Photo by Matt Riley

I am generally not a big fan of horn-centric bands. It takes something quite special to hold my interest throughout such a group’s performance. However, on this evening in Missoula, Karl Denson and his Tiny Universe demonstrated once again why they prove to be an exception.

Opening for KDTU was the great MC from Jurassic 5 and founding member of Ozomatli, Chali 2na. From the first beats of his live drummer to the wicked bass lines dropped from a seven string bass guitar, the packed room went nuts. Chali’s ability to captivate the crowd and engage himself, with fast baritone rhymes and quick improvisations caught me off guard. He in his towering stance has an ability to grab the crowd and direct the show in every direction. The greatest part of his very worthy opening set was his incorporation of the town of Missoula and the fans into his music, and the results were nothing short of captivating. I do not believe I’ve seen so many fans singing and dancing and participating in any hip-hop show before. You could see see true appreciation and gratitude on his face along with his quite talented band.

Shorty thereafter Karl Denson emerged with his group. While John Staten off touring with The Pink Floyd Experience, he had a new drummer but otherwise it was his usual roster with Denson on vocals, sax and flute, the amazing Brian Jordan on guitar, Chris Littlefield playing trumpet, Chris Stillwell holding down the bass and the ever present and talented David Veith on keyboards. Opening with a very funky line of music, Chali 2na came from the background to freestyle atop and with the band. Playing old favorites and new songs, Denson moved from his favored instrument, the tenor sax to the flute. Working songs off of his latest release Brother’s Keeper, such as “How Fine is That,” Denson and his band ran through a total onslaught of great segued jams while the venue somehow filled even more. Denson introduced a few new songs that will be coming out on a new album this summer, and Chali 2na returned for a jammed out version of “Can’t You Hear Me,” while Denson demonstrated his light and quick flute-work and vocals: it was a highlight. After this, if at times the show seemed a bit routine, Denson and his group still won me over and kept the crowd rocking and dancing for hours. Denson’s pleasant demeanor and meticulous approach to switching instruments (even playing percussion and rocking the cow bell), as well as his rich, soulful voice, made for an altogether satisfying evening, accessible and entertaining for everyone in the packed house.