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by Jesse Jarnow
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"Hampton Comes Alive" - Phish
"Hampton Comes Alive" - Phish Recently, a friend and I were having a discussion about what it means to take something - music, art, a person - seriously. One working definition proposed was to observe it on its own terms, without prejudice. In the case of Phish's latest release - a six CD set encompassing two fall 1998 shows at the Hampton Coliseum in their entirety - this can mean one of two things... or maybe even both. One would be strictly in terms of itself, taking into account only the music contained within the nifty tripped-put packaging. Another reading of "own terms" would be to listen to it as a product of Phish's 16 year career up to that point. Going by the former, this is a damn fine collection. Going by the latter, it's something of a disappointment overall, though there certainly are moments that even the most jaded Phishhead should enjoy on any terms. Of course, being a jaded Phishhead (and armchair vault-meister) could easily qualify as a prejudice. At the same time, though, how many potential Phishheads are going to begin their listening career's tabula rasa laying down sixty dollars for a box set? Seriously. Going into my first listening, I will admit prior prejudice. I was somewhat familiar with the material via some decent sounding audience recordings of the shows. My general opinions about the music have been little changed. The Hampton '98 shows as far as I'm concerned, contain much enjoyable playing -fun playing - but little music that really pushes its own boundaries. There's not a lot of truly open jamming. I hold to that, though the nearly pristine soundboard mix certainly makes the high points higher and showcases the dynamics of the rest of the material... all the more reason to wonder why Hampton got the nod over some of the more experimental and ultimately interesting shows from the same tour. Capsulized: the music is fun, but... There's definitely a vibe on these discs. These are not your average Phish shows, at least in terms of pure song selection. As far as the structure of this material as a whole goes, there's a nice flow to it. The first disc of the first night, for example, begins with some high-spirited fun in Rock and Roll Part 2 and Tube, progressing evenly from an all out party affair into darker spaces, before culminating with a somewhat average rendition of Stash. The thing about the Stash here - and some of the other big jams on the set, for that matter, such as Bathtub Gin, Split Open and Melt, Harry Hood, and especially Simple - is that, really listened to, it makes the listener remember how compelling "bad" Phish really is. The answer is: a whole frickin' lot. My reaction to the Simple jam, when I heard it on tape, was something along the lines of "oh, great, another Simple where the band goes from loud to quiet." In theory, that might be a pretty basic movement -- certainly nothing along the lines of the multi-sectioned madness that characterized "A Live One," or the bubbling funk featured on "Slip, Stich, and Pass" (though, there is a logical progression between these releases). While the band might stay well within the song's chord structure - in other words, the listener can pretty much always tell he's listening to Simple - it's not just a matter of the band softening their attack over a given duration of time. The visualization of a band building a structure comes up, as usual. Simple is a tower. It's not like climbing down a ladder placed in the middle of it. It's more along the lines of walking down a spiral staircase that winds around the inner perimeter. The thing that makes this jam interesting is the fact that neither Trey, nor Page, nor Mike are really playing rhythmic parts. All three are playing arpeggiated leads. The song, though, does not feel like it is lacking a core structure, though. Picking out any one part, the other musicians provide a cumulative mesh in which the component makes sense. By themselves, none of these parts could drive a song -- it's only in relation to the others. The dynamic is like that throughout "Hampton Comes Alive." By eliminating the explosive element from the mix, one is left with a clear snapshot of who, exactly, Phish really are. "Hampton Comes Alive" does a good job doing that, warts and all. If were one to begin editing these shows down into one or two discs, what would be featured? Which side of the band would be highlighted? "Slip, Stich, and Pass" managed to capture, and efficiently contain on one disc, the birth of a new direction for Phish. "Hampton Comes Alive," in effect, is the realization of different aspects of that birth. The jamming aspect - as documented on the "Slip, Stich" Wolfman's Brother - introduced the idea of a sparse, though still energetic, style of jamming that didn't rely on tension and release. Very few of the jams here end with big bangs. In fact, most of them are structured more like the Simple.
And then there are the covers, which sit at the other end of the seriousness
spectrum. Phish has always been fun. In recent years, pranks - both musical
and otherwise - have fallen somewhat by the wayside. That's not to say
they've disappeared. After all, Hampton did happen. Fish sings
Gettin' Jiggy Wit It, Marshall sings Tubthumping, and Trey
whines his way through Sabotage. These are all very amusing. Do they
mean anything more? Is the band deconstructing the popular norm by offering
problematic interpretations of un-intellectually challenging material?
Another product of this economy of motion is a new tightness, as envisioned
in the "Slip, Stich" Taste, that lends more power to individual
songs. This is best exemplified on the second disc of the first night --
specifically in the Possum, which is absolutely incredible. If
open-ended jamming is where the band takes themselves most seriously, and
the random covers where they take themselves least seriously, the middle
ground must be where they simply take themselves as themselves -- no more,
no less. The bulk of the six CDs here are made up of songs from the middle
ground. Mathematically and musically, this is average Phish.
Unfortunately, average Phish doesn't really cut it in the long haul. The
only reason I can figure that the band chose this show over others is to
showcase what would be the music equivalent of their speaking voice,
uninflected and conversational. It's a unique voice - a soothing voice, to
be sure - and one that the world should hear, but I sense that Phishheads
are long accustomed to it and won't find these discs exhilarating except
in
sound quality. It does make one realize how well put together an
average show is, though. In that, the set is more notable for what it isn't
than for what it is. This recording are not about collecting a bunch of
special things that Phish has done; it's about Phish.
"Sing Out For SEVA" - various artists
SEVA has been in the business of serving others for over twenty years.
Among the organization's founders is the writer, lecturer, and explorer of
higher consciousness, Ram
Dass. His spirit of compassion, selflessness, and altruism has rubbed
off liberally on SEVA. This foundation has done an incredible amount of
work helping to preserve and restore eyesight to people all over the world,
particularly in India, Malawai, Cambodia, Tibet, and Nepal. They strive to
alleviate many types of human suffering in any way possible, exhibiting what
they call compassion in action.
