|
Mid-Atlantic
Regional Report
|
||
|
Edited by Anthony Coloneri
|
||
|
This month was a bit slow with reviews (please, contribute!) so so we added some CD reviews for mid-atlantic based bands... This review just missed our Feb deadline...
Soulive/Masters of the Groove (Idris Muhammad, Reuben Wilson, and Melvin
Sparks)
Set List: Soulive Organist to Stay "Soulive organist Neal Evans will remain in the band after all. In a statement released two weeks ago, the band announced that Evans would be "leaving the band to pursue other interests." Word has it that Evans will now remain in the band for at least the next year. More details are expected to be released soon. For a list of Soulive's current tour dates, visit www.soulive.com." That's what I read two hours before the second night of The Shades of Groove run at the Wetlands. I screamed, yelled, jumped up and down and got ready to boogie. Overheard a lot of my own thoughts as I milled through the building crowd- at least another year, good news, whew! And during the Up Shot opener Neal had his own way of announcing that he'd decided to stick around: he literally blew the back off of his Hammond! It just crashed to the stage- the band was back, even though it had never quite left. Rudy's Way just seems to get funkier and funkier. Sparse, groping intro into the song proper, and then this extra jam over the theme at the end, led by Neal. Very nice, and interestingly similar to the development of Al's Uncle Junior. Then the old standard, The Chicken. Sco says that it's a good tune to sit in on because every body knows it. And true enough, Sco sat it on it at Berkfest, and Oteil plays on it regularly. A nice open, upbeat tune. But right in the middle Kraz steals a second solo, moving the mic over, and starts singing the Headhunters' version of Watermelon Man. Runs through it once and then Neal and Al pick up on it and go along. As quick as it started, Kraz is back into a guitar slinger solo and the tune finishes. Short, but oh-so-sweet. Grabbed Neal in the basement and told him how happy I was that he was gonna stay. Seemed happy and was very gracious. Sugar Man 3 (a quartet) was playing down there. A good groove band, worth checking out. The Groove Masters were upstairs blowing everyone's minds. They are so smooth that Soulive seems raw and aggressive, comparatively. AJ Abrams said, "Melvin is one of the most talented guitar players I have ever seen. The man never plays a bad note. Every single note he played was perfect. His fingers moved lightning fast all over the fret board, but his notes were well thought out and melodic." He is right on the money. After the show I took out a 97 GBA show with Melvin sitting in, and it was the same thing-every slippery note was just perfect. John Medeski and Chris Wood were there, grooving along with the rest of us, although they never took the stage. (John played with Soulive and Bob Moses @ The Middle East on 2/26/00, and Chris and Melvin sat in with Karl Denson's Tiny Universe @ The Bowery Room 2/25-26/00) Always good to see musicians you dig digging other musician you dig, you dig? Most of the older crowd left after the Masters set ended, although Melvin and Reuben continued to play through the third set. The first Jam was a little shaky, as Melvin tried to size up Soulive. He only played a short solo. The second was stronger, Melvin trading a few licks here and there with Kraz, but the Wetlands jam was truly something else. Because Soulive groves so very hard, I rarely get lost in the music. The vibe keeps my butt shaking, and the layering of the trio really keeps me focused simultaneously on each member individually and the convergence of their sounds. But this jam sent me flying! I'd try to describe it, but I don't know what is was like cause I wasn't there!
