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CD Reviews
Edited by Jeff Waful - waful@unclesammy.com

Calobo "Live At The Crystal Ballroom"
by Paul Pearson
pro@strangepleasures.com

When I asked Santa (Jeff Waful) for a CD with a groove to review, he responded with Calobo's fifth record. Recorded live at Portland's historic Crystal Ballroom http://www.mcmenamins.com/Crystal/crystal.shtml on May 29 and 30, 1998 in front of an enthusiastic crowd, this CD from Padre Productions delivers the goods.

Calobo www.calobo.com is a seven-piece band originally formed by Caleb Klauder (mandolin, acoustic guitar and vocals) and David (Hobo) Andrews (vocals/acoustic guitar) during their childhood days in Washington state. As the years passed and the duo moved to Oregon, the band has grown to include vocalist Michele Van Kleef, pianist Jenny Conlee, Brian Bucolo (drums), Nate Query (bass), and Ken Erlick (electric guitar). Although the band has expanded, the sound retains the feel of an acoustic jazz performance in a coffee house-intimate, subtle and uplifting. But make no mistake, Calobo has a groove-and it's one that surely made the mechanical dance floor in the Crystal move on the nights of these performances.

This twelve song collection is, in a word, impressive. The recording and production is excellent, with a hint of a feedback in one spot to let you know that it was done live. Calobo's influences include a healthy dose of jazz, classical and even bluegrass-at times sounding almost adult contemporary. The vocal work on this disc is excellent and without any apparent flaws. Andrews' strong voice reminds me of Marc Cohn/Eddie Money/Eric Clapton, and can be compared favorably to either. Van Kleef, whether harmonizing or singing lead, is also easy on the ears and complements her counterpart very well. Musically the band is tight and successfully weave their influences and instrumentation into a coherent tapestry. The songs are well-crafted and accessible, perhaps even to a wider audience that is unfamiliar with the genre. Conlee's key work is exceptional throughout. Although I wouldn't call his work groundbreaking, Erlick is a capable guitarist and manages to bring the band's sound back to the electric jamband tip amidst the piano and acoustic guitar that dominate much of the melody. On the whole, this is a quality live recording that successfully captures the magic of a band in their element. Jam music as a genre is well-served by this disc, adding yet another mixture of influences in the already complex spectrum.

"Seasons of Love" begins the disc with a James Taylor-esque acoustic riff moving into an up-tempo piece that ends with a vocal jam between Andrews and Van Kleef. "What Time is It?" is a darker jam, incorporating spoken word descriptions of the nocturnal landscape and allows Erlick some room. "Put Your Pipe Down Baby" and "Eyes of Mine" are mid-tempo dancers. "Daisy" has a bluegrass bounce with a ripping piano solo and mandolin. "Billy & Bongo Blues" is another solid mid-tempo original penned by Andrews with a prominent mandolin and harmony vocals. Without a doubt, the highlight of this disc is the trio jam of "Funkytown/Sea Journey (Chick Corea)>Old Nisqually". "Funkytown" is (of course) funky and fun and would be a sweaty one at their live show. A two minute jam ensues before Andrews and Van Kleef take over with the vocals on the verses. They jam vocally to about the 7.5 minute mark, where the band backs off to allow Query a solid, extended bass solo over Bucolo's syncopation. Almost four and a half minutes pass before Conlee's piano kicks in for Corea's "Sea Journey". Fifteen minutes into the jam, Erlick kicks the melody down into the instrumental original "Old Nisqually". The guitar solo eventually melds into a fast-picking mandolin groove with a piano solo, and ends with a bluegrass feel. This track epitomizes the best of what jambands, regardless of their major influences, have to offer and why this type of music is so appealing. It is a musical exploration with seamless transitions between well-crafted songs, allowing the spotlight to be passed between the performers and taking the crowd on a true journey to somewhere they have never been. This is something you just can't get from a band playing incessant note for note copies of their four minute hits. Van Kleef's vocals are the focus of "What Is Real". "Pourin' Rain" is a mid-tempo feel-good song about standing in the rain. "Mozambique" ends the disc with the uplifting feel of an organic anthem with three part harmonies and the crowd getting in on the action-clapping and singing the refrain to bring the music to a satisfying conclusion.

