YO MILES! At the Fillmore Auditorium
San Francisco, CA - September 1, 2000

SET 1: WHAT I SAY JABALI  > ON THE CORNER JAM JACK JOHNSON > IT'S ABOUT THAT TIME > WILLIE DIXON SHINJUKU > MISTER TOON

SET 2: BITCHES BREW IFE  > GREAT EXPECTATIONS GO AHEAD JOHN > AGHARTA FUNK  > TUNE IN 5 + ONE PHONE CALL

ENCORE: HOLLYWUUD/BIG FUN

Wadada Leo Smith  (trumpet)
Henry Kaiser  (guitar)
Michael Manring  (bass)
Steve Smith (drums)
Chris Muir  (guitar)
Tom Coster  (keyboards)

Special Guests:
Mike Keneally (guitar)
Karl Perazzo (percussion)
Greg Osby (alto sax)
John Tchicai (tenor sax; reed solo)

On Friday September first, the Fillmore once again presented the dazzling artistry of YO MILES!, an ensemble of master musicians who honor Miles Davis's legendary work by performing it in the improvisational spirit in which it was born.  This was only the third live performance by YO MILES! (I believe), the only two other performances having taken place in October 1999 and March 2000.

The Fillmore was awash all evening in the psychedelic reds and greens of Joe Light Show, who was assisted by Candace Brightman (whose lighting design work memorably and beautifully lit up the Grateful Dead for twenty five years -- even on those not-so-bright nights!).

If you haven't heard of the YO MILES! ensemble before, then I know what you're thinking.  "A Miles Davis cover band?  You have got to be kidding me!  No one can duplicate what Miles created in the early 1970's!"  That's right -- no one can "duplicate" it and no one ever will.  But YO MILES! has done an AWE-INSPIRING job of improvising on Miles Davis themes with a spirit and power that conjures up early '70's Miles and pays homage to it in a way that is as respectful of Miles as it is thrilling.  The fusion of funk, rock, jazz, reggae, calypso and WHATEVER can certainly be overwhelming at times;  but being able to experience Miles's music *live*, as performed by musicians who are masters of their art, is an incredible blessing.

The show opened with a version of "What I Say" (a theme/tune/jam from Miles's "Live Evil," which guitarist Steve Kimock also used to cover in his former band KVHW) that needs to be heard to be believed.  It must have been nearly a half-hour long, but was never dry, aimless or spacey.  It contained several mind-expanding, collective excursions which were bordered by enormous solos by Steve Smith on drums.  Smith is a drummer so magnificent that he continually amazes me with his skill.  I've seen some incredible drummers in my life, and many only in the last year (Bill Bruford, Joey Baron, Max Roach, Billy Higgins, Elvin Jones, etc.).  Steve Smith is in a league that few drummers ever reach (whether he admits it or not! he looks like a pretty modest guy!).  He had only a straightforward "jazz" set-up (a tom, bass tom, kick, snare, hi-hat and other cymbals), but employed it to an effect that practically spun my head right off my god damn neck!

The music over the course of the evening was so dense, complex and riveting that I had to consciously remember to BREATHE.  I took no notes and, therefore, cannot give even a reasonable "play by play" of what I heard.  My two cents is based entirely on my *faulty and unreliable at best* memory.

With that disclaimer, I enjoyed almost everything about the show, so if a gushing review isn't for you, then move on. =^]  In fact, I suppose the only real criticism I have of the gig is that it was JUST TOO DAMN INTENSE!  The music could get so heady, so intricate, so mind-blowing, so shit-disturbing, that you really had to force yourself to breathe and remember that "It's just music! It won't kill you!  Really, it won't!  You are just a PASSIVE listener after all, right?  RIGHT!?"

There were certainly times when the music "mellowed" to such an extent that the chatting by the Fillmore audience noticeably picked up, but these moments were in my opinion very few and far between. There were just so many funky improvisations that grooved and transcended space and time that they far outweighed the lighter, more spacey and surreal moods.