On SEVA's web site, their undying dedication to their work, and its ongoing
success, is clear. "During the visioning process, we asked ourselves: 'What
were some of the deeper connections being made while we were doing the work
-- connections that may not have been apparent to us because we were so
deeply involved in the work itself?' This stepping back was profound for us.
As we reflected on how best to harvest SEVA's work of twenty years, the
whole sense of partnership kept reappearing. We affirmed that SEVA has a
profound human side, and that we are not interested in hit-and-run
development."
SEVA has benefited greatly from its particularly special partnership with
the musical community. SEVA is renowned for hosting celebrated Benefit
concerts (most recently a release
party for this CD on November 30th at San Francisco's Fillmore that find
musicians inspired to outstanding performances. Finally, there is a CD
capturing some of these great moments for the wider public to enjoy. This
smartly crafted CD benefits greatly from its astute sequencing, and the fact
that there is not a single dud on the entire extremely enjoyable release.
Ramblin' Jack Elliot gives us an example of music
coming full circle. Elliot's influence on a young Bob Dylan back in Greenwich Village
during the heyday of folk music, the early 60s, was so great that Dylan
borrowed greatly from Elliot in forming his early performance style. Here,
Elliot leads off this significant CD with Don't Think Twice, It's
Alright which he refers to as, "stolen off a Bob Dylan record." His
delectable approach to phrasing shines on this song. This performance comes
from the highly
touted May 1998 benefit in Berkeley, California, (SEVA's home city) as
does more than half of this CD. Charlie Musselwhite's solo
electric delivery of Darkest Hour is also from this show.
Musselwhite's soulful lead vocal and captivating delivery make for a great
presentation. The character pleas desperately for the eventual return of an
estranged lover. Charlie's virtuosic harmonica is also featured on two
other cuts on this disc.
I was tickled that the brilliant Canadian singer/songwriter Bruce Cockburn
was represented on this disc. Longtime Garcia friend Maria Muldaur, (fronting an acoustic
trio) delivers a soulful rendition of Cockburn's Southland Of The
Heart. She proves with this performance from a year ago, that her voice
has actually improved with age. If you would like more of a taste of Maria,
check out her release, "Meet Me Where They Play The
Blues", which is a tribute to blues great Charles Brown. This release
is significant if for no other reason than the fact that Muldaur duets with
Brown on what would become his last recorded performance.
The inimitable Wavy
Gravy pops up a couple of times on this SEVA disc. Dass calls Gravy,
"The wise clown of compassion (who) is a genuine Mahatma of the cosmic
giggle." Dass refers to Gravy's technique as, "improvisational, irreverent
rascality." It's always nice to hear Wavy's smiling voice, and he offers
up some props for the artist that may have been most unfamiliar to the
audience. Before introducing Dan
Bern, Gravy says, "I'm so excited to have somebody that I feel is at the
cutting edge of folk music stuff along with us old geezers." Bern delivers
a hearty lead vocal on the plaintive Wasteland from his highly
acclaimed 1997 release, Dan Bern. Bern's lyrics build smartly, and along
the way he juxtaposes effective imagery with sheer emotion. Bern
successfully laments the emptiness he observed growing up in late Twentieth
Century America, being "broken up in the wasteland."
Arlo Guthrie exhibits yet another example
of his unparalleled storytelling ability. Arlo spins the yarn about
performing with Pete Seeger
at a legendary folk festival in Denmark shortly after the Berlin Wall came
down. People of Eastern and Western Europe were rubbing elbows for the
first time in years. Arlo's story celebrates Seeger's singular character
(Pete performed with Arlo's dad, Woody Guthrie,
many times in his younger days). Any DJ compiling a feature on Seeger
should definitely consider including this story. It builds to a version of,
Can't Help Falling In Love, on which Arlo's wonderfully graveled
voice is perfect. Guthrie performs the most powerful and moving version of
the song that this listener has ever heard. Can't Help has a
profound simplicity to its lyrics, which speak most clearly to those
fortunate enough to have experienced love at some point in their lives. It
is particularly fitting on a CD benefiting one of those rare organizations
that has proven over the years that it truly has love at its core. (NOTE -
the CD "More Together
Again" is a fine example of Seeger and Guthrie's collaborative work, and
it also contains an alternate version of Can't Help Falling In
Love.)
Jorma Kaukonen is joined by Michael Falzarano and Pete
Sears (all members of the current Hot
Tuna) for a version of Reverend Gary Davis' I Am The Light Of This
World. I have to admit to being a huge Jorma fan, I have enjoyed pretty
much every thing he has ever released, and everything I've heard him perform
in the second half of this decade. Light exemplifies his highly
soulful, and unquestionably unique approach to acoustic guitar. His lead
vocal carries volumes of experience, and darts in and out of the melody
wildly. Sears salutes Jack Casady with a keyboard generated bass line, and
he injects some bright color at points as well. Falzarano gently punctuates
with his under-stated rhythm guitar.
Clearly the standout track on this CD is Rebeca Mouleo'n's stirring
rendition of a Julia Butterly Hill
poem. Julia Butterfly Hill is an inspirational young woman who has
protested the destruction of the Headwaters Forest in Humboldt County, by
living in a tree for over two years now. Mickey Hart performs Endless River
from Planet Drum's amazing "Supralingua" release, joined by Charlie
Musselwhite's harmonica, the virtuoso of talking drum Sikuru Adepoju, and
percussionist Jorge Bermudez (Weir has RD3, this could be the PD5). Adepoju
is particularly vital on the track, as his talking drum is out front,
seeming to goad emotion from the listener. Mouleo'n interprets the poem,
named "Luna" after the tree which has been Hill's home. Rebeca punctuates
her moving spoken word with some gorgeously sung embellishments.