Calobo has got something going that you should check out. "Live at the Crystal Ballroom" is a disc I highly recommend, particularly if you are looking for a lighter sound mixed with the jam. Regardless, you'll find yourself involuntarily moving around the room when it's on. Calobo is surely a bright spot in Oregon's musical landscape and holds the promise of an equally bright future on a grander scale.

Comments?
pro@strangepleasures.com

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LAKE TROUT - "VOLUME FOR THE REST OF IT"

Hailing from Baltimore, Maryland, Lake Trout combines jazz improvisation with hip-hop and techno rhythms to create a particularly hypnotic form of acid jazz. Founded in 1994 as a strictly instrumental jazz band, Lake Trout quickly added singer and second guitarist Woody Ranere, and began touring up and down the east coast. In spite of their two guitar line up, the band retains a distinctly jazzy sound, due in large part to sax and flute parts provided by Matt Pierce. The also make extensive use of hip hop rhythms, and sometimes work DJ such as Chip Watkins, who appears on their newest release, "Volume for the Rest of It." This album not only provides a fair approximation of their live show, but also stands on its own as an excellent album.

The band takes some pains to point out that the music on "Volume for the Rest of It" was performed by living musicians without extensive studio trickery. About half of the album's 14 tracks were performed live in the studio. This clarification is actually fairly enlightening, as Lake Trout's music is frequently based on repetitive rhythmic and melodic figures which could easily be mistaken for tape loops. Closer listening, however, reveals that these figures often undergo subtle changes to alter the music's mood. The addition and removal of these repetitive figures is a hallmark of Lake Trout's sound, as evidenced by the aptly titled instrumental "Little Things in Different Places."

This is not to say that Lake Trout can't jam, though. A number of the songs on "Volume for the Rest of It" contain extended improvisations, and both "Bad Tattoo" and "Colby" reach searing peaks. The band also breaks away from its acid jazz foundations on the bossa nova instrumental "Traipsing," which would sound at home on many straight jazz recordings. The heart of the album, however, lies not in the instrumentals, but in songs featuring Ranere's soulful vocals. While these numbers tend to be relaxed grooves which Ranere dreamily floats above, they are never far from dissonance, and they often take sudden left turns into controlled chaos during the instrumental breaks.

While many jam bands stumble when they enter the studio, Lake Trout seems completely unintimidated. On "Volume for the Rest of It," Lake Trout has produced a solid and coherent piece of music with few, if any, low points. It is impressive that they have reached such maturity on only their second recording. Even more impressive is that they have created a sound that is uniquely their own. Rather than trying to emulate Phish or the Grateful Dead, Lake Trout is blazing a trail of their own. This album is highly recommended, especially for those who lean toward the jazzier side of the jam bands scene.

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Jive Talkin' Robots - "Superheroes"
By Dave Rioux

When I first popped in this CD I wasn't particularly engrossed by the music, but could hear the quality of musicianship itching to be released. The opening cut "Limpy" is a hyperactive song reminiscent of Phish's "Llama" in tempo, but with disconnected lyrics; not so much sung, as spoken over tight changes and fast turns.

However, as the next song started, the music opened up to me. Filled with the laid back, extended jazz jams I am attracted to. There is some real talent here. The bass playing was the most powerful example of this. Tom Nunes' playing sets down a backbone without sacrificing creativity. Whereas Joe Cunningham's melodic, yet explorative saxophone style sets a wonderful tone that could range from being the grounding centerpiece to creating colorful backgrounds and moodscapes.

I particularly enjoyed the fact that Gabriel Johnson's guitar work, while being poignant and introspective, didn't try to take control. Instead, blended in to the whole, helping to create a seamless tapestry. His is a refreshing change from what can sometimes be an egotistical position in the band.

