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Southwest
Regional Report
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Edited by Chris Gardner
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Greetings all! This month is another whopper, and many thanks are due to our March contributors. This month we have reviews of the Denver stretch of String Cheese's Mid-Winter Festival, interviews with the Recipe and the Schwag, local reports from Austin, the monthly report from the Albuquerque Underground, word from Colorado, differing opinions of the Dark Star Orchestra, a preview of the upcoming Old Settler's Music Festival in Dripping Springs, TX, and head-scratching musings on Keller Williams.
The Homecoming Dance....SCI with Los Lobos Time Will Tell...SCI with Spearhead Looking at the Recipe - An Interview with West Virginia's Own The Schwag is Alright - An Interview with the Schwag Merl Saunders at the Gothic Larry in Albuquerque Robert Walter's 20th Congress Hot Buttered Rhythm Reunion Hairy Apes Blow Through Austin The Downside of the Dark Star Orchestra In Praise of the Dark Star Orchestra New Site for Old Settler's - Preview of the Bluegrass Festival A Head Scratching Experience - Keller Williams Rolls Through Texas
The Homecoming Dance... String Cheese Incident w/ Los Lobos Fillmore Auditorium - Denver, CO Friday February 18th, 2000 by James Warren Sold out. I mean packed to the gills. Here we go, Festival time and who knows what will happen... who knows what will happen... This was my first time seeing Los Lobos and I was very, very happy. The Boy's choice made perfect sense watching Los Lobos jam with each other...Cesar Rosas is a rock-star... When my gal Becky and I were walking in, she pointed out the moon to me...shining bright, white and full. It was gorgeous. Some of the band noticed the moon as well. Mention was made along the lines of 'Who saw that moon tonight?' ...right into "Round the Wheel"...perfect. After the storm of the night before a better choice would be tough. Been waiting for the snow to fall...watching the moon as it grows. "Best Feeling": The first time I had heard this song sans-Kdub. I hope they keep it up!!! I have to admit I love this song-it just plain makes me happy. I want to run on a beach, check out fish and maybe just float on my back out to sea. I was probably day dreaming about floating when I looked up and noticed the jellyfish hanging from the ceiling...a very nice touch indeed. I have to admit that Kang's vocals are not as sweet as Keller Williams on this turn but it was still a very nice surprise. Straight into "Mt. Girls"!!!: I love this song, especially when they do it at home. I would love to know some of the stories. It makes me long for my fly fishing guide days...stomping and prancing with my Mt. Girl Becky...I knew we were in for a keeper of an Incident Now it was Festival time....Los Lobos came back on stage. I love shows like this, counting the extra mics...wonderin' what may happen... "MLT": The gal next to me called it early, spreading the excitement like warm Brie. It was very nice and Los Lobos proved how good they can be...adding a lot to a song they never heard before Things start to get crazy...Cesar Rosas takes stage... "Little Wing": Loved it....I always screw up..."Wild Horses????"....I may be the only person in the world that makes this mistake but hey, I am only human where are we going now> "Down By The River": No way...goose bumps...chilling vocals...group sing along...has this been done before??? Wow...what a treat and very, very special surprise. I know that Los Lobos does this song quite a bit but I am pretty sure this is a first for SCI "Black and White": Very fun, great jams. This is one rocked in my opinion...I was just in a very poor position...very easy to forget when you hear: "BERTHA"!!!: Don't forget that Los Lobos did this on 'Deadicated'. Say no more. Words can not do it justice, you will have to hear the tapes. That closed the first...I was stunned stupid, huge smile on face, dripping wet...WOW...Festival...Homecoming...HOLY SHIT!!! As Becky and I looked for some people that we lost at the beginning of the evening during the set list it was great to look around. I can honestly say that everyone in the Fillmore, all 3500 of them were very happy. While this may not be the biggest show SCI has ever played it was much bigger that I was used to. JonO, SCI's soundman is a musician. He is capable of pulling off some amazing feats. In my opinion this is the best sounding show I have ever seen at the Fillmore. The second set began with "Land's End": Our all-time favorite dance song...boogie woogie, boogie woogie. Not the highest-energy version I had ever heard but a great way to get the ball rolling...into... "Water": Awesome. This is my far and away my new favorite SCI song...How much do you just love it when they belt "Water....." Muchas gracias queso...just to make it better, lets sandwich "Oye Coma Va Jam" in the middle....what a fine idea....I knew I heard it!!! "Freedom Jazz": Fair, restful, a nice way to catch my breath. I needed a breather and this is where I took it... "Panama Red": The boys mentioned that it was getting close to festival season...thank God. Keith rocks. This one got Becky's and my boots scooting again...very fun...I loved it. Is that Peter Rowan...nope just Keith...jamming again... "Blue Bossa": To be honest, nothing about it sticks out in my mind...must have been chillin' again.... "Outside/Inside": My first with this one. I really liked it...someone enlighten me - was this a good version? "San Jose": A keeper....what a way to close the set. I was hoping to hear this song at some point during the weekend. Becky and I boogied... Get my coat from coat check...nothing left to do but smile, smile, smile... E: "Good Times Around the Bend" (acoustic). Perfect...The title says it all...slow it down, so much more to come. What a roller coaster of a night... A keeper boys and girls. Good Gravy just look at that setlist. If these are not some of the most talented musicians in the world showing off in front of a hometown crowd, then I have never seen a show. Jazz, bluegrass, hard jamming and, well, the first live version of "Bertha" I had heard in years. I was exhausted, blown away and wondering how it could possibly be topped the next night.