Soulive
Set List: The Wetlands was relatively empty for this show, meaning not packed to capacity, and that was a nice change. Soulive played three sets, but I stayed for only two (Damn that job!). In general the playing was a bit looser than usually, creating a nice mellow groove. Soulive seems to have hit the point where versions of songs are becoming truly unique, with lots of subtle additions and subtractions, sub jams and longer, more searching solos. Watch it grow! The opener (did Kraz mouth "Fighting?") was a guitar rocker right into a long, slowly progressing Steppin'. Kraz was a little off early on, but the final outcome was another monster version of my favorite tune. During Rudy's, Al ripped into a solo to end all solos, eliciting huge grins from Eric and Neal. It just kept going and going, quieting down and then raging up, pounding into my brain. It was so wild, in fact, that Al busted the head on his bass drum and had to stop the set early. Oteil wandered in during the set break and played a good chunk of the second set. He so genuinely enjoys the band; you can watch him dance around, lock onto to Neal and lean over his organ to see what's going on, or play air drums. The singing/solo can get a little old, as a friend pointed out, but if you accept it as a foregone conclusion, it really just blends in. Besides, on this night, it worked well. In particular, Church, which is an Oteil song, was very well done. Quiet and easing through the room, the music wrapped me up and Oteil's vocals were just right. Finally The Chicken > Watermelon Man > The Chicken blew me away again. This time it was a bit more focused and the Herbie segment was much longer and jammed upon. Definitely a better version than the 2/9, which was pretty hot in and of itself. Its a great segment to institute as a full time jam. Be sure to check out the Scofield Bump Band @ Irving Plaza in March. Soulive and Ulu are opening, and as Sco plays two tunes on the upcoming Soulive release, there are sure to be some fireworks.
Swampadelica
When She Tell U Slipping in the disc in my stereo, I really didn't know what to expect when thinking of the name Swampadelica. Coming from Boonton, N.J., Swampadelica is a nice mix of several different styles, ranging from funk, soul, and Cajun. Clever vocals, tight harmonies, and well organized songwriting gives this music a flow contagious to your mind. The band consists of Stevo Nelson (vocals, percussion, rubboards), Kerri Lavin (vocals), Nicole Grana (vocals), Snowman (saxophones), Brian Herket (guitar), Bill Miller (drums), Paul Kuzik (bass), and Dai Calcagne (vocals, hammond, wurlitzer, clav). In the first song, When She Tells U, there are definitely hints of Cajun and funk thrown into the song, which gives it a nice blend. The vocals are very tight and the energy is strong throughout the song. Too many times I've heard a song start out in high spirits and then just collapse toward the end. That was not the case here. Very good first song of the CD. Take Me gives the listener hints of gospel while keeping true to the funky style prominent in the CD. I particularly enjoyed the saxophones, performed by the Snowman, during this song. The soothing sounds of the horns compliments the vocals nicely and really brings the song to life. A really sweet horn solo at the end with vamping vocals stretches things out a bit, before closing the song and another chapter in the band's repertoire. Oddly enough, just when I thought I knew the sound of this band, Hoo Doo came on and sounded like a mix between Tom Waits with an upbeat psychedelic rhythm. Very nice change of pace, with harmonica and flute thrown into the mix. I really don't know too much music that I cannot criticize one way or another, so here it goes. The music itself was very solid and it's obvious Swampadelica has worked hard at developing their own, unique sound, which I respect immensely. The one aspect of their music that I wasn't too crazy about were the lyrics. At times I felt the words just didn't go well with the music, but the phrases did. All in all, I would recommend checking out this band and getting this CD. Although I have yet to see them perform live, I can bet from listening to their album Swampadelica is lots of fun to check out and get down. Definitely one of the better groups I've heard lately.
