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West Regional Report
Edited by Sarah Bruner - syrup@hula.net

• For KVHW Fans: Thoughts on "City of Tiny Lights and Zappa's Sheik Yerbouti
• KVHW at the Great American Music Hall
• KVHW: A Non-Dirksenian Point of View
• Dave Ellis and Friends - Storyville, S.F., CA 11/23/98

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For KVHW Fans: Thoughts on "City of Tiny Lights" and Zappa's Sheik Yerbouti
by Nicholas Meriwether © 1998

Fans of Steve Kimock's and Bobby Vega's newest band, KVHW (with Alan Hertz, drums, and Ray White, vocals and rhythm guitar) were surprised to hear them cover an old Frank Zappa song, "City of Tiny Lites," which appears on Zappa's 1979 release, Sheik Yerbouti (now on CD, Rykodisc RCD 10528). An alumnus of one of Zappa's bands, Ray was doubtless the inspiration behind their choice, but for the majority of listeners, "City" was a stretch, lyrically and musically. However, fans familiar with Zappa and with Sheik in particular were delighted-and KVHW's selection of "City," and especially their arrangement, are revealing statements about this up-and-coming band.

A late-seventies Zappa release, pre-Synclavier, Sheik is impeccably well crafted, and if not a concept album exactly, it's certainly unified, from production to lyrical targets. It also features a trio of classic, complex and beautifully played Zappa instrumentals, "Rat Tomago," "Rubber Shirt," and the title track, "The Sheik Yerbouti Tango." Hitting a plethora of Zappa's favorite satirical targets, the lyrics lampoon love songs ("I Have Been In You"), American consumer culture ("Flakes"), sex ("Broken Hearts Are For Assholes"), and a few cultural stereotypes ("Jewish Princess," which earned him a reprimand and a demand for an apology from the Anti-Defamation League of B'nai B'rith; Zappa, of course, refused to back down). Always scathing, frequently humorous, and occasionally infuriating, Sheik is a typically dense and consummately realized slice of Zappa's view of American culture and pop music, circa 1979. "City of Tiny Lights" is one of the oddest tracks, and certainly the most oblique. Sung by Adrian Belew, it is characterized by his highly stylized vocals, balanced by heavy bass and a careful keyboard counterpoint, spiced with a few Zappa-esque sound effects. Throughout the track, the tension plays off of the two poles of the arrangement, a funked-up rock melody and a weird, surreal soul song. Lyrically, the first verse describes something like a children's playground fantasy, though the music is anything but sing-song and juvenile:

City of tiny lites
Don't you wanna go
Hear the tiny auto horns
When they tiny blow
Tiny lightnin'
In the storm
Tiny blankets
Keep you warm
Tiny pillows
Tiny sheets
Talkin' 'bout those tiny cookies
That the peoples eat

It sounds as if it's moving straight into the second verse now, but that's not Zappa, so it changes at the third line, a shift setting up the bridge, where Frank sings over a minimalist bass line and sound effect accompaniment:

You can see it any time
When you get the squints
>>From your downers and your wine
You're so big
It's so tiny
Every cloud is silver line-y
The great escape for all of you-

Which is when the band returns in force to pound out the satire, "Tiny is as tiny do," a line repeated with passion four times and followed by the one great instrumental break, when Zappa solos and takes the band through a smoking run-through of the melody in all its arcane shifts, twists and fillips. This bridge is where the toyland imagery, with its moody undertones, becomes full-fledged satire, mocking drug-fueled escapes and the delusions thereof. Then a quick return to the first verse, surrealism made plain now, underscored by the repetition of the line, "That the peoples eat," and finally ending with a matched repetition of the line, "And it's over there." Just a bottle of wine and a couple of pills away, to be precise.

Zappa is known for the care and thought that went into his compositions, and "City" is no exception. There is a tremendous span covered by the arrangement, from sparse to lush, simple to complex, all worked through during the last verse as this tributary of the album's main current unfolds. All serious satire now, there isn't a trace of Zappa-esque humor, either musically or lyrically, which neatly resolves the tension set up by the first verse's lyrics and their musical setting.

KVHW's version honors the original, accomplishing the same aims with a skillful arrangement that brings out the soul in the lyrics and emphasizes the jamming potential in the melody. Zappa made it a point to rehearse his bands thoroughly, with weeks of eight hour rehearsals before a tour and a mandatory two hours a day practice on the road. Part of that was to enable him to constantly change the arrangement or just the context of the arrangement, from reggae to funk to folk to jazz. Ray may very well have sung a version that inspired this, though it's safe to say that Zappa probably never jammed it out to the extent that KVHW does. (Only live tapes would reveal this, and although Zappa taped almost all of his performances, few good tapes circulate-unlike KVHW, fan taping angered Zappa a great deal.) It's easy to see why it appeals to KVHW, given the tight construction and atypical structure-turning this into a jam vehicle requires a great deal of technical skill, not to mention a vocalist who can hold his own. Needless to say, intimidating arrangements are nectar to Steve and Bobby, both known for their complex musical ideas, and Ray shines; as Zappa said of him, he is a truly professional singer. Fans of KVHW should check out Sheik Yerbouti-and fans of Zappa should check out KVHW.