Musselwhite finds some poignant notes and quivers on his harmonica that
blends organically with the muse. Mouleo'n distinctly conveys Hill's
dedication and love for his tree and Julia's torment with her personal
limitations. Hill's prose is beyond stirring, and hugely reverential to
"Luna," "She cries, her overwhelming grief, sap that clings to me, to my
soul. I wrap my arms around her, offering the only solace that I know,
giving myself as the only gift I have to give, a pitiful offering to a
goddess such as this, of myself it is all that I have to give." Julia
continues her protest to this day, and is readying to endure a third brutal
winter to help save ancient forests. Hill can be reached via her web site,
or through the Circle of
Life Foundation, another altruistic organization.
Bruce Hornsby improvises wildly
on a solo acoustic version of the title track from his 1990 release, "A
Night On 'The Town". In typical Bruce fashion, this version departs
radically from the original studio offering with The Range. Hornsby dazzles
with some spectacular piano runs and his experimental lyrical phrasing. His
ability to send off these runs as he's singing is particularly exceptional.
We are treated to two nice long Bruce jams, which are candy for the ears.
He blends in some soft electric piano, using dynamics, and various musical
styles deftly throughout this stellar reading.
The booklet that accompanies the CD has some great pictures. When I first
looked at it and saw a picture of Jorma Kaukonen performing with Bonnie Raitt. I eagerly flipped to
the track listing to find this cut. Unfortunately, this pairing which I
have never heard before is not included on the CD. Bonnie is well
represented, playing luscious slide guitar in a trio with Musselwhite (who
is brilliant for a third time) and bassist Hutch Hutchinson. Penned by
country songster Gary Nicholson, Shadow of Doubt, appeals to a lover
for meaning in an otherwise confounding existence. The lyrics fit snugly
into the piedmont blues arrangement. The second verse drives home the
song's message, "Though I try to make some sense, of this world I'm up
against, well, I know my best defense is your love. The struggle gets
insane. And the lesson is full of pain, keep me calling out your name, oh
love." Bonnie sings convincingly with her immediately identifiable
voice.
Another misleading photograph in the booklet is of Bob Weir playing
with Rob
Wasserman. Weir is actually featured on the disc in a rare solo
acoustic setting singing old train song, KC Moan. Although it is a
quick number, Weir is in fine form, driving the song with his brawny lead
vocal. Legendary rock disc jockey Mark Parenteau put it best a few years
back, when he said that hearing Weir's voice is like hearing that of an old
friend. Bob again proves to be one of rock's most enduring vocalists, but
Wasserman's quirky punch is undoubtedly missed.
The CD concludes with two songs, which find Graham Nash and Phil Lesh guesting with CPR. CPR is David Crosby's band with his
son James Raymond, and
guitarist Jeff Pevar. They deliver
Box Of Rain, and Wooden Ships with gusto. Box speaks
to the spirit of service, and Lesh's vocals blend extremely well with Crosby
and Nash on the beloved last verse. Crosby and Nash
are at their lyrical best here and on the enlivening Wooden Ships
that closes the CD. Their harmonies soar as they put forth a killer
delivery of this song's final verse. Pevar offers some very tasteful leads,
partly weaving in and out of Raymond's keyboard, partly stepping to the
forefront on his own. He even quotes a famous Steven Stills riff at one
point! It is particularly interesting how Lesh injects his unique bass
style to this classic rock staple. The final jam finds Pevar and Lesh
locking in for the most muscular stretch of music on the disc, with Raymond
adding nice color as well.
I was surprised at the artists that have played SEVA benefits, yet are not
part of this release (Jackson Browne, Iris DeMent, and the beguiling Odetta
come to mind immediately). Perhaps we can look forward to a follow-up
release. The fact that they released an Arlo cut from 1994 indicates that
they might be willing to dig deep for some early to mid nineties chestnuts.
(Didn't Brent Mydland perform solo at a SEVA Benefit once?)
There is nothing but timeless, meaningful music on this disc. This is a
special CD, and a perfect Holiday gift. Anybody with a taste for quality
music will surely have some tracks to savor on it. You also get a chance
to, as a gentleman named Scoop says during the opening of the disc,
"accumulate a little good Karma," by supporting SEVA with your purchase.
For more information on SEVA, call 510-845-7382 or 1-800-223-SEVA (7382) or
visit their web site at www.seva.org. For
information on this CD, check out store.seva.org/merchandise.html
or mars.dead.net/s
ite/images/music/4067/4067.html. SEVA's mailing address is 1786 Fifth
street in Berkeley, California 94710.
"DJ Logic Presents Project Logic" - DJ Logic
With the advent of electronic music in the improvisational world, more and
more music fans are suddenly open to the idea of a DJ jamming with their
favorite band. As with all sorts of wishful thinking, the next step is to
then fantasize about which DJ would sit in. The answer, usually, is along
the lines of "dude, it'd be phat if DJ Logic played with these
guys."
There are a couple of reasons for this. First, the man's good. He's got a
good ear for fitting somewhere between a band's rhythm section and their
melodic instruments. Once he's comfortable, he knows exactly where his
turntables fit in the band's sonic spectrum. Second, and more - er -
logically, Logic (aka Jason Kibler) is one of the only DJs to yet venture
into the world of music improvised by live musicians on analog instruments.
While several younger bands - such as Fat
Mama and Lake Trout - feature
turntablists, Logic has pretty much set the standard by his work with larger
bands such as Medeski Martin and Wood, moe., and others. He's been
everywhere
lately.
"...Presents Project Logic" is Logic's first album as a band-leader. On
one
level, that means being an organizational catalyst. With the exception of
himself and bassist Melvin Gibbs, there is no single musician who plays on
the entire disc -- though a handful, including John Medeski, Scott Harding,
Bill Ware, and others make several appearances throughout. In places
(Flat As Aboard, for example), Logic's function seems to be no more
than to get the musicians together and play a solid supporting role in the
music produced. Part of this has to do with the sound of the turntables
themselves. Logic's job is to manipulate pre-existing sound and mold it
into
something new. The problem, sometimes, is that, as an instrument, the
turntables don't have a very distinct voice. When Logic is at his best,
the
tell-tale pops and scratches associated with vinyl spinning disappear.
