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Southeast Regional Report
Edited by Gil McLemore - gmclemore@mindspring.com

In This Issue

Azulzoo

Col. Bruce Hampton & Planet Zambi

John Popper and Chan Kinchla

Drowning in the Mainstream

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Azulzoo: "The Weirdest Show I've Ever Seen!"

by Ellis Godard

It was advertised as "Azulzoo: Compositions concerned with black holes and other space/time events exploring nontraditional modes of notation for improvising musicians, performed by members of Lake Trout and Score." And it was the weirdest show I've ever seen. Weird, weird shit -- and fantastic! I remember a compatriot of Frank Zappa's recalling how, when they first met, Zappa said "show me something fantastic". Zappa woulda loved this shit. To hell with anti-conventional "free" jazz -- this show turned the unconventional inside-out.

I was interested to see some fellas from Lake Trout (a FABulous drum n bass quintet from Baltimore) play with fellas from Score (who opened Lake Trout's last Charlottesville gig). I didn't really know how it would go down, and couldn't even recall who was coming, so I wondered what the instrumentation would be. Bah! That curiosity was boringly tame, and I never would have guessed the plan.

About two hours before the show, the four musicians -- Ed Harris on guitar and Mike Lowry on drums (both from Lake Trout), Jason Ajemian on stand-up bass and Bryan Beninghove on saxes (both from Score) -- showed up at Chez Godard for a few beers and, I thought, some pre-show relaxation. I didn't realize that this time period had been set aside to review the musical score. Oh, I haven't mentioned the score, yet, have I?

Imagine three pieces of white posterboard. Across each are three lines, dividing each into four horizontal stripes. Line up the posterboards, and you'll have four stripes stretching across them, thusly:

________________ _________________ ________________ 
| | | | | | 
---------------- ----------------- ---------------- 
| | | | | | 
---------------- ----------------- ---------------- 
| | | | | | 
---------------- ----------------- ---------------- 
| | | | | | 
~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~

Each horizontal stripe represents one instrument -- sax on top, then bass, then guitar, then drums -- all the way across. The posterboards were also divided with one vertical line each, producing six movements altogether. But. . . movements of what?

Across each stripe (and sometimes crossing over the dividing lines) were DRAWINGS!! That's right, folks -- THEY *PLAYED* ART!!!

Now, I've heard Jerry Garcia talk about seeing pictures in his head when he plays. And I've heard of jazz musicians talking about the color of songs. But this wasn't either of those -- it wasn't the art of music, but an attempt to interpret art *as* music! A synesthetic's dream (or nightmare?). And I know the Jazz Mandolin Project has a bit called "Collage", that features improv based on some random something -- a boot, an event, a painting. But this wasn't just a short improv based on the mood inspired by some single something. Oh, no! This was an eighty-minute (!) improv based on a complex and confusing series of abstract . . . stuff!

Some of the art was sort of specific. A cowboy signified "spaghetti-western guitar", and a set of burbles and bubbles was intended to be "lagatto swells". But much of it was a smash of color and twists and shapes, open to interpretation, and often with no clear volume or tone conveyed. Sometimes the color was accompanied by quasi-random ballpoint-penned comments, from "swells and burbles" to "melancholy drunk using parking meter as walking stick" to "your [sic] the girl who's sad because a cowboy wants to give you a song instead of diamonds and pearls". For the most part, each stripe had its own art, and for some parts stripes were blank. For instance, only the sax had art for the first few inches of the first posterboard; then others got color and stuff to play as they came into the fold. (Coming in was signaled by eye contact, and cutting out was signaled by two simple hand motions. There was no preplanned timing of anything -- either in pace or length. It was guessed that the piece could take between 30 minutes and 4 hours, depending on the spaces that got carved out. ) In the last movement -- the last half of the third posterboard -- the separate stripes of art collapsed into a wide and boiling swirl. And the music was right there with it.

I'm a bit biased by the brilliance of even *trying* this, as I'm fascinated by things that are experimental and unconventional -- and this was, plus courageous, and all miles beyond what I've ever seen on stage. And the attempt was particularly bold; these guys had never done this before, and (although each pair comes from a band) the four had only played together once before. They had not rehearsed their interpretation (as though that would be possible) - and in fact, three of them hadn't seen the pictures, or really understood the idea, until less than two hours before they hit the stage.