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KVHW at the Great American Music Hall
San Francisco, CA
November 28, 1998

by Charlie Dirksen

Steve Kimock: lead guitars
Bobby Vega: lead bass
Ray White: lead vocals, lead rhythm guitar
Alan Hertz: lead drums

KVHW is a jam band so incredible that it doubles as an argument for the existence of a kind, benevolent God. In the Great American Music Hall in San Francisco on Saturday, November 28th, the band filled many virgins to their sound with heart-stopping, electrifying grooves. It was definitely a night to remember.

The Great American sold out around 7:30pm. If you haven't been to this venue -- one of San Francisco's most famous -- it is an elaborate, ornate "Music Hall" in the true sense of those words. It is a captivating place to see music, and only holds around 450 people. When you walk in the front door, you climb only a few steps, and you face center stage, which is only 65 feet or so in front of you. The stage is about 3 feet off a wooden dance floor that is bound by red carpeting. Decorated columns, ornate carvings and woodwork dress the venue warmly. When you visit San Francisco, find out who is playing there, and try not to miss the gig.

My jaw has never hit the floor so many times at a Kimock-related concert. I have also never had to grab something to keep from falling over in rapturous awe so many times at a show. Any show.

The show began with the melodious riffs of "Why Can't We All Just Samba?" It is a gorgeous instrumental, and KVHW performed a stunning version. It immediately convinced many in attendance that they chose the right band to see that night (Leftover Salmon was playing up the street).

A funky flavor gripped the band for the next run of tunes, all of which were blessed by the band's improvisational talents. "In Time," a Sly & the Family Stone cover, belligerently bowled people over. A "Poonk"-spiced "Express Yourself" medley made the audience ooh, aah, and cheer. "Five B-4 Funk" featured original, risky jamming, although the version was not any longer than usual. The night was still young and already sweaty bodies embraced and giddy faces lit the room. Kimock's playing wasn't entirely without flubs in this run of songs. But leave it to "Special K" -- or the "Lil' Toaster" -- to turn flubs into triumphant new opportunities for blissful riffs. I have never heard a guitarist recover as smoothly from flubs as Kimock consistently does. A flub? Time for a key change and fractally expanding, mind-blowing riff.

A brand new tune, "Fool's Gold," was next. Ray told the beaming audience that it was composed shortly before they took the stage that night. Like KVHW's song "Spring Water," it is a very simple tune. But also like "Spring Water," it has a sweet little melody or "hook," and in time it may become popular. This song will blossom in the future, but this 11/28 version, as one might expect given its lack of rehearsal, was a mere sprout in light of its potential. The jam that soared out of it was gorgeous at times, but very aimless.

"City of Tiny Lites," a Frank Zappa tune that KVHW has taken under its wings, thunderously shook the Hall next, powerfully closing the set. Ray's singing was spectacular, and there was tight, thrilling playing from Kimock, Vega and Hertz. It was an enthralling performance, which clearly wore them -- and me -- out. I was ready for a break and fortunately, so were they. My mind needed to rest from hearing so many notes. KVHW's music gets so intense that I've found it very difficult to take it all in without coming damn close to having a seizure, getting a nosebleed, or at least falling down.

After a perfect half-hour setbreak, people began yelling requests at the band as they walked onstage. Kimock heard "Slumber." KVHW obliged. I wasn't prepared for a version of this magnitude. There were several jam segments, each of which was unique and wondrous. This instrumental has come a long way, baby.

"You're the One" rocked the ecstatic audience, but the subsequent "Tangled Hangers" is a version for the ages. This is one of those profound instrumentals that almost always shakes your consciousness, like a typical "Dark Star." All of the recent KVHW versions of this song have been awe-inspiring to my ears, particularly 10/17 Wetlands. But last night's version was an improvisational masterpiece, and the most divine KVHW version that I've heard.

"Spring Water" brought Ray's rich voice back into the mix. Ray's voice often soulfully scoots me into the Zone. This version didn't hold a candle to the monstrous Brookdale 11/21 version, but it nevertheless soared both softly and loudly throughout its several jam segments. Comparing this version to an April version would undoubtedly amuse you. This band has traveled thousands of miles since then. Literally and figuratively.