Simultaneously, Logic's work completely shapes the music being produced as
well as fading into the base of the groove.
In terms of a band, the tables don't quite qualify as part of the rhythm
section -- depending on what is being sampled, the sounds that come out of
them have far too much color to be deemed a support instrument. At the same
time, one can't really articulate notes on the tables. What comes out
often
ends up being extremely percussion-like. This identity crisis is one of
the
very few problems with the album. When the instrument sheds the idea that it
has to be one or the other, it is at its most successful. Most of the album
seems to be made up of jam excerpts from various studio sessions. One piece
on the album which was obviously somewhat conceived, if only because it has
a vocal melody and chorus, is Spider Dance. Logic's spinning,
combined with Scott Harding's Fender Rhodes playing, weaves a haunting,
shimmering aural equivalent of a spider's web on top of which Jennifer
Charles absolutely unearthly voice moves slowly through the strands like
eight needle-thin legs.
The music on the album, genre-wise, tends to reflect the musicians playing.
Since the bulk of the musicians are culled from the New York downtown scene,
the grooves tend to be somewhere in between ambient and pulsing with an
urban sensibility. Logic's favorite kinds of samples seem to be those that
are haunting to begin with -- let alone when they start doubling back on
themselves, or twisting slightly as they are sped up and slowed down
ever-so-slightly. That tendency, I guess, gives some unity to Logic's
voice
on the album. It's a theme that runs through everything. For example, listen
to the distortions laid on top of Medeski's distinct organ on Shea's
Groove. Hammond organ in general, and specifically Medeski's playing,
seem quite conducive to blending with Logic's spooky stylings. Likewise,
Bill Ware's gently reverberating vibes - such as on Gig I - also
sound remarkably ghostly.
One reason for the weirdness is that these sounds don't actually exist.
There is no analog, "natural" instrument that can produce noises like
this.
Within the range of electronic music, it's technically possible to create
any sound one can conceive of. Usually, these sounds are rooted somewhere in
real instruments. When they're not, though, the better. The ear - or, at
least, my ear - isn't used to a lot of this. Manipulation like this isn't
a
new idea. Here, though, is one of the first places that I've yet heard
where
even the manipulations, as electronic as they may be, sound analog -- they
sound like something a real, yet uninvented instrument, would produce.
Perhaps this is the warmth of the vinyl showing through, but the noises
sound like they are being produced by some direct maneuvering of air
molecules, as opposed to 0s and 1s through several feet of wiring.
The effect is alien and familiar all at once. After several listens,
everything becomes assimilated, and you just wish there were more people
blowing on turntables with live musicians. It'll be interesting to see how
Logic stands the test of time as more DJs migrate into the live music scene.
I suspect this album will hold up, if only because of the caliber of the
musicians on it. Yes, there are plenty of other turntablists out there, many
of them virtuoso in the huge subculture formed around them, and some of them
can probably spin faster, or better in some regards than Logic, but - so far
- none of them seem to have tried their hands at associating with other,
reacting musicians. That's not a knock on their music, by any stretch.
Solo
DJs are completely rad in their own sense. But, like with any other
instrument, it's something else entirely when they are incorporated into a
whole.
"Lap Hen - viperHouse
viperHouse gained my instant respect from the first time I saw them live
because of their ability to maintain a tight jazzy ensemble while also
throwing in elements of contemporary jamband-like tactics and making a new
type of sound. Also notable, immediately, was the voice of lead singer
Heloise Williams. She is able to capture the swanky, dimly-lit-jazz-club
kind of vocals and pull it off without sounding cheesy or over-done.
"Lap Hen" is a live album that was recorded in the group's home state of
Vermont in August of 1999. The opener, a sharp rendition of Duke
Ellington's Blue Pepper is a great first sampling of what the band is
capable of, for anyone who has never heard them before. Their unique
instrumentation (a horn section, a violin, a flute, and a classically
groovy-sounding Hammond organ) shows through on this tune, but we do not
hear Williams' voice until the second track, The Last Light, a
viperHouse
original. The song incorporates a sleek, sexy jazz feel with a
self-proclaimed haunting melody and an interesting transition to the solo
section. You just have to hear it. Scrod Scrapples follows, and
features
strong anchoring, as well as soloing, by baritone sax player Michael
Chorney. The band blends together on this track, while still maintaining
each of their individual voices within the context of the song. In the true
big band tradition, band members are not afraid to back the soloist, which
provides a bold and full sound, apparent in nearly all of viperHouse's
repertoire, but namely this tune. It abruptly switches grooves right before
the end, which may be frustrating for some, but this is the kind of little
musical trick that keeps the listener on her toes.
Two highlights of the album, Meat Locker and Good Thing come
next.
Meat Locker is a funky number, thick with Ray Paczkowski's Hammond
organ
work. Only Heloise Williams could sing about meat and make it sound really
cool. Good Thing is particularly salient because of the way Williams
sings the lines "Did you think about me?" It's not a whiny plea for
attention, the way the lyrics might suggest; instead, she accents the word
"about," giving the feel of a casual inquiry rather than an overused rock
cliché. The track also features great percussion work, and an instrumental
section in the middle that both contrasts and compliments the more mellow
pulses of the verses and chorus.
Paczkowski's Pugsley System, the longest track on the disc clocking
in at
ten and a half minutes, starts off with a quirky yet extremely catchy
melody, then delves into improvisational depths, beginning with a dizzying
solo by violinist Karen Quinn. One of the band's strengths is their ability
to switch quickly from one type of groove to another, and this song
exemplifies that talent. The melody line begins in an upbeat major-key and
is comprised of short staccato notes, then shifts to darker, sustained
notes, then back to the original melody, and so on. And it works.