Billy Martin and Calvin Weston -- Duo Drum, a Range of Ethnic Beats The main stage at the Knitting Factory on March 1 was a percussionists playground. Almost every class of drum joined xylophones, maracas, bells, blocks and whistles to fill the stage. Billy Martin, of Medeski, Martin and Wood, and Calvin Weston, of the Lounge Lizards could not have asked for more a conducive environment. These two amazing percussionists brought their sounds together to create a powerful weave of energy that erupted into a furious unleashing of energy. It was clear that the audience of about 40 people could feel it as they stared stageward. Hesitant at times, ferocious at others, the duo explored musical genres ranging from African, Brazilian, Jazz and Funk. Often Weston would be at his drum set while Martin focused on a small conga or some other percussion instrument. Feeding off each other's beats, they played slow, comfortable jams, conjuring vivid imagery of animals in nature. Martin's fury on the bongos and congas was complimented by Weston's delicacy and intermittent screams. Suddenly, Martin stops. Weston lets go physically and vocally. He attacks his set, exploring all realms of drum possibility. Fast, slow, heavy, light, you feel it in your heart, in your brain, it pulses through your veins. And release. Gone. They switch roles and Martin is at his drum set. At first, using just a few pieces, his beats are even, controlled, standard jazz. Then, the sounds begins to open, becoming louder. He makes full use of his set, hitting every piece in the space of a second. Stop. They break into a highly danceable funk beat. My arms are begging me to let go. Beginning together, the duo is controlled. They break off, becoming experimental, feeling each other's beat, listening for the stop, the go, feeling their own emotion. And the beat becomes African. We are transported to the jungle; Martin breaks out the bird whistle, Weston caws. It sounds like rain, maybe thunder. Martin makes deep, frightening, roaring sounds on his bongos; the muffled trumpet of an elephant. Each drummer has a small conga, as they feel each other's groove. At one point the duo moved to the xylophones. Martin's wooden instrument sounds hollow, while Weston's sounds tinny. Their sounds cascade together to become a super fast, upbeat almost synthesized sound. They create a beautiful, hollow rhythm that fades into the distance and comes back again. Touching on such a diverse range of sound, the music that Billy Martin and Calvin Weston create together is so compelling that it becomes a passion. Their energy flows through their instruments, unleashing tension and soothing the soul.
Allman Brothers Band Is it me or does the air in New York City smell a little fresher when the Brothers come to town? It seems as if the energy of the arrival of the Allman Brothers Band sends the undercurrents of the city into a cosmic stir that harkens back the energy of beats, years, and shows past. Equally enhancing one such notion was my desire to be introduced to Derek Trucks as a member of the Allman Brothers Band. Upon that loud and extremely raging greeting, its my opinion that the Brothers are truly stronger than ever with Mr. Trucks in the band as well as bass player Oteil Burbridge. If Derek had not, and trust me, he did, make his presence felt on the Trouble No More opener or the following Don't Keep Me Wondering, he certainly lit up the room with a soulful, jaw-dropping solo during Blue Sky. Dickie even waited 7 seconds or so to let the applause for Derek die down before he launched into a patented Betts tirade. Gregg and Dickie were in perfect harmony with the vocals and the always delightful Early morning sunshine tells me all I need to know, and sent my noggin into a whirlwind of positivity. What followed next was Rave On, Feel So Bad, and Every Hungry Woman with the band churning the carnival wheel around. Derek Trucks was implanting his energy on my brain and making a severe mark for himself. I knew he was good but I didn't know that he'd fit into the mix so well. As many times prior, I had been wrong. A pleasant Jessica closed the first set. I had it at around 10 minutes. I had a fantastic slice of pizza before the show and the Citrus swill of Gray's Papaya afterwards. I also had a wonderful time with the Brothers for the first time in over a year. Hi Derek, I'm Steve. Set II I have 2 words to describe the opening combo of the 2nd set. Well, in truth, much more, but in an attempt to convey the overall effect, I've chosen 2 words. Midnight Rider Ramblin' Man, Umm? Thank You! (Those are the 2 words!) On a personal level, Ramblin' Man fit me like a tailored Speedo. For on this very day, March 11th I had set up camp near the beast herself, New York City, to embark on the rest of my life. I had some things in my new abode but where I went from the Beacon Theater that night could be anywhere and I intended to record it all. It took me 25 years to get started on my way but I assure you