"Point of No Return" grabbed any naysayers to that point in the evening and smacked them silly. Some commented that they hadn't been so blown away by a live band since the Grateful Dead. Such spine-tingling, heated improvisation is not heard often. KVHW has played this instrumental at every show since its debut a month or two ago, and it continues to wow audiences and earn KVHW more die-hard, true believing fans.

Kimock shredded on the Explorer guitar for "Power of Soul," which blew away the 10/24 Sebastopol version. Kimock had been using a Fender strat most of the evening, and it was wonderful to see him pick up the Explorer.

The audience caught its collective breath during the Merl Saunders tune "Soul Roach," which featured a bluesy "Shotgun House" in its creamy R&B center. It was very soothing to relax to a mellow, head-clearing tune after the blistering music earlier in the set.

"Illinois Enema Bandit," another Zappa cover with warped lyrics beautifully sung by Ray, closed the two hour second set. Many crowd members were singing along with Ray. It was by the far the most engaging version they have played to date, and it pleased the still-full house.

The music had been so consistently powerful, that I feared the encore. Something gentle, I thought. An "It's Up to You." Let us retire to our beds in peace. But then they came out and played HILLBILLIES ON PCP, of all things, which if you haven't heard yet, is frankly what you might expect HIPPIES ON LSD to dance to in a Bacchanalian frenzy. It was an incredible way to close the show. The place erupted in cheers!

No band has ever moved me so much with three consecutive shows (10/24 Sebastopol, 11/21 Brookdale Lodge, and now this one). If KVHW plays in your area, do not, under any circumstances, miss them. You will regret it.

For more information, please surf over to http://www.studioemusic.com/KVHW.html.

Soundcheck: Slumber, City of Tiny Lites
Set One (1:08)
Why Can't We All Just Samba?
In Time
Express Yourself->
Poonk->
Express Yourself->
Poonk
Five Before Funk,
Fool's Gold -> Jam
City of Tiny Lites

Set Two (almost 2 hours)
Slumber
You're the One
Tangled Hangers 
Spring Water
Point of No Return 
Power of Soul 
Soul Roach->
Shotgun House->
Soul Roach
Illinois Enema Bandit
Encore:  Hillbillies on PCP

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KVHW: A Non-Dirksenian Point of View
by Jeremy Birchman

A trend is likely to continue: the virtues of KVHW will be extolled, especially by fortunate Californians. This is inevitable. With Zero slowing down, Steve Kimock upped the ante and created a fearsome foursome that can, at their best, decimate a room, leaving shell-shocked listeners to ponder what just occurred.

As a recent addition to the state of California, my exposure to Zero, and the sum of its parts, is limited. And while I knew little of the band itself, I knew even less of Steve Kimock. But being an outsider does have certain benefits; namely, having a fresh, unbiased outlook into the realm of Zerwellian and Kimockian scholastics.

For me, any KVHW discussion should begin and end with Steve Kimock. The band is built to support Steve Kimock. But what about an entity, especially a band, being the sum of its parts? Make no mistake, Kimock's supporting cast is solid, especially Alan Hertz (drums). However, this band is about Steve Kimock and his conjuring abilities that raise one's consciousness and wake the unconscious as well. Shake my foundations. Down to the ground.

KVHW does have its limitations: lyrics. I find the lyrics to just about every original KVHW song to be weak. IMO, there is definite room for serious improvement. I have heard that Ray White made up lyrics to several songs just prior to performing them. If this is true, it helps explain an overall lack of inviting and thought provoking pronouncements. Why not change the lyrics the next time around? Why, because lyrics (even good ones) are not essential to any KVHW composition. This is not a Ray White thing. I like Ray and think he has a very good voice - tonal, resonant, decent range, emotion tinged. Finding a lead singer that can actually sing, and sing well is a bonus! However, without fail, each and every KVHW song that I have heard did not head down the path of enlightenment until instruments, and only instruments, could be heard, especially Kimock's guitar.

In a dream world, KVHW would be entirely instrumental. Words need not apply. Instruments would do all the talking and everything would be loud and clear. But entirely instrumental will not happen any time soon, so lyrics, if words are required, make a big difference. "The journey is the prize" just does not cut it (see "Spring Water").

Music composition reigns supreme with KVHW. Each show that I have witnessed and have heard on tape contains nearly one half of each set devoted entirely to instrumental compositions, including many originals. This is KVHW's strength. Having such an improvisational repertoire brings with it the possibility, at any given moment, for the jam, any jam, to reach epic proportions. Rather than having one blinding pinnacle of greatness per show, KVHW has the potential for several climaxes - a potential which is often realized. In this case more is definitely better.