Jeff Baxter and Andrew Love, respectively on keyboards and drums, are last but by no means least. Their ability to keep time, however flexible, as well as to set the tone makes them indispensible in this collection.

The sum total of all of these elements is a group of guys with very little desire for center ring, instead playing as a whole band, with the ability to turn on a dime in unison. As is apparent in "Planet Leo", all the while bringing along Sonny Giver for an intriguing saxophone duet.

As fine a collection as this disc is, it is not without it's flaws: "Tragedy on Windsor Street" is a fun song, but shouldn't have been included on this CD, I felt it broke the groove I was in, forcing me down before the trip was over.

In the end, I found myself relating to some of my musical roots, being reminded of such Garcia ensembles as "The Legion of Mary" or "Reconstruction". Or even, at times, some of Coltrane's earlier stuff; jazzy and full of life, bordering on experimentation.

"Superheroes" is a wonderful find, put together by some true virtuosos. Leading me back to conclude; these guys are good.

Dave Rioux

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Soup "Breakdown"
review by Ed Dunicek

Atlanta-based Soup has released a collection of bright, catchy songs on its newest disc, "Breakdown." Jam band fans will no doubt agree that the arrangements here are rather tight and the songs themselves are well-played and filled with hooks. The big debate that may follow among some listeners will turn on people's views of the poppier and more commercial side of this genre. If you enjoy the song arrangements and story-telling of folk-based groups such as Chicago's Hello Dave then you'll probably like this disc. So where do I come down on this one? Let tell you, I enjoyed this album quite a bit, and it's been my record of choice in our apartment this month To be fair to the other side though, my roommate is not as enamored of "Breakdown" as I am, as he finds it a bit too commercial (to which I say "so what.")

Okay, on to the review. But before I get to the music I do want to point out however, how nicely put together this package is. "Breakdown" is a self-released album but you sure wouldn't know it. The disc comes with a ten page booklet full of band photos, lyrics and other information (loosely linked around the breakdown of the band's van- photo credits extend to Allstate Insurance Co. which I found pretty amusing). It was a pleasure to sit back and read along with the songs, sort of like the old days of vinyl when there were record sleeves.

As for the music, the band's instrumentation is predominantly acoustic, although at times this quintet does plug in. The level of performance is solid throughout. In particular Lee Adkins stands out for his bass work, as he does a nice job of defining the spaces. Kevin Crow takes some nice acoustic guitar leads during such songs as "Marvin Wright." Andrew Margolius paints in some textures on accordion, keeping with the acoustic flavor of the disc (I enjoyed this, although again, my roommate occasionally found it to be a bit much). Above all, however, the unifying theme is the vocals, and Erik Rowen's bright, friendly vocal tones are enhanced through some really strong harmonies.

Let's walk through the release. The opener "Breakdown" is a lively track that shows you the best of Soup- fine vocals from Rowen enhance an appealing melody, with some nice saxophone vamps from David Kurzman. "Sovereign State" which follows is a bit more textured, a six minute track reminiscent of something you'd find on the new Dave Mathews Band album. "Leisure Suit," is another highlight, a funk-laced track that effectively echoes the sounds of the 70's. While most of the songs are upbeat and fun, the band takes a serious turn with "Lucky's Not A Beggar." I enjoyed this serious reflection of a man's life decisions and I wish that "Breakdown" offered a few more songs with such serious content. Moving on, I have to admit I am still scratching my head about "Jefferson," which is sort of a Broadway show tune about Thomas Jefferson, with a children's chorus and various singers. There are some other songs here that don't quite work for me, for instance "Coffee Cup" and "Papasan Chair' drift a bit too far into the lite-FM realm. Also, at times the harmonies can be at bit overwhelming, even cloying, on such tunes as "Salley's Sister." Nonetheless, all in all, Breakdown is a well-crafted, friendly disc which offers plenty of songs that I'll be humming for days to come. If this is what you're looking for in a jam band release, then you owe it to yourself to find a copy.