, but in that time they got the crowd dancing. A very up beat and nice groove these boys have, look for them in your town, you won't be sorry. They just released a live show on CD entitled "Live at the Curtain Club," which is great to listen to. Look for them in your town, you won't be sorry.
Next, was the headliner, Strangefolk. It was a decent performance, not as solid of a performance that I expected. But I got to hear a couple I wanted to, like: "Roads" which they opened with, I really like this song. "Rather Go Fishin' " and "Dance", another one of my favorites. I did like the vocals and occasional jams that Strangefolk had to offer. However, my impression was that the band would have rather been somewhere else. There weren't that many people at the venue, but that's what has to be expected on a Wednesday night. So, they quit early enough that Magpu and waltermitty could have easily each been given an hour each to perform. I wish they had.
Smilin' Jack
Salt Lake City, UT
Deseret Rock
by Aerie ForehHistory bears witness to the fact that an oppressive society cultivates some of the world's most transcending art. This is evident, behind what is affectionately referred to here as, "The Zion Curtain". Spurring on the musical assault is Park City's Smilin' Jack. Treading on the footsteps of renowned Utah groups, such as the Osmonds, Jets and Mormon Tabernacle Choir. They could never be misconstrued for mere mormon rock. Though stinging like the deseret(Mormon for honey bee, thus "The Beehive State"), and capable of ushering you on an intense, spiritual foray. They venture to another realm, facilitated by the most ancient of sacraments.
They formed in 1994, after many years of honing their immense talents in the musical hotbeds of New Jersey, New York, and Texas. Diverse is the best word to describe SJ. Encompassing the entire musical gamut, there is something for any mood with these cats. After experimenting with various line-ups, they are presently down to a conventional power trio: guitar, bass, drums and vocals. Carrying on in the grand tradition begun in the late 1960's by the likes of Cream, Jimi Hendrix and and the mighty Led Zeppelin, and surviving today through contemporaries like, Gov't Mule and the Screamin' Cheetah Wheelies.. This line-up allows them to stretch out and best display their musical prowess, in the eternal quest for complete sonic destruction.
Smilin' Jack is comprised of virtuoso musicians Chris JAMison(a most fitting surname), Greg Thomas and "the artist currently known as Cen". Jamison, supplies maniacal guitar pyrotechnics, impassioned lead and harmony vocals, while handling primary songwriting duties. Recently, he started augmenting occasional keyboards and sequenced soundscapes, adding color to an already Herculean palette. Thomas, mounts a relentless offensive on his drums and percussion, while applying his accomplished voice on harmony and backing vocals, and an all to rare lead vocal. Cen, is the antithesis to the all out intensity of Jamison and Thomas. Providing the backbone of the group, Cen sustains a rock steady groove, on 5-string bass, as Jamison and Thomas ascend to astonishing new heights. Quoting many genres, they embrace a range of music consisting of country/western/bluegrass, reggae/ska, space/jazz, funk, blues, surf, polka, alternative, metal, punk and more. It all finds a home in the pulsating, hypersonic, psychedelic(Or as I prefer, moshedelic.) brew. Compelling, thought provoking lyrics break up exploratory, marathon-like jams. As with the music, Jamison's lyrics traverse an extensive amount of terrain
If they must be marked with a label, they would opt to be known as a psychedelic act rather than the accustomed "hippy band" tag aimlessly placed upon them. The engaging cover art, by local legend Clint Delacy, of their independently released debut, Faces in the Clouds, more than alludes to the mind melting music to be found inside, but, the remarkable disc barely scratches the surface of this peerless act. With over fifty original tunes to choose from, and a backlog of Jamison's solo gems yet to work up as a band, they have enough material to yield at least two more discs of equal caliber. Laying down tracks, for their sophomore release begins in earnest this month. With any luck, they might also have a live album, to show what they're best at, out shortly. Behind their debut, they are getting local air play and the chance to finally journey beyond the musical and artistic black hole known as Utah. Having already taken their unique brand of mountain music to Idaho, Montana, and Colorado, they have a Northwest /Canadian tour including Portland, Seattle, Vancouver, Calgary, Edmonton, and Whistler in the works for summer as they set their sights on the world. Follow the link and check them out for yourself at http://www.smilin-jack.com
Por favor mande todos los submisions a Chris Gardner at cgardner@tstar.net
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