There were several original tunes performed over the course of the evening all of which fit right in with the Miles repertoire covered.  The musicians -- ALL OF THEM -- performed brilliantly in every song.  There was no setlist.  They apparently hadn't charted the course of the evening at all.  This showed at times, in that you could tell by the somewhat concerned looks on some of the artists' faces that they were wary of what would transpire.  But IMO, this sense of "What next!?" made the evening all the more exciting!

All of the musicians took a solo here and there throughout the evening, and all of the solos (and the accompaniment) exhibited genius.  Though I couldn't always follow the motive of certain solos, all were unquestionably articulate.   For example, one of Osby's melodic solos on alto in the second set seemed to stray so far from where I thought it was carrying me that I lost myself in it.  Also, John Tchicai's tenor (and soprano) was memorable given his unique and original phrasing, but at times I felt like I simply wasn't intelligent enough to even comprehend the majesty of his art.  I'd never heard tenor played in a fashion that seemed to blend and fuse so many different elements and characteristics that I'd heard in other tenors.  His solos -- sometimes enchanting, othertimes edgy and spine-tingly intense -- told stories that I'd never heard and wanted very much to hear (and interpret!) again. They were the kind of solos that you knew you would hear something different in them every time you heard them.

Other striking events over the course of the evening for me included:

(1)  every note Wadada Leo Smith played.  I've simply never seen a more inspiring artist on the trumpet.  His phrasing and soul does justice to Miles Dewey Davis III, and this, in my opinion, says it all.  Wadada, your love shines through your playing and thank you for sharing it with us!!

(2)  Henry Kaiser's and Wadada's duet somewhere in the second set; Henry was employing an effect on his guitar that perfectly blended with Wadada's horn -- it was magical!  I'd never heard a trumpet and guitar more perfectly in tune together.  Throughout the evening, Henry's guitar lines seemed both to lead AND INSPIRE the other musicians.  He was definitely more concerned about playing at this show than with "conducting" it.  This was definitely one of those shows where, if anyone was conducting, it was the spirit of Miles Davis.

(3)  Mike Keneally's stage antics (when he would step out, which he did a few times) were also memorable.  His blistering, fiery, reckless/homicidal, string-breaking, excessive guitar work was very amusing to behold.  He's quite an entertainer!  I think his contributions may be more appreciated on the tapes (which will hopefully be spread!  there were tapers!) rather than *live*.  Why do I say that!?  Well, at times, I wasn't sure whether to laugh or be disgusted by his arguably unprofessional (though skillful!) take.  So I laughed -- hard! 8^]

Basically, Keneally would just TEAR INTO HIS LEADS, making faces and violently shaking and contorting his entire body.  It was definitely Something to Behold.  His style was not one that I was used to (at all), but I enjoyed his contributions anyway, even if watching him was weird.  He really did come across as more a comedian than a guitarist.  He's just very non-serious in his approach, I guess (or at least was at this show!).  His solos were never "soulful" or motive-oriented or particularly "melodic."  He seemed thrilled to be playing, though, and his positive energy definitely rubbed off on those around him and on the audience.  And I know I'm generalizing after seeing him only once.. so please forgive me! (I'm just an amateur critic with about as much musical acumen as Keneally's guitar strap!)  Keneally as you may know played for Frank Zappa -- and you don't play for Frank Zappa unless you are a master of your instrument.

(4)  Michael Manring performed this jaw-dropping, gorgeous solo in the second set that had the Fillmore audience charmed into silent obedience.  It was AMAZING! 8^O  I'd seen some pretty far-out solos over the years from Victor Wooten, Charlie Hunter, Chris Wood, Charnett Moffett, Darrell Hall, Larry Grenadier and other extraordinarily gifted bassists, but damn!  In my opinion, the electric bass simply does not get played as consistently beautifully as Manring routinely plays it.  Like Steve Smith on drums, Manring is sensational on bass and simply *must* be heard and seen at *all* costs.  Moreover, Manring once again grounded the YO MILES! improvisational explorations with a tone so pure and rich that I can still hear it in my head (days later).