Time Will Tell..... String Cheese Incident w/ Spearhead Fillmore Auditorium, Denver Colorado, Saturday 2/19/00 by James Warren After last night what can they possibly do tonight??? Becky and I were just hanging out at our place, waiting for some friends. We decided to listen to a little Spearhead. Drinking a beer, looking at the cd insert I said, 'I bet the do a killer Marley cover tonight"......... Becky and I were walking around, checking out the killer posters at the Fillmore...someone bumps into me. I turn around...it was Mark Vann of LoS on his way back stage. Hmmmmmmmmmm...Leftover Cheese again. Why not, after 2/6/00 I hope they play more together....could it be? No way.... Spearhead: Very cool. Again, the first time I had seen them live. I highly, highly recommend them to anyone. Michael F. of Spearhead has more soul in his little finger than I have in my whole body. Here we go again...what a perfect choice...but why does he keep saying "Festival"? LoS is going to have to play too... "Search": Not a bad opener but nothing that stands out...much different tempo than the night before. The crowd seemed different too...maybe it was just me... "Born on the Wrong Planet": To be honest, this is one of my least favorite SCI tunes. It was not bad though and I know Becky loved it... "Restless Wind": One I love, I thought it was great version and it got my heart pumping for the night...it makes me long for the days when SCI did much, much more bluegrass- this is going to be a good show too... The boys from Spearhead begin to trickle onstage... "Latinismo"!!!: Shakin' and groovin' now...YEEE HAWWWW "On the Road": Yes, they have been for way too long and it was so nice to have them home again... "Joyful Sound": A minute or so into the song Keith offered up an explanation behind the tune. Who would have guessed that he wrote this song after listening to the first Spearhead record over and over and over again? It was news to me. Michael F. of Spearhead...rappin' w/ the boys. Calling for everyone to toke and for dankness to be thrown on stage as a donation to the crew...a huge cloud develops over the crowd...what fun. You just had to know something like this was gonna happen..'String Cheese in the House Tonight'...who got a good look at the sack Michael picked up at the end of the song???? Hey now...there are Mark and Drew on stage....We just heard the boys rap...lets see in Michael F. and the rest of Spearhead can do some bluegrass... "Sittin' On Top of the World"!!!: Wow, Leftover Cheese is such a gooey, succulent treat...fantastic...Festival!!!!!! I still contend that Drew Emmitt may be the best mandolin picker around today... and the first set ends. Once again my mind is blown. How can these guys be this clean on so many musical styles while picking up guest musicians without ever missing a beat?? Grab a beer...I sure hope Spearhead comes back...I wanted to hear some Marley...oh well, I have never been good at calling songs The boys come back on stage, Michael F. comes back on stage....here we go folks... "Time Will Tell": Last track Bob Marley's 'KAYA'. My all-time favorite Marley record. My all-time favorite Marley tune. NOOOOOOOOOOO WAAAAAYYYYYYYYY...at this point in time I was the happiest man in the whole world. Thank you, thank you, thank you... Michael F. sang this soooo beautifully - goosebumps two nights in a row. "Footprints": I have no idea...I was still thinking about, "living in heaven and hell...time alone, time will tell". Someone enlighten me....I was still with the first song of the set.... "Open Your Eyes > Mouna Bowa > Come as You Are": The boys reminded us of who we had come to see...a classic jam. Dancin', dancin', dancin. Fantastic...by far and away one of the best open jams I have heard- I just can't put into words how much fun this combo was for all who got to witness it. "Glory" a.k.a. "Land's End Reprise": Got me thinking......tease me...loved it...what could be next? "Jessica": This was fantastic. I sure enjoy this song and I was delighted that the pulled it out for all of us. This one has been popping up a bit in the last few months and I hope it becomes part of a regular rotation. The second set ends... There sure are a lot of mics on stage still... They all come out, Spearhead, Mark and Drew, the boys...well all be what could possibly happen now??? "People Get Ready": WOW! Again words will not do this justice. Did I count 10 or 11 very, very talented musicians on stage? This song was just plain belted out by all....how about the keyboards? Kyle is the man. It was so cool watching Michael F. GET OFF on Kyle's keyboard talent. Wound down so pretty....every one at the front of the stage...Drew sending us off with that last killer chorus...There was a train coming my friends and it slammed into the Fillmore with the force of a musical hurricane for two nights in a row.