The pace slows down a bit for Somewhere in Between, another
Paczkowski-penned tune wherein he shares the lead vocal, harmonizing with
Williams. Their voices work together, octaves apart, to create another
haunting melody, the kind that you can't help but sway a little to when you
hear it. The album's closers are both medleys, the first, Lover's
Desire/I'll Wait for You is a combination of a traditional song and a
composition by Sun Ra, and the second, Virgin Jungle/Hattie Wall is
the
second appearance of a Duke Ellington tune on the album, put together with
Hamiet Bluiett's piece, noted on the liner notes as being by the World
Saxophone quartet. As mentioned before, the group's talent for switching
musical vibes is quite impressive and is what allows medleys like this to
come off successfully. Although the band's backing vocal refrains on I'll
Wait For You are a bit flat, it's all made up for at the end of the
song, a
short solo solo by Williams that's enough to make you melt. Following that
is the upbeat funk of Ellington's Virgin Jungle which flows into
Hattie
Wall.
This is a solid album by a tight, diverse band. The only weakness of it is
that for the most part, it's missing the rawness of a live album. Perhaps
this is due to the lack of audience noise on the recording - more audible
reaction from the crowd would have helped bring up the energy and make it
sound more authentic as a live album recorded in a club. However, the best
way to get a representation of a viperHouse performance is to actually go to
one, which I highly recommend.
self-titled - Gibb
Droll
There is something completely honest about Gibb Droll's music. I
haven't been able to put my finger on it exactly though; maybe it's his
voice, maybe it's his lyrics, or maybe it's just his compelling and
beautiful song-craft. Gibb is probably best known for his own unique
blend of blues, jazz, and rock n' roll. His most recent, self-titled
release definitely sticks with that formula and it offers an excellent
look at one of the most underrated guitar heroes around today.
I would have to say that this album is more of a framework of what you
might see if you attend a live Gibb Droll show. Each track hints at his
ability to take on improvisation and run with but the soloing and
jamming on this disc are either short and sweet or they fade off as the
track ends. I think that's a good way to go about making an album
though, leave jamming for the live stage and focus on the songs in the
studio. The songs on this album are each incredible in their own ways.
The first track, Loaded, is a peppy blues rocker that will surely
get you out of your seat. The punchy bass lines and stable drum beats
help to compliment the soaring guitar runs that Gibb throws out. Day
Into Night is one of the catchiest songs I think I've ever heard.
It features Gibb on acoustic and electric guitars throughout, even
offering a quick look at his trademark shredding guitar work. The third
track, Indian Song, offers a different approach from the rest of
the album, it starts out percussive and rhythmic being driven by the
drums and bass before Gibb jumps in on guitar. When Gibb does jump in
it's not just blues licks that he throws out, he also incorporates just
the right amount of distortion and feedback to create a gorgeous space
within the rhythmic sections of this song. When he does hit his groove
though, he really goes off... possibly the most intense playing on the
entire disc. He really shows off his chops on this track. The music
fades with a similar rhythmic outro.
Time Is Free could possibly
be a nod to Hendrix or at least Jimi's softer style. To me this song
definitely has a resemblance to The Wind Cries Mary, not just in
style but also in the emotional outpouring of each note. Like many of
the great blues players, each note is extremely important and the sheer
number of notes doesn't matter, it's all about the passion and emotion
displayed with each one. Gibb accomplishes this beautifully with this
song. The bass line in Leftside reminds me of something the
cow-punk rockers in the Meat Puppets might play, not that the song
sounds anything like a Puppets song but the bass line gives me the same
feeling that some of theirs do. This song has a bit of a country-rock
type of feeling mixed in with the underlying blues theme. Finally,
Mexico rounds out the album. This probably the closest thing to
the catching the traditional blues sound and it's extremely well placed
here at the end. The way Gibb utilizes the acoustic and electric
guitars throughout is incredible. Letting them flow between each other
throughout the entire track, displaying the passion of each.
What I like most about this album is how each track offers a different
look at each of Gibb's styles and techniques. It really shows what a
great talent and how versatile he is. By the end of this rather short,
24 minute musical romp you'll definitely be wanting more. If you at all
enjoy the blues, jazz, or just good old rock n' roll you should
definitely look into picking this up.
"This Is Live" - the New
Deal
They sure are. And it sure is.
Aah, to be so innocent again. Imagine hearing your favorite jam band's
first jam. So raw, unrefined.. all those talented musicians trying to get
a hold on each other's musical styles and technique for the first time.
It sounds like it would be a little too raw for most, however.. a true
fan's delight, but not something to release on an album.
Well, that is true in most cases. Not here. "This Is Live", I
confirmed while talking to keyboardist Jamie Shields at the Wetlands
recently, is in fact the band's first jam. Even before they were a band.
This is the jam that made them start playing shows together. Listening to
this album with the thought in mind that they pieced it together from four
jam sessions that took place before there was such a thing as the NEW DEAL
left me speechless. Good thing I'm typing. They managed to write
fourteen kick-ass tunes entirely on the spot, and that enough is cause for
a lot of praise.
And they're not too quick to settle in to their soon to be famous breed of
funky, MMW-style jazz and fast drum-and-bass and breakbeat techno, or as
they call it, 'live ambient jazbreaks'. They take their sweet time
playing around in a little pleasant space before kicking into the groove
on Navidrome. Once they get into it, they prove that they also
have quite the talent for the slow, funky jam, even managing to
effectively imitate (and in some ways, in my opinion, outdo) Medeski,
Martin and Wood themselves on Bullet, or especially, Back To The
Middle.
Actually, the more that I listen to this album, the more I am reminded of
MMW. Just crank up the heavy flange and wah on Dan Kurtz's bass. Add a
good old analog Moog, complete with all the weird buttons, knobs, and
switches, that keyboardist Jamie Shields reportedly picked up at a garage
sale for 30 bucks. Have your drummer occasionally put the sticks down and
beat-box for a little while. Huh? Oh yes, I almost forgot. Right in the
middle of the album, drummer Darren Shearer grabs the mic and bangs out a
gritty "drum" break. To make it sound even cooler, he doesn't just drop
the mic and go right back into the beat.. he does both at the same time.