(5)  Karl Perazzo was surprisingly reserved, I thought, in the first set.  Sure, he's a fantastic percussionist (you've heard him play with SANTANA, and hopefully with PHISH as well).  But he didn't solo at all in the first set, if memory serves.  He just provided excellent accompaniment.  In the second set, though, he unleashed a thunderous assault on his kit at one point that was very enthusiastically received by the awed Fillmore audience!

(6)  Tom Coster is one of the most inspiring keyboardists I've ever seen perform.  His solos weaved fractalline, flickering tapestries of melody that frankly reminded me of Steve Kimock's phenomenal guitar solos.  Coster has been performing solos in this breathtaking manner for decades, I imagine, so I wouldn't dare presume that his recent gigs with the Steve Kimock Band are influencing his style! Anyway, Coster on Rhodes and Hammond is quite an experience that I felt blessed to witness.

(7)  Chris Muir's contributions to the proceedings on guitar, often in the "background" in accompaniment (and literally in the background -- he sits in a chair at YO MILES! gigs in the back by his amps and the drum riser!), were fluid, brilliant and crisp -- like lightning.  A regular in YO MILES!, he is a ferociously talented guitarist and I'm always impressed to see and hear him *live*.

(8)  I've already discussed John Tchicai's solos generally (see above) but I must mention a REED solo he performed.  When Keneally was going to town at one point with insane, entertaining guitar work, Mr. Tchicai stepped up to the mic and, leaning into it, started blowing into various reeds (I believe this is called "crowing").  It was easily the most captivating REED solo or crowing that I'd ever seen or heard!  He also, at one point, was uttering/rapping vocalizations (not quite "scatting") into his mic, which seemed like an excellent way to accompany the groove at the time.

All things considered, YO MILES! once again performed a stunning -- and, as I heard it, historic -- masterpiece of improvisation.  The encore they performed (Hollywuud/Big Fun) was unnecessary but graciously received by those who lived to tell the tale (music that heavy and unfathomable can wear on you!!).  I wish musicians of their caliber got together more often to jam, but perhaps if they did, then their shows wouldn't be as memorable and historic. :-)

Tapes will be spreading of this show and I can't recommend them highly enough.  If you heard anything from the other two Fillmore YO MILES! shows (3/4/00 and 10/21/99), and you liked it, then you'll want to check out this show, because at least some of it is bound to BLOW YOU AWAY.  (and if you didn't like it, then what the hell is wrong wit' you!? ;-)

But seriously, for much more information on the GENIUS behind Friday night's YO MILES! show, please check out the following sites:

http://shoko.calarts.edu/~wls/index.html (Ishmael Wadada Leo Smith)

http://www.henrykaiser.net/  (Henry Kaiser)

http://www.vitalinformation.com/steve/index.htm (Steve Smith)

http://www.manthing.com/ (Michael Manring)

http://www.kimock.com  (Tom Coster)

http://www.monarecords.com/karlsbio.htm (Karl Perazzo)

http://www.dcn.davis.ca.us/~jomnamo/ (John Tchicai)

http://www.gregosby.com/ (Greg Osby)

http://www.xfade.com/ (Chris Muir)

http://www.keneally.com/ (Mike Keneally)

http://www.anarchi.com/ (Candace Brightman)

YO MILES! has a double CD available which I would urge you to buy (especially if you have benefitted from hearing live tapes of one of their shows!). It's an incredible complement to your "Get Up With It," "Big Fun," "On the Corner" and other early '70's electric Miles discs!   Check out Timothy Lynch's wonderful review:

http://www.pauserecord.com/tim/kaisersmith.html.

Apparently, YO MILES! has been in the studio recently and will, eventually (9 months?), be releasing another *live* CD.  =^]

One last thing.  YO MILES! had been pegged to play the Chicago Jazz Festival on Friday September 1, but they apparently cancelled due to tobacco sponsorship of the festival (and played the Fillmore instead!).  Hats off to them for having the integrity to stand by their beliefs -- even if it cost them some money and exposure!

two cents,
charlie dirksen

Dogfysh Trio: The Quintessential Jam Band.

by Whitney Youngs

Embedded within a maroon, velvet layer of Indian mysticism, wax ponds burn as gold spirits jig on frigid tabletops, stealing the warmth out of a human forearm. The Temple Bar located in Santa Monica becomes an unassuming music shrine on Monday nights for one of the most ingenious, yet most obscure bands in Los Angeles.