Looking at the Recipe Albuquerque, NM By Don McIver The stretch of highway from Amarillo, Texas to Albuquerque, New Mexico is never easy. The panhandle of Texas and eastern New Mexico is, no embellishment here, boring, and, especially if you are a six- piece, "Appalachian-grown, Primal acoustic roots rock band," from Morgantown, West Virginia it is no place to breakdown. The trip should be fast; 4.5 hours of roaring across the Texas and New Mexico flatlands until you dump into the mountains east of Albuquerque. The relays, however, on their van started acting up on their way to Albuquerque, which almost doubled their traveling time. A day after their show, sitting around Albuquerque waiting for the van to be fixed and trying to relax, they were with it enough to be open, honest, and communicative. The Recipe is a band with heart. Bad shit happens to good people, and you know that when they talk openly about it without suspicion or distrust. You know the whole interview, the whole meeting, the whole show the night before is the real thing. This band likes to play music, and clearly these band- members like each other. Consisting of Joe Prichard on vocals, guitar, and mandolin, Tom Whelan on percussion, Kristen Wolverton on vocals, Hannah Ross on fiddle, Gregg Lowley on drums, and Mike Vitale on bass, the Recipe has been a unit since August of 1995. Hailing from the Appalachian of West Virginia the Recipe started out as a band called, "Party in a Can," but that name neither described the music they were creating nor gave the public a sense that they were actually a band. Hence the Recipe, a combination of varied interests and styles, that combine different influences and textures into their live shows. On Fat Tuesday, the Recipe played to a small crowd at the El Rey Theater in downtown Albuquerque. Crisp introductions, stunning vocals, fiddle solos in place of a lot of guitar solos, fat, ego-less bass lines that listeners can feel, and good, fluid drumming make the Recipe a danceable and listenable band. The key to the Recipe's success is in their belief that, above all else, songs are what makes or breaks a band. You can have the most talented players but if you don't write good songs, people aren't going to come, and they aren't going to buy your cd. And indeed the Recipe's strength is in the craftsmanship of their songs. This craft translates into a studio cd quite well too. In 1998's Night of the Porch People, the Recipe have managed to capture a bit of West Virginia on every track. Kristen and Joe's vocal work is obviously inspired by the Beatles. The fiddle work of Hannah fills the void left by the absence of a lead guitar (though Joe plays electric occasionally) and, in a live setting, moves the listener through a whirlwind of emotions. But the biggest pluses, purely subjective on my part, is Mike's laid back, fat bass playing and Tom and Gregg's coordinated and grossly understated rhythm work. The rhythm section holds down each song, rooting the song's harmonies and interplay so that Joe, Kristen, and Hannah can shine without much fuss. The rhythm section is exactly what every good, danceable band needs, a good, solid workmanlike attitude with a keen understanding of what each instrument does best and why. Finishing the interview, the Recipe move on to talk about the van, what happened, and where they are off to next. With two full days of driving, Santa Monica awaits, followed by stops in San Diego, Las Vegas, and Durango as they migrate back to Appalachia, (free of van troubles let's hope), back to the small college town of Morgantown (population 48,000 not including West Virginia University), and look for inspiration to do it all over again.
Interview with Jimmy Tebeau The Schwag are a Grateful Dead tribute band. You May know them for their jamming ability or for their unfortunate choice of name. The way Jimmy sees it... It's a paradoxical analogy. We picked this name back in 1992 when we were just playing as a Monday night house gig jam band. Some Mondays the group would have up to 12 members, depending on who showed up. No rehearsals back then either. It was a big schwaggy jam. Spontaneous improvisational grooves flowing in and out of whatever tunes we all knew - mostly dead. After a while we started to get better. We got real serious in 1995 when Jerry died. The name "The Schwag" just kind of stuck with us because that is what we evolved out of. We probably would have picked a better name if we had known the band would last this long and become what it is. So now we just chuckle and say the name is a paradoxical analogy. What the hell kind of name is "Leftover Salmon"?!? Jimmy also relates the Schwag's style We approach the tunes the way Phil (Lesh) does , grabbing players, we go in there and try to get some energy to happen. We use the songs kind of like a jazz chart. We draw from 150 tunes and are always learning new tunes. We make up the set list as we go along usually with one of our three singers deciding[eachsong's] approach. [An example being]doing two different versions of Friend of the Devil, slow and fast. Last night Gary( rhythm guitar and vocals said, "Let's do a medium version!", so we did a medium version. Between the three singers we know about 50 tunes each so whoever goes first sizes up the crowd and energy, although singing order itself is not too strict. Where a jam goes often depends on who set it up. A lot of stuff goes unsaid, we really don't dissect the process, but rather go with the flow. We play 2-5 gigs a week, with a regular Tuesday night gig in Saint Louis, then hit the road every weekend to go to new places and back to places we did well, on what we call our perpetual tour. We play about 15-16 states in the Midwest. We had a great experience last month in Colorado, playing places like Vail for the first time. We really liked playing there and expect to hit out west in 3-4 month cycles, going farther out while maintaining where we play now. Even going as far as to play in the Far East on a U.S.O. type tour for the Dept. Of Defense in 1996. Luckily, in the military, they were labeled as entertainers, and Jimmy says he didn't even catch flack for having natty dreads. The D.O.D. said they could do it again, but Jimmy would rather find an excuse to go to Amsterdam. Recent shows include a massive 5 set show at Mardi Gras in St. Louis. Each set was about 70 minutes, and they whirled through 53 songs, from 2 p.m. to 10 p.m. Of the Mardi Gras experience, Jimmy says.... Jimmy: Over 500,000 people paraded through, each set becoming a mini-show. With beads flying everywhere as well as a big mix of people, we played from 2 - 10 without repeating a tune. We've also found ourselves crossing paths with more and more jam bands such as opening for Leftover Salmon, String Cheese or, having Mike Gordon sit in on a couple of occasions , playing on a second stage with Ekoostik Hookah or having the Big Wu fill in at our regular Tuesday gig while we were touring in Colorado. To non-heads the many Dead tribute bands may seem redundant, but it could not be farther from reality, even though many of the bands are interwoven. Take Dark Star Orchestra. They have incestuous ties to the Schwag by way of two drummers (one having played in the Schwag for over six years) and also a rhythm guitarist, yet these bands take an entirely different approach to the music. Probably the biggest appeal of the Dead and the same, "gotta catch 'em all" ethic that must inspire Pokemon and Beanie Baby craziness, the appeal is that like the shows themselves, every one is different. The bands take the dead and serve them up with endless creative possibilities. The jazz influence of Jazz