Yes, more is definitely better. More improvisation means more Kimock. More Kimock means hearing a modern day guitar maestro in the throes of the moment in almost indigestible amounts (yes, too much is a very good thing). Give Steve Kimock a chance to transform the moment and that is what will happen. And when Steve Kimock is at his best so is the rest of KVHW. The beast becomes larger as Kimock or Bobby Vega push Alan Hertz to pick up the pace, applying a thick dose of in-your-face heavy handed drumming into the mix. Let Hertz bang, I say. Let him bang out deep and enticing evil all night long!

When this machine moves, it shakes, rattles, and rolls. From slow, jazzy starters that transition into a mellifluous mass of organically grown precision ("Slumber," "Spring Water," "Point of No Return," ) to bluesified rockin' soul-scorchers from beginning to end ("Hillbillies on PCP," "Illinois Enema Bandit," "Shotgun House," "Power of Soul"), KVHW delivers the good stuff right to your front door.

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Dave Ellis and Friends Storyville, San Francisco, CA
November 23, 1998
CD release party for Dave's new CD 'In the Long Run'
by Ian Mirmelstein

Dave Ellis: sax, tenor sax
Jeff Chimenti: piano
Bob Weir: electric guitar (1st show)
Mark Karan: electric guitar (2nd show)
Peter Garcia: stand-up bass
DesZon Claiborne: drums

Storyville is a cool jazz club in San Francisco. It has an authentic, old school jazz vibe right down to the small round tables, with a small lamp on each, and red table-clothes. The main room seats about 100 people, and was packed for both the early and late shows. Dave seemed very comfortable in his home town element, thanking family and friends repeatedly throughout both shows.

Dave opened the show with "Ced and Dun", the first cut off his new album. To set the tone for the evening, this tune started out slow, built into a full-force, full-band swing, before gently floating back to where it began. Dave looking very relaxed during this first song, eyes closed, rocking back and forth, jamming.

Following a jam, the band eased into "Meltdown", a tune written by Jeff Chimenti and Dave Ellis. This was by far the highlight of the originals played.

This tune has a very impressive jazz arrangement that built to a resounding crescendo. Jeff Chimenti really shined during this song. All of his vigor and enthusiasm for the piece was evident in the speed of his fingers. It was very impressive and the night was beginning to sizzle at this point.

The biggest surprise of the night came when Dave introduced Bob Weir. Dave addressed the audience, "We're going to do a Grateful Dead song here, it's actually part of a suite called Terrapin Station, 'Lady with a Fan'." This was a huge surprise, and seeing it in a club with 100 others was something special.

The song itself was an unbelievable rendition! Having seen Phil and Friends whip this out a month earlier surely primed the crowd for what is obviously an Ellis favorite. Bob Weir took a few mini solos during the song which were very impressive and well received. All around, 'Lady With a Fan' meandered around, flying through the room, touching hidden spaces, and creating itself anew before finally returning to it's chordal home, ending in a resounding jam. All I could think of was the line, "His job is to shed light, not to master..." What a treat.

That closed the first show, and the place was buzzing, obviously. Since Storyville sold tickets for both the early show and late show, they had to clear out the room, and reseat. This was a bit annoying, but finally a new crowd found it's spot and Dave returned to begin the second show.

The second show opened with "In the Long Run" the title cut off the new album and another impressive display of Ellis's control. As the band pounded behind him, he lead them through a clearly complex arrangement, kept in sync by Mr. Claiborne's consistently superb back-beat. The crowd really enjoyed this song. This space was getting hot.

Then Dave introduced his friend, and bandmate from The Other Ones and Ratdog, Mark Karan for a scorching version of "Mercy Mercy Mercy". Karan took some great solos and they seemed to be very comfortable with each other and having a lot of fun. Their musical conversations were awesome, Ellis would start a thread, and Mark would take it, play with it, and give it back. It was special to watch two musicians such as Ellis and Karan taking on each other in such a collaborative way. These are definitely two musicians who have a love for impromptu jamming.

This was such a treat to see Bob Weir, Mark Karan, and Dave Ellis together again after such an incredible, watershed summer. It made for a very interesting evening, and serves as an appetizer for the Ratdog NYE shows in Oakland, and for many other evenings to come...

Dave Ellis' new CD is rocking. You can find it on the Monarch Records label.

Setlists
  
Early Show
Ced and Dun 
You'd Be So Nice To Come To 
Meltdown
Black Narcissus 
Lady with a Fan (with Bob Weir on electric guitar)
 
Late Show
In the Long Run
Just Squeeze Me 
Waterbearer 
Inner Urge 
Mercy Mercy Mercy (with Mark Karan on electric guitar)

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Sarah Bruner is a researcher and writer who has been getting away with living in Honolulu, Hawaii for five years now. When she's not working, she spends the rest of her time swimming, praying for bands to include Hawaii in their tour schedules, and eating an absurd amount of mangoes.

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