Dogfysh Trio sparks the buoyancy of a little league player, the devilish wit of a court jester and the imagination of a demure space invader, a style much encouraged in today's Avant-Garde Jazz scene. This local group, aged only several months, is comprised of bassist Ethan Phillips, drummer Tim McGregor and guitarist Ross Grant, featuring Zack Rae on piano.

Artists such as Medeski, Martin and Wood, John Scofield, Charlie Hunter and the Keith Jarrett Trio all have collectively influenced Dogfysh. In fact, the extensive world of Jazz has not only contributed to their individual styles but also, their philosophies on music. "I feel so blessed and honored to be able to play a style of music that is done through expression and creativity," Phillips said. "To me, the majority of young music listeners are influenced through T.V. and get fed a lot of things that I am glad I am not a part of."

Due to its ever-transforming nature, the trio agrees that Jazz is an undying genre. "Although I think jazz has a future, that's not to say that I don't think that jazz will change," McGregor said. "I think that popular jazz has already changed drastically from popular jazz four decades ago. I heard what I think is a good definition of jazz from a drummer in a magazine a while ago. He said that jazz is any kind of music or playing that comes totally from the heart, that can be improvised and is usually unique. Glam rock left in the 80s, disco was out by the end of the 70s but jazz will last forever because it has the ability to adapt to the times."

Aside from their notable cover performances, these three sorcerers saunter hand-n-hand down a melting path of peppermint candy. Thrusting the audience through their uninterrupted game of musical "not it," streams of salt beads are smeared along skins and strings worn with sound. Their most cherished originals include Blind, Unrehearsed, Schizophrenic Blues and Fox and the Giant, where some of these titles have been named after their creative experiences. "During a rehearsal, Ross started playing the first riff of what is now called Unrehearsed," McGregor said. "At first I had no clue what time it was in. I started playing something that took him by surprise and it sounded good. Ethan naturally started playing off the riff, very harmonically and weird and of course, we weren't sober. We all vowed never to rehearse it. So talking through the song never happened, we felt we played what needed to be played." Grant wrote Blind, a song that captures the antique innocence of a standard swing beat along with dissonant sandpaper fusion jazz rhythms. "The song got it's title because it was the first tune I wrote in the jazz idiom," he said. "I felt blind while writing it, like I was entering a new territory."

When asked to describe music in three words, Grant responded with, "really fucking cool" while Phillips called it, "life's infinite celebration". McGregor defined music as, "timeless and emotional" and explained his opinion:  "It connects people through another language.  But it's not a language you have to learn in order to love it. Music is necessary; it's been here since the beginning of time. It will always be in demand and will always reflect change, progress and tragedy. It has many purposes and therefore is essential to the survival of the species." Grant and McGregor, who have been playing for approximately 13 years and Phillips, who picked up the bass in his late teens, share a rare musical parity undeniable to all who listen. Beneath the creepy, entangled webbed bass lines lies a wiry moonlit guitar tone, shadowed with silver glitter, dusting the manic carnival colors bursting from the percussion kit. Music made by the quintessential jam band.

The Zen Tricksters
August 18, 2000 - The Crystal Ballroom. Portland, OR

By Randi Kent

Set 1 (77 minutes)
Jam> Comin' Back to You> Cold Rain and Snow, Down the Road, China Cat Sunflower> I Know You Rider, In a World of…> Warm Heart> Jam> Meow Man> Deal

Set 2 (117 minutes)
Where You Want to Be> Iko-Iko, Talk of the Town, Scarlet Begonias> Fire on the Mountain, Arise> Drums> The Other One> Never Say Die> The Other One (reprise)> Ruby Tuesday> That's What Love Will Make You Do E: Tangled Up in Blue