is Dead, great. Big band versions served up by Joe Gallant's Illuminati, or solid interpretations from bands like the Zen Tricksters. Other bands you may have heard include Shakedown Street, Uncle John's Band, Jerry's Kids, Might As Well and many others. Many play a select region without venturing out. The Schwag seem to have broke that barrier, and, as I see it, the Schwag is a serious outfit who are intent on bringing the the Schwag is a serious outfit who are intent on bringing the music of the dead to the people. As Jimmy asserts, "We would still be playing this music for our friends and us without the great response the Schwag has been accumulating." With more and more people becoming computer conscious, things are really picking up. Their website, has been around for three years, with traffic going from 100 hits a week to 100 a day. Jimmy also lists The Schwag's tour dates on Jambase which has really been helping to spread the music to those who may not have been aware. Their mailing list has grown to include over four thousand fans. With honesty and conviction as well as a sincere desire to convey the music of the Dead with integrity, the Schwag remain true to the music. This is evident in the band's customary marathon live shows usually containing upwards of thirty songs spread over three sets. Other than lengthy shows the Schwag put on their own Schwagstock camping events throughout the summer, and invite top notch players to sit in with the band. Besides Mike, these include: Fred Tackett from Little Feat, legendary keyboard ace Johnnie Johnson who Jimmy's wife, Lisa met while on jury duty, Devon allman, and even Chuck Berry. The Schwag plan to remain a part of the scene for years to come. "I'd like to be Like Johnnie Johnson, he's 75 and still playing with energy(as evidenced @ Furthur '96)... the fun I'm having now I hope to be playing 'till we're 100[ years old]."
Merl Saunders & His Funky Friends
merl saunders & his funky friends
merl calls for requests
encore
Larry The East Mountain Music Series (a series of Saturday shows at Sonny's highlighting bands playing the "East Mountain Groove," May 5-7) kicked off February 5, with a visit from Austin's "Larry." A seven piece, Larry is a hodgepodge of different styles and influences. Vocally Jeff Bradberry has a deep-throated growl that makes his singing downright bluesy. Couple that with his barrel- chested stage presence, the solid drumming of Andy Vickers and Rick Cannon's inspired harmonica playing, and Larry is capable of playing the blues. Yet, they aren't a blues band. So, start with a good blues foundation and add Tom Vickers and Felonius Fee's solid, catchy, traded leads with Steve Vickers delicate, precise percussion work and Mike McCluer's funky, groovy bass and you have recipe for good, solid, danceable music. Larry entertains and pleases. Using the technical prowess of its musicians and the humility of their stage work as well as being clearly nice guys, Larry is well worth the price of admission (three dollars) and deserves to have a full house (which it didn't on this occasion being a new name to the burgeoning and blooming Albuquerque scene). So, next time they are in town, check 'em out. You won't be let down. From the Albuquerque underground, this is Don McIver
Robert Walter's 20th Congress The Liquid Lounge, a new bar in downtown Albuquerque, satisfied their customers by having their first ever live music showcase by hosting Robert Walter 20th Congress on Wednesday, January 12. It turned out to be the perfect setting for fun and mayhem easily accessible to all. The room had high ceilings, making it feel less crowded even though it was pretty packed. The heat came quickly as the new drummer George Sluppick added fresh energy and super tight rhythms for Robert to noodle around on the keys. Cochemea (Chimy) Gaselum shined his horn skills on sax and flute, smoothly weaving his great sound through layers of groove that only these guys know how to throw down. Chimy's percussion playing also contributes to the sweet sound of the Congress, and he and George seem to be finding some nice rhythms together. It was clear that everyone was still getting comfortable with the new skins keeper and vice versa, and as the night went on, George, not being afraid relaxed and pushed the jams a further step up. The whole band is having more fun than ever before, which shone through their smiles whenever they all connected at highpoints in their grooves. The relentless touring they have done over the past eighteen months has clearly made these guys one of the tightest bands around. They played a mix from their growing repertoire of originals for a sweet first set. Somewhere in the second set Dave Carano (ex Wise Monkey Orchestra and now ex 20th Congress), who had been remarkably playing the role of both bassist and guitarist, broke out the highly awaited and requested Dark Star that he arranged. Robert eased into it through a very long and spacey intro and continued to create a wonderful mood in this excellent version. The entire crowd, from the spinner in the front to the barstool patrons in the back seemed to appreciate the flavor the Congress added to the beautiful exploratory structure of this tune. It seemed like they were going to keep it evolving and take it into different places from here on out since it sounded so different from the version I heard up in Taos last summer, but since Dave's out of the mix I doubt we'll get to hear it again. The intimate setting at the Thunderbird Lodge in secluded Taos Ski Valley made for the perfect setting for Robert's 2nd New Mexico show of the new millennium. The Thunderbird had a tradition of bringing great jazz bands in there during the 70's and 80's. The turn of the Century has brought the tradition back through the initiative of the owner's two sons, who are all about bringing quality acts into town to support the music scene. Their mother, who was concerned that the other guests in the lodge might not appreciate the noise, tried to innocently trick Robert into playing more quietly by telling him before the show, "you can tell how good a musician is by how quiet he can play." Robert let her know that they played electric instruments, so they had no choice but to play loud. As the crowd started to fill in, I was quickly reminded of the high energy that built up in that room last March when Vinyl blew the roof off the place. How eight guys fit on that stage I'll never know because, tonight, even Chimy had to set up in the front of the stage on the dance floor because he couldn't fit. The only real downside that came out of the tight stage (even tighter due to the house grand piano taking up 1/3 of it) was that there was a power speaker blocking Robert from the view of about half of the bar. Again the Congress played two great sets and even pushed the curfew out to fit in some more grooves. Two great 20th Congress shows to kick off a tour that will show major transformation in the Congress' sound as we know it. Although Dave Carano was such an integral part of the band and will be sorely missed, there probably couldn't have been a better addition to the mix then Chris Stillwell on the bass in mid February. Chris, who started playing with Robert in a band called Schmaltz years ago, helped define the Greyboy sound in the 90s and, more recently, has supplied the funky four string for Karl Denson's Tiny Universe. Don't miss the 20th Congress when they come to a town near you soon including back to Q town and the Liquid Lounge (sans tables and chairs this time around!) on Monday, April 10! Chris Stillwell on the bass... Chris Stillwell on the bass... Chris Stillwell on the bass...
