Following news of T Lavitz’s untimely passing, we are reprinting this January 2000 conversation with site editor Dean Budnick.
T Lavitz first came to the attention of improvisational-music lovers more than twenty ago when he first appeared on keyboards with the influential, experimental, all-instrumental (say that three times fast) Dixie Dregs. In the intervening years T has performed with a range of performers including Widespread Panic, Bill Bruford and Jefferson Starship. Most recently, he came to the attention of jamband fans through his participation in Jazz Is Dead. Beginning on January 12, T began a brief east coast tour with an all-star line-up that has dubbed itself the Justice League. He will remain on the road in February for a month of shows with the reconstituted Dregs (who also will release a live album culled from a mini-tour last year). The following conversation touched on the Justice League, Jazz Is Dead and the Dregs. For more information on T and his projects, visit www.tlavitz.net
DB- Let’s start with the Justice League. How did that come about?
TL- A Year ago I wanted to do something in the off-season, so to speak, and I put together this thing called the Hillbilly Funk All-stars, with Richie and Kenny from Little Feat, Vasser Clements and Catfish Hodge. When we played in Atlanta Jimmy Herring sat in- the two of us have been playing together for years in different things. And he said, “Man, I want to play with Richie, he’s one of the baddest drummers.” So we started talking and we both knew Bobby [Vega] so we said, “Let’s get Bobby.” That’s how it started. Of course Bobby got real sick and it didn’t work out but it still sounds real good. It was just something we could do where we could play different kinds of material. We’re borrowing from different bands. We’re doing two or three Little Feat tunes rearranged instrumentally, a couple of mine, a Dregs tune, a couple from Aquarium Rescue Unit and some other stuff we all like.
DB- Why don’t you walk through the players for people who might not know the line-up.
TL- Richie Hayward is one of the most laying-it-down drummers in popular music. He’s been with Little Feat for like thirty years but he’s also played with everyone from Joan Armatrading to Eric Clapton to Robert Plant. He’s also on the new Bob Seger album. He’s in demand because the beats that he plays are unique but they’re real accessible, and his timing is so great. If you want a great drummer that makes people want to move then Richie is the guy. Adam Nitti is the person we’ve brought in to replace Bobby Vega. He’s new to me but I knew by the way Jimmy described him that he’d be perfect. He is the kind of guy who can learn something and play it right back- but play back music, not just notes. In two days he learned more than a dozen songs, none of which are easy, some of which have some real changes to them. So that’s the good thing about him.
Then there’s Jimmy. What can I say about Jimmy? I’ve known Jimmy since he was about seventeen. He used to come to Dixie Dregs gigs. I wasn’t much older, I was like twenty-two. He was all nervous, “Can I shake your hand” kind of stuff and now he’s one of my heroes. It’s twenty years later. When he moved to Atlanta we started keeping in touch a little bit. Then he sent me a tape one time. I think it was with Oteil but before they got into Aquarium Rescue Unit, and I thought, “God that guy’s getting really good.” Then when we were putting Jazz Is Dead together, we were talking about all these big time jazz guitarists, and I told Michael Gaiman, “I know the guy.” And now it’s like he’s the lead singer. By that I don’t mean ego or attitude, but to me, if I know Jimmy’s in a project then I know it’s going to be okay. Anything that he’s involved in I know is going to be good. His work ethic is really high. It’s become a joke. It’s eleven o’clock at night, our fingers are sore, and he says, ‘You guys want to quit? Already? What’s the matter with you?” It’s like a marathon with him.
DB- What are the common threads among the four players in the band?
TL- These are the kind of guys that are obviously real good, who can play from straight rock and roll to what I would call jamming music- some might say Allman Brothers or Grateful Dead music. They are all musicians that can transcend chord changes, that can play a song and play it differently every night. Within the framework I guess it’s like jazz but with a rock sensibility. To be able to take a simple song and treat it differently every night, which is one of the cool things we do with Jazz Is Dead. Take a song like “Dark Star” which is just a few chords, and treat it a different way every night. So I guess the common thread is we are guys who internalize a song and then listen to each other and go who-knows-where every night. That keeps it fun and fresh, so we’re not playing in a disco band.
DB- Jumping to Jazz Is Dead for a minute, are there any plans for that group to come out in the spring or summer?
TL- I hope so. It’s good guys and great playing. Like our manager says, the hardest part about a band is getting it into orbit. Well right now we have two CDs out and we have a web site that gets a bunch of hits, and we have message boards and stuff. A number of those gigs drew really well. It would be a shame not to do it again. He’s talking about a week in Japan or maybe Europe. I agree but I don’t care, I’d just like to play. I have a mantra now, I want to play good music with good people and support my daughter. If it fits in there then I’m happy.
No Comments comments associated with this post