I was born a Ramblin' Man. Spiritually exhausted, I wet my gulliver and parked my lanky frame for the rather rocked up Melissa. Gregg's voice was as beautifully hoarse as ever and the man's keys were no slouch for the entire show I'll have you know. I'm telling you. This band is pushing outward and onward stronger than ever. During Nobody Knows the slide guitar of Derek Trucks raged electricity through the Beacon and sent me spinning like a top all over again. On Dreams the Brothers brought out some more kin with Duane Betts strapping on a six string and Berry Oakley Jr. taking over the bass duties. The result was a lively family affair with Dickey, Duane, Gregg, and Derek all taking a round before the 3 percussionists sent the jam hurtling into the stratosphere. The 2nd set was closed with the manic rockabilly rhythms of the instrumental High Falls. Once the magic ceased stageward I retreated to the padded confines of my seat for a breather. The Brothers always send you home with a bit of a kick so I swallowed some sody pop and recharged. For the encore Oteil teased with a bit of Whipping Post which caused quite a confused chuckle out of our author here. For no more than a minute later Dickey Betts was pounding out his soul and kicking off One Way Out. A rhythmic swing and wonderful sing-along for all involved, One Way Out is a great way to get 2,000 people shaking their keisters and tapped into the room. The show was closed with No One To Run With which I assume, and I don't have to tell you where that goes, it was for Joe Dan Petty. As Derek stepped out front, or more accurately, leaned back, into his solo, the images of Duane and Berry were a bit distracting. I felt it unfair to young Derek that Duane=s name be blazoned behind him as he went to work. It left me a bit empty as I made my way out as I would have rather been finished off with some more gusto but its no matter. I've got the rest of my life for that. Steven Shepard writes cause were all kooky and we're all mad. But we all love each other.
Finious Gage, Jiggle The Handle, Max Creek On Saturday night I ventured into Manhattan and found my way once again to the Wetlands Preserve for another night of music and friends. Hailing from Long Island, I hopped on the LIRR and made into the city in no time at all. Arriving a few minutes before Jiggle The Handle took the stage, I went downstairs, grabbed a beer, and checked out the lounge for a few minutes. What I stepped into definitely through me for a loop. Finious Gage, a New York-based bluegrass outfit, consisting of a banjo, fiddle, acoustic guitar, acoustic standup bass, and drums, was exactly what I wasn't expecting to see at the Wetlands' Lounge on a Saturday night, but it was exactly what I was looking to hear. Something different and really, really good. Sometimes you just need to sit back, relax, and listen to some good bluegrass. These guys definitely did the trick. Although I didn't know any of their original music, I was impressed with how tight this outfit was. Sometimes I enjoy not knowing any of the sounds I'm hearing; It gives my ears a fresh perspective on the songs and I'm not expecting anything more than what I'm listening to. Too many times I expected great things from bands based on what I've heard previously, and that can be unfair to the music and myself. The band traded off beautifully between solos and they seemed to thoroughly enjoy themselves. I enjoyed the harmonies, but couldn't hear each voice and crisply as I would have liked. It seemed more of an acoustic and PA problem than the musicians themselves, as when I got a little closer I could hear them fine over their instruments and they sounded great!! What I enjoyed most about this band was their unselfishness and how well they listened to each other. No one in particular tried to step up anymore than the next player, and this is what made their group sound work so well, in my opinion. Their blend was perfect to my ears. I caught the end of this set but found out shortly after they would be back in between electric sets performed upstairs by Jiggle and Max Creek. I had a feeling this was going to be a good night. Unfortunately, I did not hear much of Jiggle The Handle. I honestly don't know what happened to the time, but I found my friends and didn't pay attention to the music. I did manage to catch the last song performed by Jiggle and I was loving it. In particular, the guitar player was blowing my mind for a few minutes. I am a big fan of musicians performing their instruments in a unique style, whether or not it is of my taste. He was banging on his guitar without hitting the strings and making the coolest distortion sound within a solid funky groove set by the rest of the band. I could have heard this jam for the entire night and went home happy, but then again, Finious Gage wouldn't have had another chance to play so I guess all good things must come to an end. All in all, I can't wait to see Jiggle The Handle for an entire evening