Granted, he's no Rahzel up there, but the combination of vocal and live
drums makes for a pretty cool effect. And don't worry, you'll hear plenty
of it in the middle of the album.
There are a lot more intricacies to their style that I could ramble on
about for hours, such as Jamie Shields' Frank Zappa-esque guitar solos
played on keys, but this is something that simply demands to be heard,
preferably under some hot, sweaty lights and while getting down like James
Brown, if you know what I'm saying. It's wonderful to be able to shower
compliments on such a talented trio, but it's another thing to shut the
hell up and dance once in a while. The best possible review I could give
would be, "Can't think now. Dancing." Hey.. where's the delete key?
"Letters From Round 0" - the Blue
Dogs
As the term "jamband" has slowly evolved from a word that
entertainment critics used to describe music with more instrumental play
than words to a term that now loosely describes a rapidly growing genre,
lots of folks have wondered what it means. It becomes even harder to apply
the term to a studio album if the techniques used are not the same as those
displayed when the given material is performed live. This seems to apply
to the Blue Dogs and their newest release, "Letters from Round 0". The
Dogs hail from the hill country of the Carolinas and Virginia, and their
music carries many of the same folk and blues traits that are indigenous to
the region. A visit to their website, www.bluedogs.com, provides a
thorough background of the band and their influences. Friends of Hootie
and the Blowfish, the Blue Dogs possess a similarly strong vocal drive,
courtesy of lead vocalist Bobby Houck. Bassist Hank Futch and guitarist
David Stewart are the other two permanent members of the band, but there
are so many supporting musicians on the album that it is not always easy to
distinguish them from crowd. The songs themselves are based on simple,
unpretentious country themes. Tracks like Cousin Homer's Anything Goes
Dance Hall and Rainbow Over My Blues are good examples of the
Blue Dogs' sound on this project. The really frustrating part of reviewing
this album is trying to decide what actually qualifies them as a "jam" band
or "jamband," depending on how you like to look at it.
The band's website boasts that they are both "Heavy-Metal
Bluegrass" and "country-folk, alternative-rock," whatever that is. Perhaps
in a live setting both the heavy and bluegrass parts come out a little
better, but both seem notoriously absent on "Letters From Round 0." There
is a little fiddle on some tracks provided by Rickie Simpkins, most notably
on Pay the Man and Carolina Heartache, but overall, Houck's
vocals dominate the album. He sings passionate if not profound songs about
love and yearning, new beginnings, and bitter ends. Most of his songs are
told in a tone that is somewhat preachy, but not enough to be distracting.
The lead guitar lines seem to follow the rising and falling pitch of
Houck's voice as Stewart only gets a few distinct solos on the entire disc.
More notable is the contribution of Phillip Lammonds who plays a little
mandolin and guitar as well as writing either the words or music for five
songs on the album. Kristin Asbury and Kyle Davis also provide some
backing vocals, but much like background vocalists on the Fat Cats album
reviewed on this page last month, don't really do anything special to
justify their inclusion.
The picture painted of "Letters From Round 0" might not sound
too flattering to this point, but to be honest, I think some music fans
might enjoy it. The interaction between Houck's vocals and the rest of the
players is somewhat reminiscent of the Gin Blossoms or perhaps Counting
Crows. His voice is confident and driven, just mean enough to keep the
listener on the edge of his or her seat. The themes of the songs
themselves are basic enough that many different types of people could
relate to them. This common bond is both the strength and weakness of the
album. By not taking any chances on the album, The Blue Dogs increase
their chance for commercial recognition and success. Unfortunately, they
lose a lot of their character at the same time. Even Leftover Salmon, who
comes a whole lot closer to "heavy-metal bluegrass," doesn't jam out on
their latest album, but they also tackle more intricate themes than the
Blue Dogs do here. Overall, "Letters From Round 0" isn't a bad album, but
the Blue Dogs need to work harder to establish their roots and fan-base
before they go after the more radio-friendly sound they present here.
self-titled - Three Hour Detour
Fans of The Slip take note! There is another Northeast trio that is sure to
tickle your ears if you let them!
Three Hour Detour is an unusual jam band from Philadelphia. They have
quickly gained a considerable reputation since they formed in 1997. They
are a three-piece band that reaches very adventurous spaces without the
benefit of a lead guitar. They are anchored by Ray Ashley, who displays on
this disc that he is a master of "the stick" without resorting to a tedious
array of licks. Joe D'Andrea proves to be a strong drummer, who adds
percussive color deftly as well. My eyebrows were raised by the violin
styling of Helene Zisook, who has warmth to her playing that some musicians
never reach in their careers. Zisook and D'Andrea were members of
Philadelphia's famous folk band, Broadside Electric.
They have produced a CD with a very natural feel, which is often a challenge
for musicians with as great talent as these three seem to have. Ashley
opens the CD with some infectious stick grooving, which preludes Creative
Hands, of which this trio surely has six. He displays his complete
command of the stick with his equal ability to step up and restrain. Ashley
is able to embellish deftly with Zisook while staying locked in with
D'Andrea. Zisook's tasty violin work instantly reminded me of some of
Jean-Luc Ponty's early albums, and it has gained depth with repeated
listens.
Omnichrome is a spirited track that starts off sounding like some of
the finest Poi Dog Pondering material. Helene Zisook lends a creative
supporting violin. Her staccato acoustic violin gives way to electric
violin brilliantly. The way the arrangement switches between acoustic and
electric violins is outstanding throughout the track, adding to the
multi-textured feel that they create here. D'Andrea and Ashley deliver the
finest vocals of the CD on this track. Reportedly, this song has been the
basis for some improvisations, often extending for more than twenty minutes
in their live shows.
Nhema Musasa is a song traditional to the Shona People of Zimbabwe,
and it truly is a delight to the ears. Ashley uses an African instrument
called a mbira, which gives the song a profusely organic feel. Zisook
displays her range, as she easily changes her style to fit the African
rhythms of this song. She offers a sort of Afro-Classical approach
to the song that is candy for the ears, and it apparently is modeled after
the vocal lines of the song. D'Andrea's polyrhythmic approach to the song
adds to its rich, full sound. This is by far the track I have listened to
most frequently since I received the CD. It is a fun song to shake your
hips to, with its delectable rhythms.