But even relaxing my interest in the bold attempt itself, the performance was, really, quite fascinating. Some of the panes produced moments of sheer ecstasy, which got heads bobbing and smiles wide even among the very conventional folks who must have accidentally stumbled into this Azulzoo art test. Granted, some parts were barely more than noise -- perhaps less than noise, some would say. But parts were fabulous, and the "piece" as a whole was indescribable. I went to the show with a splitting headache, plenty of skepticism, pressing work to do at home, and the intention of staying an hour or so. I stayed to the end, and wanted more. . . if only just a bit more ;)

I wouldn't want to listen to *that* piece again, but I'm glad I didn't miss it. And I'd like to see them try it again, perfecting the art of transferring art from one medium to another, because I think at times they felt a little lost. As did some in the crowd, which numbered under 20, including the bartender and the bassist's parents. (It would have been nicer if the audience could've seen the art being played, perhaps projected behind the band. ) I do feel sorry for any folks who paid a few bucks expecting anything conventional, and are probably still shaking the weirdness out of their heads. But I also (and more strongly) feel that more people need to exposed to this level of weirdness.

There's a quotation, usually attributed to Elvis Costello, that writing about music makes as much sense as dancing about architecture. It probably makes less sense to write about music composed as art. Maybe I should sing about this review, to an architect, and see what he builds. . .

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Colonel Bruce Hampton & Planet Zambi
July 24, 1999 - Magnolia St. Pub - Spartanburg, SC by Adam Geise

Set 1: Elevator to the Moon, Fixin to Die, Basically Frightened, Nightlife, Yield, Born In Chicago, Lovelight
Set 2: Mojo, Ain't Nothin, Isles Of Langehorn, Jack (?), Cissy Strut, Working On A Building, Time
Encore: Spoonful (Colonel and Barry only)

I walked in my local watering hole at about 10:00 and asked "When's the Col. start?" I was told in about 5 minutes and they look like they're ready to play. So as I took a few swills off my Guiness, I was already getting excited. Here I am in the place I go to every other week and a legend like the Colonel is standing right in front of me! I greeted him and wished him luck. And they start... the crowd is rockin' from the first notes. The new band assembled before us is amazing! Slated as Col. Bruce Hampton and Friends, this lineup is going to stay as Planet Zambi. The first thing I noticed was the new guitar player, Barry Richman, a growing legend in his own right playing around Atlanta. His playing is enough to make you shake all over. In a recent online conversation I had the chance to ask him a few questions:

AG: I was listening to you play and I heard many different influences. What were you, and are you, into now? Where do you look for music inspiration?

BR: I started as a blues/rock player. Early influences were Jimi, Beck, Mike Bloomfield, BB King, Albert King, Clapton, Duane and Dickey. I have moved into a more jazzy direction. Favorites include Wes Montgomery, Pat Martino, Scofield, Holdsworth, Metheny. I listen to Miles, Coltrane and Stevie Wonder for inspiration.

AG: Tell me about The Barry Richman Band. . .

BR: We are still together, but it's hard to work around the Col's schedule. It's a mix of fusion/blues/funk/rock. A great outlet for all my styles.

AG: What an experience it must be to have the opportunity to play with the people you are influenced by.

BR: A dream come true. . . . I've jammed with many greats over the years.

AG: But now you are becoming one of the greats!

BR: Thanks, too kind. I still feel like a fan.

AG: You know the feeling of that really great peak in a jam or that perfectly placed note. . .

BR: It's like magic, when you leave your body and time appears to stand still! Great high! That's what we live for with music. It was a special night!

This new lineup also features Shannon Kori on drums, a great rhythm man, and Joseph Patrick Moore on the bass. The new band is also graced by Dennis Palmer on keys, but due to a heart attack at a recent show will be out for a few weeks.

The show was a great mix of the Colonel's tunes and some classics like Lovelight that had the walls shaking! Set 2 opened up with an affirmation from the Colonel. As he yelled "Got my mojo workin'!" I shook my head and thought he sure does. The scene was calm and the pub was not as full as my expectations, but none the less those who attended were treated to a great show. Sometime during the second set the Colonel decided to let loose and started making strange noises with his guitar and mouth, albeit to the pleasure of the audience and the band. Taking off his shoe and yapping jibberish into it like a telephone salesman they ripped into working on a building. The crowd clamored for an encore and the Col. and Barry were back on stage for a great send off; a sing along of Spoonful, sung with soul by the Col. and lilting guitar work from Barry. After the show I had a chance to thank the band for a great night and in return I was invited to come to Atlanta to catch some shows at their regular venues. If you do have the chance I recommend seeing them. I know after not hearing Col. Bruce Hampton in such a long time it was a heart warmer, and the Col. makes you feel right back at home.