Hot Buttered Rhythm Reunion A few years back, Hot Buttered Rhythm came out of the oven steaming with jazz flavor and filled with funk chunk. They explored the outer realms of music by combining their vast knowledge of traditional and contemporary sounds with heated live performances that left crowds dancing fervidly, hanging on to each note like it could be the last. On stage were two drummers, two keyboards, and an acoustic and electric bass. Their original sounds and spirited concerts won them acclaim with local music lovers, as well as international praise in esteemed jazz circles like the Montreal Jazz Festival. Unfortunately, this hotbed of talent didn't last as the gifted musicians were pulled in several directions, spreading themselves across the land in projects like New Orleans' Los Hombres Calientes and Austin's BLAZE. As they do often in Austin, TX, the music gods smiled upon us early in February with a Hot Buttered Rhythm reunion. And yes, the music was hot, the funk buttered, and the rhythm tight and captivating. I ran into the show and was immediately grabbed by the taut groove that was flowing from the stage. The music moved the patrons like driftwood in the sea. Sometimes with gentle rhythms, other times with crashing tempos that'd land on your head, leaving you rattled on your feet, just as the music would stand you back up again. Fuchia Shock Life was the first full tune I heard, featuring Tomar Williams on the calming vocals. Its subtle bass lines would pull you in, then spit you out in serene bliss. After that, the solo drummer of the evening, Brannen Temple, announced to the crowd that it was time, "to go on get it right here". Get it they did with a funk-fueled ditty that redrew the lines of jazz and soul with stomping bass lines and sly work on the keyboards. Launching into a number of new tunes, and oldies with original twists, the Hot Buttered Rhythm reunion was a good one indeed. Let's hope it happens again soon. Hot Buttered Rhythm is:
Brannen Temple - drums
The Hairy Apes Blow Through Austin Take a step inside the Flamingo Cantina in Austin, TX, and taste the pina colada-tinged atmosphere of tropical bliss. On February 12th, Hairy Apes BMX stormed onto shore, invading this serenity. Like pagan worshippers, the Hairy Apes laid down a pounding funk meant to awaken the sleeping giant within the soul. Awoken from their balmy dream world, the Cantina crowd was roused to greet one of the most creative bands the Austin music scene has among its talented arsenal. Hairy Apes serves up the same powerful show they have offered their hometown crowd for years. Leading this (guitarless) quintet is vocalist and vibraphone fondler, Mike Dillon. Encouraged by his effortlessly intricate vibes, Dillon spun tales of Hairy Apes zen, accentuating his point in the opening song, "Fang," by hammering his snare. Bassist J.J. "Jungle" Richards kept up the funk and even waxed Mexicali on the cover, "Stuboquita Fuera." But on his birthday, keyboardist Zac Baird stole the show, armed with an eclectic synth and an electric clav. Unassuming and seemingly unfit to produce such aural hysteria, Baird brought the musical madness and lyrical color to the show, especially Hairy Apes' originals "Relapse King," and "$100." Living up to the musical criteria of Austin, TX, Hairy Apes BMX swim in their hometown. In the process, they manage to turn the cool breeze of the Flamingo Cantina into a fierce wind. Be sure to check out these boys out as they breeze through the midwest in the coming month. Chicago natives probably want to avoid strong air currents of any kind this time of year, but check out the gusts of Texas-laced wind coming in the month of March, and let it warm your soul.
