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CD Reviews INDEX TO REVIEWS
Edited by Jesse Jarnow
"Yin-Yang" - Victor Wooten - review by Bill Stites
"Tales From The Acoustic Plant, Volume II: The Bluegrass Sessions" - Bela Fleck - review by Ali McDowell
"This Time" - Los Lobos - review by Rob Turner
"Million Miles: Live Recordings 1997-1999" - Bob Dylan - review by Rob Turner
"Out Of The Madness" - the Derek Trucks Band - review by Christopher Orman
"Help Us Get High" - various artists - review by Jesse Jarnow
"Sharp In The Flats" - Ekoostik Hookah - review by Christopher Orman
"In It Again" - Jiggle The Handle - review by James Dunseth
"Interplanetary Escape Vehicle" - Sound Tribe Sector 9 - review by Evan Leon
"Better Live Than Never" - Hidden Agenda featuring Andre Cholmondeley - review by Rob Turner
"Seven Even" - the Emma Gibbs Band - review by Dave Rioux
"The Wop Boom Bam!" - All That - review by Chip Schramm
"Brand New Lifetime" - Jon Shain - review by Rob Turner
"Yin-Yang" - Victor Wooten
Compress Records 7-4274-2
by Bill StitesHonestly, I felt a little apprehensive as I ripped open the mailer and poured this set out into my hands. Once upon a time I was a rabid Bela Fleck and the Flecktones fan, and, as a bass player, a disciple of Victor Lemonte Wooten. I weathered all the usual criticisms of the Flecktones and what they do: "It's elevator music!" "It all sounds the same!" "Too much technique, too little soul!" and so forth. I knew that there was some truth to all those statements, but, nonetheless, the music moved me. At their best Bela's compositions, and the band as a whole, exude the same wonderful mix of humility, honesty and humor that's probably endeared everyone who's reading this to some jamband or another. But over time, and a lot of listening, I started to think that maybe there was more truth to the criticisms than I'd previously acknowledged. And then they released "Left of Cool", started singing, and seemingly reinvented themselves as the perpetual opening act for the Dave Matthews Band. I tuned out.
Reviewing this album marked the first time I've listened to any of the Flecktones, solo or with a group, in quite awhile. And, as I said, I was apprehensive. Even when I loved the Flecktones I thought that Vic's solo albums were the weakest output the band had to offer. There were some moments, but generally his solo music has been an awkward mix of bass pyrotechnics, bad vocals and G-rated political platitudes. So, before even opening the jewel case I find out the album is titled Yin-Yang, and it's a two-disker: disk one is "Yin" and disk two is "Yang." Eep. Concept. I open the liner notes and am greeted by two photos of Victor sitting on a couch. In the left shot he's wearing a white outfit and sitting on a white couch, and in the right he's wearing and sitting on black. Both shots have one of his yin-yang design basses leaning against the couch. Um.... turn the page.
Huh. It's a group effort. All but one of the 20 tracks have Vic joined by a full band, and some pretty big names lend their talents to the mix: Bootsy Collins, Carter Beauford, Steve Bailey, Stuart Duncan, fellow Flecktones Bela Fleck and Jeff Coffin, and a whole lot of Wootens (though, surprisingly, not the last Flecktone, Roy "Future Man" Wooten). From the band to the pretty packaging to the skillful production, this is definitely a higher-budget affair than his earlier solo efforts. Maybe all the time spent opening for DMB has done the Flecktones some good.
The moment of truth, of course, came when I popped in "Yin" and pressed play. The first track, Imagine This, faded up, and the first few seconds prepared me for the worst. The initial sounds of the album are the ringing of distant chimes and plucking on an acoustic guitar, then a heavily chorused fretless bass begins, ponderously, as rainforest instruments rattle and whistle in the background. Very Windham Hill. Then, suddenly, the bass kicks in a Caribbean groove and Joe Wooten starts this neat bouncy melody on the keys. The tune as a whole, like the best of the Flecktones, is elevator music, but compelling and fun anyway. The second track, Yinin' and Yangin', was a similarly pleasant surprise. It's got an interesting melody, doubled on fretless bass and guitar, and a tight, if sedate, groove, courtesy of JD Blair on drums and Regi Wooten on guitar. After two tunes I was enjoying myself, but worried that 18 more tracks of exceptionally good New Age music was more than I could handle. Then Joe's composition Hip Bop began, with a quick countoff and an explosion of up-tempo funk/jazz. Nothing watered down here- Vic alternates between solid walking bass lines and super-fast slappin, and Joe and Rudy (on sax) Wooten both make admirable contributions.