So We Can See again starts with Ashley's stick supremacy, which
preludes this gripping instrumental. His liquidy bass lines mix elegantly
with Zisook's graceful violin work. This track is held together by
D'Andrea's drumming, with Ashley's bass line becomes increasingly complex as
the song moves along. Zisook plays off Ashley with stunning perception,
clearly this is a violinist with a large amount of experience and a respect
for the muse that dwarfs her ego. There is one lead in this piece that I
think emits from the stick that gives the song some muscle, and it gives way
to Zisook's violin again Helene's solo builds from a courting whisper to a
gliding crescendo in a style reminiscent of the great Stephane Grappelli.
The song was inspired by a sunrise over a Norwegian fiord, and she captures
that mood brilliantly.
Forbidden Planet is an original that sounds so familiar it is almost
eerie. It celebrates escapist dreamers, with lyrics that seem
straightforward with the initial listen, but like many tracks on the disc,
this one will grow on you. Ashley lends a strong lead vocal on the cut,
which also features some sweet harmonies in the chorus. Helene Zisook
should be commended again as she gives the song depth with her tender violin
fills throughout the song. She shines on the entire CD, as she consistently
offers concise statements on her violins.
We are treated to Ashley's trenchant stick work in a solo setting on Snow
Karma. Ashley nails it to a tee, each time I listen to it I find myself
wanting to hear him expand off of the structure of the song. The listener
is pleasantly jolted as the aggressive opening stick flurry of McBane
follows. This song has moments that call to mind Zappa's St. Alphonso's
Pancake Breakfast, and Phish's Spock's Brain. It seems to be
shouting out props to a "good cop" with its lyrics. Ashley's keyboard sound
behind the lead vocal further reminds of FZ. This is a very interesting
song sonically, as Ashley at one point lays down an Alice in Chains-ish bass
line, and Zisook plays off it with some incisive violin work. It's a
perfect example of how Three Hour Detour is aware of many forms of music
past and present, and how to apply those to their own inordinate sound. The
song also features a lush jam with the stick and violin blending to the
point of sounding like a new, bizarre instrument. I can't wait to see what
this band does with their songs in a live setting.
Sure, there are a couple of clunkers on the album, Traveller, (sic)
and Christmas Tree Farm are bogged down by their lyrics (although
Traveller (sic) has a wonderfully catchy hook to it, and Tree
Farm is appropriate for this holiday season). However, if you're
looking for very talented musicians that are willing to take risks and
create something truly new, check these guys out. This is also a perfect
holiday gift for the fervent jam band follower who "has everything." For
more information about the CD, check out mars.superlink.net/~rayas
h/3htcd.htm, and for more information about the band, take in their web
site at mars.superlink.net/~rayash/3ht.htm.
"Land and Sea Chanties" - Tim Bluhm
Once upon a time, an album was seen as a whole concept. While certain songs
would often stick out (becoming hit singles), all of the songs worked
together to create a mental world separate from the material world. Albums
like "Axis Bold as Love" and "Astral Weeks" were created with a concept, an
ebb and flow over the span of forty minutes. Another commonality of those
albums were lyrics that of poetic quality and led to the creation of a
story. As the albums music moves, the story is written with the lyrics and
music.
Sadly, this day and age is filled with albums that are only singular pieces
stock piled on to a disc. Continuity never occurs, and when it does, it is
often in banal ways. The age of a "Pet Sounds" or an "Abbey Road" seems to
have passed away long ago.
When the previous theory seemed destined to be a law, Tim Bluhm's new album
"Land and Sea Chanties" was released. Bluhm, who also fronts the band the
Mother Hips, has released an album in the true sense: a "Pet Sounds" to end
the millenium on.
The Brian Wilson influence on Bluhm is readily apparent from the first track
The Way You Fly. Synthesizers and guitars swirl, while Bluhm's
gorgeous tenor floating above the chaos. His words are about a faulty lover,
a typical Wilson topic. It is the use of strange sounds that makes this like
a Wilson song. For those familiar with Wilco's recent forays into the
strange land of studio effects, will find this song a cousin to that
exploration. Still, what needs to be expounded upon is that the effects are
not about making the song sound nostalgic, like Wilco often does, but rather
to create a sound that not only fits the song, but the concept of an album.
Out of the feedback and effects come the warm acoustic strains of
Harnessmakers Song; possibly the most accessible cut. The song is
reminiscent to the sound of a summer day fishing in the Sierra Mountains,
with Gram Parsons singing on the radio: mixing electric and acoustic with
Hammond organ and vocals by Bluhm that are absolutely gorgeous. Suddenly,
the notion of creating an album makes sense. By itself, this song would not
be as powerful, it doesnt seem to explode without hearing first The Way
You Fly.
Throughout the rest of the album, Bluhm moves closer into acoustic
territory, eventually withdrawing and returning to Wilson-esque ramblings.
One in particular that will catch the listeners ear is Girl Crazy.
Filled with tambourines and Wurlitzers. It sounds like an updated, darker,
slower version of Surfer Girls. It is amazing, and pushes the
listener to the last song, a piece that is spacey and chaotic titled
Godspeed John Glenn. The ending piece is like the beginning, a
perfect loop and circle is made.
Which gets to an argument that Georg Lukacs made, that great art is total
and whole into itself. None of the songs can stand out on their own, but
within the context, the album is a masterpiece. The listener "buys" into
this artistic world and suspends his disbelief. According to Lukacs, the
best art works on these principles.
It is easy to forget about lyrics with the talented and the various sounds,
but there is no better lyricist alive then Bluhm. Not many musicians allude
to history or Joseph Conrad. A few lines which some up his remarkable
ability can be found in The Nelson Touch when he sings:
The Nelson Touch decided Trafalgar
But it did the viscount in
You can tap with your cannonballs
But theyll never get you in.