THe Down side of the Dark Star Orchestra
The Wool Warehouse Dark Star Orchestra is not, despite great suspicion, the Grateful Dead. For some reason, I think I confused the two at first, but now I am sure they are not. The Chicago band has gained a reputation of recreating actual Grateful Dead shows in their entirety, not only playing the set list, but managing to somehow pull off their sound as well. On Thursday, February 24, Dark Star Orchestra brought their performance art to Albuquerque. Terrapin Productions produced the event, which alone made me curious to attend. Responsible for past events of over-the-top proportions involving the String Cheese Incident. The Wool Warehouse is a pretty nice theatre with three separate rooms and plenty of dancing room for all. Terrapin Productions always seems to make the evening extra special by presenting more than simply a band in a smoky bar. An art show, decorations, and lighting all provide for an intimate event. The rule of the band is to not announce the set list until after the show. Since there was no female vocalist, they obviously weren't doing a Donna and Keith show. I figured it was something from the eighties but wouldn't have the first clue how to identify why. However, after Althea, my suspicion grew when they played Man Smart, Woman Smarter. A friend had put that track as filler on a tape he made for me. The highlight of the set was the perfectly smooth transition between Me & My Uncle and Mexicali Blues. The set closed with a Let It Grow and Deal. At the set break I headed into one of the rooms to check out the art show. Several tour posters colored brightly and with such incredible attention to small details hung among other drawings and paintings. The band took the stage for the second set with Shakedown Street. The drum jam out of He's Gone was impressive though seemed to take a while to get going. However, once it gained momentum, it rolled into Space and Throwing Stones. The band didn't seem to stop during the set and plowed through a Goin' Down the Road, Wheel, and Good Lovin'. Maybe it was because I never saw an actual Dead show; maybe it was the schwag, maybe the band was having an off night, or maybe I just didn't get it. Why would anyone want to re-create a Grateful Dead concert in its entirety? First of all, the band is good, real good. They are all terrific musicians and are able to produce a sound that is extremely similar if not a darn near a duplication of the Dead's sound- at least sounding like some of the tapes I've heard. But something just held me back from experiencing the show as it was intended. I've heard a Dead cover band before, and I've heard a few bands do Dead covers, but this band was trying to recreate a 17 year old Dead show, essentially trying to be the Dead and I just couldn't understand why. They knew what they were going to play and at what point in the evening. I guess that just took away a little of the element of surprise and left me with the feeling that I was seeing little more than a Chuck E. Cheese Pizzatime Theatre band with the giant robot mouse playing the guitar tracks programmed into him. After the encore, the band announced that they had just played the Dead's October 17, 1982 show from Santa Fe, NM, confirming my guess. The crowd cheered as many of them were probably at that very show on a Sunday afternoon. Still, I can't imagine paying $12 to see the Dead these days, much less Dark Star Orchestra.
In Support of Dark Star Orchestra Sunday, October 17th, 1982. I was a sophomore at Green Mountain High School and was looking forward to the evening. Listening to Journey, I finally accepted that Cathy Meese didn't like me as Michael McMullen had told me and wouldn't be joining me at youth group at Bear Creek Evangelical Presbyterian Church. I was conspicuously and awkwardly alone. Because Michael had assured me that Cathy liked me, her rejection rubbed me a little raw. 390 miles south, however, the Grateful Dead kicked off their 1:00 PM afternoon concert at the Santa Fe Downs with "Mississippi Half-Step Uptown Toodeloo." As I felt sorry myself, the Dead played, "Franklin's Tower, New Minglewood Blues, Candyman, Me And My Uncle>Mexicali Blues, Althea, Women are Smarter, Ramble on Rose, and Let it Grow." I wouldn't get into the Dead until July 4th, 1991, and that show at Sandstone Amphitheatre in Bonner Springs, Kansas remains the single most transformative experience in my life. At one concert in the middle of a hot July night, I became a "Deadhead." It wasn't long before I was collecting tapes, traveling miles to see shows, supporting bands that jammed, and supporting bands that played the Grateful Dead. In Colorado, I frequented J.J. McCabe's and supported "Shakedown Street." And later when I moved to Albuquerque, New Mexico I supported and still support Saturn Return. I still really love the Grateful Dead and remember my first show fondly and remember sitting in my rocking chair crying when I heard the news that Jerry had died. So it was with a little dismay and trepidation that I bought my ticket to Dark Star Orchestra (hereafter referred to as DSO). I had done my homework and knew they were different than merely a Grateful Dead cover band. In fact, the DSO doesn't just play Dead tunes they play actual Dead shows as the Dead played them. The idea is simple enough. Each show is an actual "symphony" and has an energy of its own. How else can you explain the tapers desire to tape all these different shows and to add or subtract tapes from their collection? The idea is to recreate that experience in as authentic a form as possible, and since the Dead were ideally suited for the live experience. To my knowledge, they remain the single highest grossing concert act of all time and have a repertoire of over 300 songs and yet only had 1 top ten hit with "Touch of Grey." Why not pick particular shows and recreate them? That is what the tapers are trying to do with their collections, and, if the energy is in the particular combination of tunes, then the energy is going to translate if the musicians are skilled. Consisting of Dino English on drums (Billy Kreutzmann), Scott Lamed on keyboards and vocals (Brent Mydland), Rob Koritz on drums (Mickey Hart), Mike Hazda on Bass (Phil Lesh), John Kadlecik on guitar and vocals (Jerry Garcia), and according to the website a temporary addition for their west coast swing, Bustar on Rhythm Guitar and vocals (Bob Weir), DSO know their Grateful Dead. If I closed my eyes I could feel Jerry's mournful wail on "Candyman," Bobby's defiant growl on "New Minglewood Blues," and Brent's rolling, bluesy "Never Trust a Woman," in the second set, which was: Shakedown Street>Samson and Delilah, Never Trust a Woman, Estimated Prophet>He's Gone>Drums>Space>Throwing Stones, Going Down the Road Feeling Bad, The Wheel>The Other One>Wharf Rat, Good Love and for the encore "Don't Ease Me In." As the crowd wound down, John Kadlecik came out and announced that the above show was from the Santa Fe Downs on the 17th of October 1982. For good measure, and since they had time, they threw in a fabulous "Terrapin Station" for Norm and Sandy at Terrapin Trailways Production. Like the sight of Green Mountain High School or the sound of someone singing early Journey, I was taken back to 1982, to a time I lived through, and a weird sense of closure seemed to fill me with remorse, humility, and regret: remorse over not having the guts to ask Cathy Meese out before Michael McMullen ruined it; humility because I realized that the Grateful Dead were rocking and loved way before I discovered them, and regret because I didn't get to see more of them before Jerry died. I miss you Jerry. I miss you.