The people entering the beautiful, historical and venerable dance hall known as The Crystal Ballroom in Portland, Oregon on the night of August 18 may have had some questions and even trepidation concerning what they were about to hear. After all, this was The Zen Tricksters' first show at one of their favorite venues in Portland, their home away from home, with the "new lineup." Rob Barraco was no longer with the band and his replacements were Jason Crosby on keys/electric fiddle/vocals and guitarist/drummer/vocalist Dave Diamond. The Tricksters began the first set with a musical statement regarding their fresh, new direction-their opening jam was jazzy and powerful and led directly into a new original tune called Comin' Back to You which had a decidedly funky flavor. Well before this opening pair of songs finished, the crowd breathed a collective sigh of relief, smiled at each other with wide Cheshire-like grins, and settled down hard onto the spring-loaded dance floor to get into the business of having a great time. The Tricksters sounded a bit different, but boy did they still rock! The Zens continued with a real crowd pleaser, Cold Rain and Snow and guitarist Jeff Mattson began his nightly task of slowly blowing the crowd's mind with his facile finger work on his battered old Stratocaster. Another original tune, Down the Road from their most recent CD, A Love Surreal, followed, with great vocals by bassist/bluesman, Klyph Black who also wrote the tune. A ripping China Cat/Rider came next and the audience got a fine sample of what an asset great rhythm guitar can be as Dave Diamond covered the essential Bob Weir territory, and I Know You Rider took one step back toward its traditional roots by featuring Jason Crosby's driving fiddle work. Another Dave Diamond number, In A World Of… melted into Mattson's original, Warm Heart, also from A Love Surreal. This tune featured a long exploratory jam after the final verse that built strongly into new heights of intuitive, on-the-spot composition. As the audience excitement grew, the jam continued and took a few twists and turns, until it segued nicely into Jason Crosby's Meters-like instrumental funk workout, Meow Man from his solo CD. The set wrapped with a multi-peak Deal, which again featured Mattson's powerful guitar work that slowly pushed the crowd into a frenzy. Now, the audience wondered no more and offered loud and enthusiastic support for their beloved Tricksters while they waited for more in the second set.

There was no disappointment here as the Zens began with Where You Want To Be, another favorite from A Love Surreal, penned by Dave Diamond but sung on the CD by former member Barraco. Dave's voice is silken jazz, with a smooth and molten range that elicits great pathos and excitement and definitely puts a new twist on a Zen favorite. Rocking second-line chestnut Iko-Iko followed, and then a bluesy Mattson tune, Talk of the Town, which features a rolling, Truckin'-like rhythm. The ZTs then hit the ecstatic dancing crowd with a huge Scarlet Begonias> Fire On the Mountain which had everyone in the place sweating and the floor springing higher and higher! Just when everyone thought that the set had peaked, the band broke into their bouncy and reggae-like original, Arise, which was followed by one of the high points of the set. Percussionist/drummer Joe Chirco began one if his signature drum solos, but as Dave Diamond, former Trickster drummer, began to leave the stage, Chirco called him back to come and play. The two proceeded to knock out the place with an animated 10+ minute drum duet that had Joe and Dave literally chasing each other around the drum kit. At times it was very reminiscent of the heavy and rich drumming sounds of Mickey Hart and Bill Kreutzmann. And at one point in the duet, with Diamond sitting behind the kit, Chirco began drumming on everything out front-the mike stands, the rims, the outside of the kick drum, and then, much to the joyous amazement of the crowd, he did a crouching run along the floor of the stage, performing fast and intricate drum beats the entire way! The audience went wild! The set continued with a quick segue into The Other One, complete with thunderous bass lines by Black, Never Say Die, another jazzy Diamond tune, The Other One (reprise) and a beautiful and lyrical Ruby Tuesday where Mattson stroked each guitar note so beautifully that it nearly hurt. A rousing That's What Love Will Make You Do ended the set and the audience cheered tumultuously until the Tricksters returned for their encore, Tangled Up in Blue. By the time everyone left the Crystal at approximately 2:15 AM, there was not a doubt in anyone's mind that a killer show had just been witnessed. Elvis had left the building.