Alas, there's nothing else on "Yin" nearly as ballsy as Hip Bop. The rest of the disk plays out much like the first two tracks- sure, it wouldn't be out of place in your dentist's office, but that doesn't mean it isn't good.
The varied instrumentation of the band allows for a wide variety of textures, and Victor's songwriting has matured a lot, as these are much more fully realized compositions than he's dropped on us in the past. Perhaps most surprisingly, except for his solo in Hip Bop, he never tears loose and shows off his impossible chops. All of the songs feature his bass prominently, and all but one of them have two to five tracks of bass overdubbed, but it never becomes excessive. The bass blends as an instrument in a band, as opposed to his previous solo outings, when the bass was made the focal point and everything else secondary.
While the all-instrumental "Yin" was a pleasant listen, my fears were not entirely assuaged as I popped in the vocal disk, "Yang." The Flecktones have always been at their weakest when they sing, but at least they're usually kind enough to spread the vocal tunes throughout the set, so you don't get hit with too much of it at once. As I pressed play I was about to hear 10 straight tracks of Vic singing.
And, as I went in with lower expectations, I was even more pleasantly surprised than I was by "Yin." "Yang" is clearly the superior of the two disks. Vic's vocals have matured to the point of being decent, and the songs on "Yang" are funkier and flat-out better than those on "Yin." It opens up with the Parliament-influenced Hormones in the Headphones, followed by a vocal version of Yinin' and Yangin', featuring Vic's not half-bad Stevie Wonder impersonation, and an unnecessary but endurable rap by someone named Count Bass D. By the end of the next two tunes, the smoky lounge-jazz number One, and What Crime Is It?, featuring Bootsy Collins on vocals, I was pretty much sold on the disk. The lyrics, in general, can be cheesy, but the tunes work anyway, and there's genuine soul at work. Even the last track, a minimally accompanied conversation between Vic and a recording of an elderly woman (Dorothy Wooten) about, you know, vibrations and stuff, didn't turn me off.
A two-disk set of lite jazz and sorta soul may not be the most appealing thing in the world to you. It certainly isn't to me. But "Yin-Yang", for what it's worth, is a really good two-disk set of lighter jazz and sorta soul. And, as I listen to it, I smile the same innocent smile that the best of the Flecktones draws out of me.
"Tales From The Acoustic Planet, Volume II: The Bluegrass Sessions" - Bela Fleck
Warner Brothers
by Ali McDowell
I am a firm believer in Bela Fleck's ability to make a solid album (aside from the most recent Flecktones album, "Left of Cool", but that is not the issue here). Fleck's new disc, "The Bluegrass Sessions: Tales from the Acoustic Planet, Volume 2" is no exception to the long line of great Bela albums; it features a blend bluegrass tunes with good, old fashioned bluegrass titles (Foggy Mountain Special and Blue Mountain Hop) and the quiet acoustic sounds reminiscent of the first "Tales from the Acoustic Planet" (The Overgrown Waltz and Buffalo Nickel). There are also some other treats that range from Bela's solo banjo Clarinet Waltz to the Spanish-influenced Spanish Point, to the vocals on Polka on the Banjo.
For the most part, however, the album is mainly comprised of those mid-tempo, smoothly produced acoustic songs we're all familiar with from the first "Tales". The ballad Plunky's Lament, despite its unusual title, is a ballad featuring fluid playing from all members of the ensemble, yet it doesn't have the same kick as other acoustic ballads Fleck has recorded. Do You Have Room? is a seemingly useless addition to the album, being that it sounds like someone let Future Man have a computerized heyday with a sample of a bluegrass radio announcer talking about a banjo. Thankfully, the track doesn't last very long (just over one minute.)