New Site for Old Settler's Old Settler's Bluegrass Festival, traditionally held Old Settler's Park (home of one of the world's finer disc golf courses), has been relocated to Dripping Springs, TX at the Stone Mountain Event Center. This year's festival falls on the weekend of April 7-9. As a biased Texan, I must say that this year's site is gorgeous, and it will be a very special weekend. Don't be afraid to travel for this one folks. Of particular interest to jamfolks: Bela Fleck and the Flecktones In this setting, we should get some Flecktone frenzy and an abundance of lip-smacking bluegrass, as Bela shows us all how it is done. Additionally, Bela will conduct a banjo workshop during the day, and Victor Wooten will boggle minds by the dozens at his bass workshop. Leftover Salmon The genre bending polyethniccajunslamgrass boys from Colorado will take the stage with John Cowan. This is certain to be a dazzler and a nice reprise of their Millennium celebration. Smokin' Grass will meander down to TX from the green mountains of Vermont to try to convince us that bluegrass thrives above Kentucky. It is no tall order, but this quintet has the skills. Blending bluegrass with jazz is not a novel idea, as Bela will tell you, but Smokin' Grass does it exceedingly well. Try their version of the Ellington classic "Caravan" on for size if you are not convinced. Flounders Without Eyes is an Austin based outfit that stretches beyond their Dead cover band roots to carve their own slice of the psychedelic pie. They will play to the stars late into Friday night. Two High String Band is a trio of new Texans making a solid a solid name for themselves. Their surprising and witty original tunes almost outshine their picking. They recently opened for Keller Williams in Austin, and mandolinist Billy Bright and bassist Bryn Davies have been touring the country with Peter Rowan as the Texas Trio and... Peter Rowan and Tony Rice will enlist the help of the Texas Trio as well as a collective of unnamed "friends" during their several sets. Peter Rowan, the scribe for the best of the Old and In the Way tunes has expanded his repertoire throughout his career, injecting a variety of world rhythms into his sets, and Tony Rice, one of the world's finest pickers dead or alive, should have no trouble keeping pace. This promises to be a special day and a make-up for Rice's late exit from last year's Rowan show in Austin. Finally, Willis Alan Ramsey(who has no website) will be there. Pardon me while I indulge myself in ridiculous hyperbole. Willis is the greatest songwriter in the history of the spoken word, and he is quite possible the single finest individual to walk the earth. Okay, since I have never met him, I guess I might be romanticizing. Of course, I have never seen him either. He achieved a bit of fame with his debut album in 1972, and he disappeared thereafter. This is a rare engagement for this Texan turned Tennessee hermit, and, quite frankly, the most exciting part of the weekend for this biased reporter. Widespread covered both "Wishbone" and "Geraldine and the Honeybee" in the early years, and countless other more famous and less notable bands(no offense Waylon) have done the same. Of course, the real fun of a festival is the wondering. How much will the Flecktones and Leftover play together? Will Bela play with Rowan and Rice? Will Victor Wooten knock a tent down with a bass note? Will Drew Emmitt sit in with Flounders? Who will the Smokin' Grass boys join? Will I a) faint like a Beatle maniac b)cry fat tears c)grin ear-to-ear d)boogie uncontrollably or e) all of the above during Willis' set? All this and more will be answered April 7-9. For more information, check out the Old Settler's Music Festival Page Look for me. I'll be the wigglin', grinnin' guy.