Only if you know your history well will this song make sense. Pompous
intellectuality? Hardly, just a desire to write a high quality song:
something different and yet nodding to past generations songwriters (like
Robert Hunter) with the use of proper nouns.
Almost every review seems to state that the album being reviewed is "the
greatest to be released this year". Rarely, if ever do I make those kind of
claims: now I will. This is not only one of the greatest albums (and I mean
album) of the year, but the greatest in five years. For once, you will have
a compact disc that may just get worn out. On your shelf you can situate it
ahead of "Astral Weeks" and behind "Blood on the Tracks". Thats some pretty
rare territory for a modern day artist to saunter into and a pleasing way
for music to end the millenium on.
"Mind" - Zyrah's
Orange
Zyrah's Orange is a three-piece band from the Boston area. Despite their
limited numbers, their sound is full, and constantly changing. I must admit
I had trouble getting into them at the beginning. I couldn't help shake the
feeling that something was missing from this CD; it was almost as if they
were out of their element. I would venture to say (having never actually
seen Zyrah's Orange) that as a jamband, they have encountered one of the
bigger demons most jamband's run into - how to capture your live sound in
the studio. It was as if every time they started to stretch their legs on a
jam, they had to reel themselves back in before the groove had a chance to
settle in.
Elliot Page seems to be the driving force behind this ensemble, with his
screaming guitar solos and obtuse lyrics he drags the band ever forward.
The songs dwell mainly in the realms of card games and deranged love songs.
I couldn't help thinking of some of Sid Barrett's later stuff, as the lyrics
floated out to take shapes I couldn^Òt quite define. Like this sample from
Take It Out, Take It Back: "They're just small things, hardly startle
a few resting jays, can't you see them, they're crawling backwards, all
along the lines, won't you let me take the words back, into my throat and
mind, I'll reshape them or forget them, won't you sign for their
release."
The diversity they display is impressive, from the driving rhythm of
Spirits, to the lilting refrain of Susan Sweet they tried to
pull me in. It wasn't until the 8 Words (you shouldn't think about
stoned) Suite did I actually feel that they were moving into their
element. The percussive build of Orange Voodoo finally got me right
where I live, and kept me there as they launched into the grind of The 8
Words, and its eerie likeness to Phish's Tweezer. The whole
things culminates into a slinky groove called 12 Beats You Should
Thang which seemed to harness all best qualities of each member. Ben
Thibault's bass cooks along, as Chris Keesey lays down the time in the
finest jazz tradition. There is also some notable saxophone playing where
Thomas Razler bleats out the dissonance to complete the mind-fuck.
As expected from a live band who is trying to squeeze their live experience
onto a 4 1/2" plastic disc, there is a blues number from our unsung bass
hero aptly titled Urban Blues. A funked up chord progression that^Òs
waxed with some semi-soft lyrics wondering whether "she's gone or not." As
bass players go I am sure that Jaco would have been honored at the amount of
new artists out there he has inspired. Some of his sound is apparent in
such cuts as Fingers, and The Photograph, he represented
challenging sound for any bass playing to try to emulate.
As a whole I'd say that "Mind" is a brave endeavor at accomplishing what
even some of the best have never refined - getting that live sound tamed
down. Between that and the wide range of styles they display makes Zyrah's
Orange "Mind" worth a look-see if the chance comes your way.
"Sangre Mia" - Omar Torrez
Band
With a sound self-described as "Afro-Cuban-
Flamenco-Funk," Omar Torrez Azcarraga has been
building a fan base and an infective sound in
Seattle WA. Torrez and his counterparts flow
easily between rumba, flamenco, improvisational
guitar jam rock, funk, and south-of-the-border
spice. Torrez (27) has a good voice, chops to
burn and is complemented exquisitely by Arturo
Rodriguez' percussive expressions. Gene
Matthews (bass, backing vocals)/Todd Johnson
(drums) and Arne Livingston (bass)/Dale Fanning
(drums) share the lineup on the recording and
all are solid throughout.
The very effective hook here is multiple modern
variations of a consistent Latin
guitar/percussion theme, with the added twist of
a Santana/Hendrix-influenced jam tendency.
Throughout, Torrez' axe and vocals maintain a
level not usually attained on debut discs. The
production level is professional and clear and
if there is a gripe to be had, it's that the
percussion/guitar jams throughout are painfully
tasty teases. The path is clear, yet nothing is
extended distinctly into the ether. The self-
produced CD is available from the band's website
(http://www.omartorrez.com).
Tracks 1 and 11 are the full length and radio
edits of Sister Starlight, the mid-tempo
feature song that I give a B after further
review. Rainbows (my A track on the disc
grooving in at 6:20) is a stimulating blend of
Cream-like 60's psychedelia and Hendrix/Kravitz
funky rock. El Toro (y la Samba)
effectively showcases Torrez' acoustic flamenco
chops-another A. Surf guitar isn't foreign
either, as he rips through Dale-esque solos on
track 4, Angel Eyes. Track 5, Montuno
(Tribute II) is another flamenco/percussion
piece that heats up during the too-short,
Santana-influenced, fast electric jam. The
title track, Sangre Mia (Cholula) is a
mild fiesta. The expressive ballad Noche
Luminosa sparks some Sade comparisons.
Alhambra Magica is a moving instrumental
track featuring Torrez' expressive Spanish
influences and the pervasive Rodriguez rhythm.
Home is a short up-tempo groove that
contrasts well with Am I the Other
U?another darker Hendrix-influenced
guitar/percussion jam that ends the disc on a
solid move.
"Sangre Mia" from the Omar Torrez Band is a surprising gem and further proof
that there's a wealth of diversity and talent in
the developing jamband genre. Torrez has
created a work to be proud of-something that
grooves, moves and flows effortlessly within a
distinctly modern Latin theme and crosses into
the improvisational with his multivariate guitar
talents.
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