For more information on Col. Bruce Hampton & Planet Zambi go to: www.fijimariners.com
For info on Barry Richman and his various projects go to: www.barryrichman.com
Barry Richman's CD's are available at shows or mail order through:
AMGEMS
P. O. Box 566814
Atlanta, GA 31156-6814

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John Popper and Chan Kinchla
June 2, 1999 - Labor of Love Benefit - Chili Pepper

by Michael Rothschild

On June 2, Blues Traveler members John Popper and Chan Kinchla hosted a benefit shoe for Labor of Love International. The benefit was to raise money for a birthing center in Jamaica. Also playing was a percussion group, Soul Oddity, and a reggae group, Johnny Dread. The show was at the Chili Pepper which has a good size capacity, but about 500 people showed up on a rainy evening that forced the show from the outside patio into the building.

The show opened with Soul Oddity. As I was at the bar starting the evening, I did not realize that live music was on, I thought the club was playing a Dead show over the PA, as the group sounded a lot like a drums--space. I realized that live music was playing when I ran into Chan at the information table (his wife was working the table). I talked to him for a little bit and learned some interesting tidbits about Traveler and more about the birthing centers where Chan had his kid. Chan was real excited about the benefit.

Before you knew it, Popper had wandered out and had started to jam with the percussion, giving the room a real spacey feeling. The entire show was acoustic, which was excellent in a club atmosphere especially since the crowd was noise friendly. Chan came out next and the two (along with Soul Oddity) started to play some Blues Traveler songs. Highlights included a off-beat Mulling it Over and But Anyway. Chan sang and members of Johnny Dread came out. Nil Lara made a guest electric appearance, but I felt this took something away from the energy of the show. I was surprised that Crystal Flame, Alone, even Sweet Pain, did not come out in this acoustic setting, but the hour and a half set was still very good.

During the break, I talked extensively to Chan about the benefit and learned a lot about mid-wives, even having Chan give a play by play of his child's birth. I also had a brief chance to talk to Popper. Johnny Dread was really good. They played a bunch of originals, but when Popper and Kinchla came out to jam, Marley was the musician of the moment. After a few Marley tunes with Popper wailing away, the show ended and the lights came up. Everyone had a good time, and it was nice to see some good music in South Florida.

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Perspective: Drowning in the Mainstream

by Mark

I stopped at the Quik Trip this morning on my way to corporate hell to pick up the usual paper and coffee. Got to work, and opened the LIVING section of the Atlanta Journal-Constitution to find a review of the new [Widespread Panic] CD ('Til the Medicine Takes). The review goes on to say that this is the most accessible Panic CD to date (i.e. commercial), and the last paragraph reads:

". . . this heretofore shunned-by-radio outfit sounds more than ready to conquer the airwaves. Dave Matthews, watch out. . . "

I sat and stared at that for a minute. It just so happens that last night, I went to check out Mr. Matthews at Lakewood. And it provoked a lot of thought.

I remember a day about 5 years ago when I started listening to Dave Matthews Band and found it to be really fresh sounding stuff. So much so that I tried to get some of my not so "on the bus" friends to check it out. That was usually greeted with something like "GET THIS CRAP OFF!" Now in 5 short years, the Dave Matthews Band has gone from Charlottesville, Virginia pubs to sold out stadium tours, and my same friends are listening with open ears.

[Widespread] is in a most peculiar spot right now. I sat at my desk and thought about what MIGHT happen. Radio somehow gets a hold of a "Climb To Safety", and curiousity is sparked. Next thing you know. . . the mainstreamers are raving about this "new" band called Widespread Panic. And the polarization of the older fans begins, which is how I stood at the Dave show last night. . . mildly interested. Widespread Panic, which once got a "GET THIS CRAP OFF" from my friends, now finds their CD's in my mainstream friends' car CD players.

But then I thought deeper. [Widespread's] community is such a tight knit, mostly fabulous group of people that have been through so much with this band. We live for weekends in New Orleans, Red Rocks, or wherever else. And then it occurred to me. No matter what happens commercially with the CD. . . the band's shows and fans are still too weird for the mainstream! :) And all those great people and great music will remain.

Therefore, I am confident in saying that it is very unlikely I will be standing in a sold out Widespread Panic show at Giants Stadium in 2003 next to a bunch of people who formerly would have told me where to put my Panic CD going. . . "man at one time, I really dug these guys. . . . . " It's all good!

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[Taken from a running conversation on Widespread Panic's online fan community, the Spreadnet]

For more information on Widespread Panic, check the band's official site: www.widespreadpanic.com
Another 'officially unofficial' site - complete with tabs, sound clips, lyrics, and other info
Join the band's online community: Spreadnet