A Head-Scratching Experience Keller is musical splatter paint, striking the canvas in seemingly random patterns only to reveal a scene riddled with a fully realized throng of revelers. Keller is a pugilist, peppering your face and body with an inhuman flurry of lightning quick blows. Keller attacks your ears from every angle. Put simply, seeing Keller Williams is a head-scratching experience. Baseball fans talk about five tool players. They are players who do it all: field, throw, run, hit for average, and hit for power. They excel in all areas. Those kids can't hold a candle to Keller. To translate the analogy, a five-tool musician would write, sing, play, perform, and push the envelope proficiently. Now imagine someone who can do them all excellently. What do you get? You get Keller Williams, perennial All-Star. First of all, Keller is a guitar player of the highest level. My brother Scott, who is a picker of considerable talents, said it all. "Sometimes you see a player that is so good you want to leave early just to go home and play guitar. He makes me want to go home and sell my guitar." Even watching intently from mere feet away in Houston, it was impossible for me to see how he does it. Notes fly furiously from his right hand. It flutters like hummingbird wings, just beyond the perceptive abilities of the eye. His left hand hammers, slips, slides, and bends with uncanny precision. Did he ever strike a false note? If he did, it flew by so quickly my ears could not catch it. I have seen guitarists of his ilk, but I have never seen any better. Furthermore, I imagine the best of them would be hard pressed to replicate what Keller does to those customized Guild ten-string guitars. "Out of This Earth", Keller's tribute to Michael Hedges, is dazzling to hear and confounding to see. The Houston version was layered with rhythms and highlighted with harmonics, and it punctuated a truth about Keller: the moment you stop to gape at something, you begin to miss out on the next mind-jiggling thing he does. I stood still and played catch-up both nights. As a performer, Keller is magnetic. When he takes the stage, conversation stops and people stare. The silence in the stunned, opening moments of the Houston was unlike anything I have imagined. People stood stock still and gaped. Eyes bugged, jaws dropped, lips drooled, and everyone knew right away which of the crowd had never seen Keller. Whether he is breaking down the Whiteboy Boogaloo during Dancing Fool or pounding a bottle of water during the "Gimme little drink" refrain in the Loving Cup Loup or setting loups on his petal with his nose, all eyes are on him. Admittedly, folks get to gabbin', but it is normally an attempt to unriddle the enigma before them. His tenor voice is firm and slippery, if such a thing can be. As Stacey says, "It has that Neville quality," that allows him to slide between a broad range of notes seamlessly. From the bottom heavy, near-growl of Revelation to the ethereal Stargate, his voice is full, engaging, and expressive. Of course, singing is only part of what he does with his mouth. The "mouth flugel", otherwise known as Keller's lips, is the most convincing flugel knock-off I know, and the pseudo- beatbox drum noises he creates during loups (so spelled in honor of soundman Lou), while not as convincing, are still effective. He even slips into hippie-scat from time to time. The Blatant Ripoff>Vocal Loup>Low Rider in Austin demonstrates the versatility of his voice. He begins with a louped percussive beat, follows it with the guitar, mouth flugel, whistling, the "upright-bass mimic", and Muppet noises before returning to the mouth flugel. Then the real fun begins. Atop the percussive loup that still spins, Keller three layers of nonsensical bleeps, bloops, bops, bums that emerge into Low Rider. With nary an instrument involved, he fabricates fully realized and layered music. Then he mimics a three part horn section. His instrumentals shift so quickly between tempos and keys that they can seem like mindless, frantic improvisation. They are dense and weighty, traveling from point A to K to E to Y to M before resolving at point A. Like the best music, it rewards repeated listenings as the you uncover fresh rhythms, colorings, harmonies through the first ten listenings. The Inhale to the Chief with accompanying effects that opens the second set of Austin is a rambling sprawl of a tune that, as above, leads you through the forest for seemingly hours only to deposit you again at the head of the trail. Lyrically, Keller draws on his own experience for his feel good anthems (Relaxation Station, Best Feeling, Chillin') and road songs (Running on Fumes, Blazeabago), but he is branching into first person narrative with Bounty Hunter and the like. He has a gift for metaphor. Watch closely as the windows of the Blazeabago shift to canvass, giving the sun free range to paint purple swirls across the sky. Furthermore, his sense of melody and vocal ingenuity allow him to turn the most inane phrases into irresistible, lingering verses that fly from your lips at the most inappropriate times. Have you ever tried to explain in a glance to a stranger on the street why you are singing about perpendicular teeth and delivering the kidney in a double decker double wide? It is not as easy as it sounds. Now for the fifth and final tool. The artist must push the envelope and, at least on occasion, break new ground. While musicians have used loops in studio for years and in the live context on occasion, I know of none that do it like Keller. It is self-reflexive, recursive, and aware, to the delight of all the post-modernists in the house. To use an example, Keller played a very nice version of the Rolling Stones pleading anthem, Loving Cup, in Houston. He sang well. He played well, and all were delighted. If he had left it there, we would have left happy, but when he reached the, "Gimme little drink" refrain, he laid down a percussive string of mouth notes. After four bars, he louped it, slung the Guild across his back, and strode up to the stationary bass, hovering on its stand. He rooted the bass line deeply in the groove and stepped back to play rhythm guitar. With the fresh rhythm line cleanly louped, he stepped to the mic to mimic the blaring horn line in two parts. Atop it all, he began to layer the vocal refrain. Within two minutes, Keller was once again playing guitar and singing, only now he did it over a rhythm section, horn section, and three tracks of himself harmonizing with himself. Did I mention he was dancing? As for the shows that inspired this ramble, the best summation might be this: Keller won over every person that entered either bar, and he made life-long fans of half of them. "How the hell is he doing that?" "Where is the drummer?" and "Holy s*#t!" were the refrains of the evening in Austin, where he played to a much larger and rowdier crowd. The highlights are too many to detail, but the cursory analysis garnered this. Scarlet>Loup>Fire is priceless. Houston's "Dancin' Fool" set the fools to spinning dizzily. Kidney In a Cooler might rival the Jackson 5's "ABC" as the catchiest song ever. See, You're already singing it aren't you. Easy as 1..2..3.. It takes a brave man to play Stevie Ray in Austin, and Life By the Drop was a reserved tribute. The Disco Loup in Houston and the Funk Loup in Austin, both of which blend a series of songs into a gooey medley, are irresistible and sent me into fits of laughter. Who would have ever thought that Big Country's "Big Country" from the album "In a Big Country" was such a good tune? Nothing creeps like "Chillin'". I don't think I have ever been more impressed with a single person. We are witnessing the beginnings of "Trance Folk" ladies and gentlemen, and the most talented man on the scene is bringing it to a town near you. Go. Sell the couch if you have to.
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