of music. I won't be so quick to space my surroundings next time, or at least will wait until they start playing. Between Jiggle and Max I checked out Finious for a little while longer and was pleased with their set. The music was once again very tight and fun. Covers which I thoroughly enjoyed were "I'm troubled" and "Shady Grove." Solid versions of each song. I managed to make my way back up for Max Creek in time for the opening song. Apparently these guys have been around for some years but I've never seen them play. Now would be my chance. My first observation of this band within the first few songs was that they have been together for a long, long time. They anticipated each other's moves beautifully and really impressed me with how tight they sounded. However, after listening a bit more, I have to admit I was not blown away by this band. I stuck it out, had a good time, danced with friends, until the early hours of morning but didn't feel like their sound was anything new. It didn't do anything for me, personally. I enjoyed the "Playin in the Band" cover and thought they covered it well, getting the spacey, deadish sounds when appropriate and really fooling my ears every once in a while. But, their originals weren't that original in sound. Very tight, talented group of musicians who obviously know there music backward and forward, but there was nothing new coming out of it. Maybe it is my picky, ultra critical mind when it comes to music, but I enjoy the uniqueness portrayed through music. That is what turns me on and makes me drool; when musicians go for something completely off the wall and different, constantly taking the chances. I heard Max Creek taking several chances within their jams, but they weren't chances I haven't heard before. However, I can safely say my views weren't shared by many. The audience was going crazy all night long for Max Creek, and the Wetlands remained packed with dancing kids until they closed their set around 4 am. All in all, I enjoyed the entire evening immensely. The Wetlands Preserve is an incredible venue in NYC to see really talented musicians. It's very easy to lose track of time and party with friends until the sunrise. Very easy.
Show Low Album
Chapter 2 Paragraph 3 To say it simply, I absolutely crave music which ennui released on their album, show low album. From the first song, Chapter 2 Paragraph 3, I fell in love with their sound and spirit. It is very rare these days when I can actually feel what the musicians are feeling when they create their own music, but I think I got a pretty good idea this time. ennui consists of Dan Gober (guitar and vocals), Melissa Fischer (bass), Tim Gober (guitar), Meredith Fischer (keyboards), Gary Dann (drums) and Clint Meister (percussion). Chapter 2 Paragraph 3, at 14:27, breathes in and out, giving peaks and valleys throughout the entire song. It starts out with a simple guitar riff, which seems to going through a delay effect, into an inspirational section of chorus that is uplifting, spacey, and really tight. It then moves into a section in which a thick bass line seems to open an entire different envelope of jamming. Each part of this song flows beautifully into one another and it's hard to believe all this music fits in one song, until the very first chorus comes back and just melts into your ears. When thinking of what bands have influenced ennui's sound, Pink Floyd definitely comes to mind. However, I really do think they are giving us something else, something of their own which they are obviously taking very seriously. What Me? is a good example of this. The vocals have a Floydish tone to them, but the lyrics are very good, unique, and the music is not lighthearted. The spacey guitar tones between Dan and Tim compliment each other perfectly within the context of the rest of the band. In This Will Be My Last Note, the music becomes even heavier as distortion starts to shine through a bit on the guitar. I've been waiting for musicians to play their instruments with an attitude and this song is giving it to me. There is a driving force behind the guitars and bass that keeps its momentum throughout the entire song. Again, the vocals are very strong and placed perfectly within song. Really nice job at a well written piece of music. Towards the end it breaks down into bass driven jam. Melissa really is a driving force behind most of the jams I've heard on the CD and it never gets boring. ennui really has respect over their space of sound. They are not trying to over burden the space in which their music is being heard, but rather treating silence just as importantly as the actual notes they are playing. I have immense respect for this style of music, regardless of the actual genre in which it is being performed. ennui can be reached at ennui@starmail.com and their website is located at www.ennuimusic.com. If you would like a copy of their CD, I think this is the best way to get a hold of them. I really recommend you check them out.
|
||