Quite possibly the most interesting track on the disc is Old Jellico, Puddle Jumper, Dead Man's Hill, a three-song medley that progresses cleanly from the minor-key Old Jellico to the mellow but major-key Puddle Jumper to the uptempo Dead Man's Hill. Although the track is just over six minutes long, the transitions are such that it does not seem at all out of place on an album of mainly twp-minute pieces. The closing track, Major Honker is also a highlight, in that it shows one of Bela's prominent talents: his ability to interweave bluegrass instruments with an upbeat sound that is both innovative and traditional. All players get the opportunity to do some improvisation, the playing is tight, and there is a hint of contemporary flavor in it as well, making it sound truly Bela.
This album is an impressive effort on Bela's part to match the musical sharpness put forth on the first "Tales from the Acoustic Planet" and to add some diversity as well. While it is not as musically complex as one might expect, the album is a solid offering of this ensemble and is worth a place in your CD collection.
"This Time" - Los Lobos
by Rob Turner
It is said that as most people get older their appreciation of the gift of time increases. While it may be hard to believe after witnessing one of their incendiary performances, Los Lobos is getting up there in age. As they near their thirtieth year as a band, they seem to be reflecting on their careers and personal lives. They have a group of songs here, which speak to allegiance, compassion, and pride.
Gracing the cover of the CD is a clock without hands. When I first looked at the CD, I thought it spoke to the timelessness of Los Lobos' music. Once I listened to the opening, and title track I immediately felt the cover was symbolic of the unfeeling, unforgiving nature of time. The song reminds of Marvin Gaye, with its Motown style backing vocals and lush saxophone lines provided by Lobos saxman Steve Berlin. There is an underlying haunt to the tune also, and not just because of the spooky sound effect in the background for the entire track. But also in the way the days of the week passing by are used to convey time's elusive nature. David Hidalgo conveys the helplessness of an aging man brilliantly especially when he laments the impersonal nature of time itself, "could be that time, don't really know, that it should try, and take it slow." Conrad Lozano's bass is particularly courting on this track, and he shines on literally every cut on the CD. Those of you blessed with quality radio stations have probably caught this one on the air.
Cesar Rosas takes the lead vocal on Oh Yeah. This one seems to celebrate a character, which has found new vigor in his life after going through something that left him, "glad to be alive." However, by the last verse there is dismay that many people have to have something traumatic happen to them before they appreciate the gift of time. Steve Berlin has his first of many stellar saxophone moments, as his performance is pivotal to this song, and percussionist Victor Bisetti tickles the hips with his smart coloring.
The band has never been afraid to get down and dirty, and the fuzzy guitar driven Viking, is exemplary of this. This celebration of a short, scarred, tattooed, heartless, yet now absent and endearing character sears through the speakers. This is an example of the prowess of the guitar work of Hidalgo, as even in the dark grind of this song, he resists the temptation to hurl a flurry of notes at our ears. His tempered approach over the grinding quality of the song builds on the lyrics, and gives us an idea that the character of this song was deceptively gruff. I have a hunch that Louie Perez has his guitar strapped on for this number as well. It is interesting that they continue the hard driving approach on High Places. This scathing indictment of people desperate for fame and intoxicated with power seems to assimilate the band's combined history with people of this ilk. You can't help but get the sense that these guys have had to deal with way too many of these self-engorged folks having worked in the music industry for so long, and they are taking it out on this song. Mitchell Froom adds brilliant sound effects, among them an aggravated moan (is that you Cesar?), which add to the frustrated tone of the song. The choppy guitar work is sure to get even the most sedentary person's hips moving. We first hear of the advantage of being in high places. You never have to look up. It makes you feel like a big shot. The people look so small. Then as Rosas and Hidalgo's guitar duels gradually increase in nastiness, the band explores the troubles with being in high places. It's a long way down, Nobody picks you up (assumption being that all quality relationships have been overlooked on the road to high places). The song explodes in the final stanza, "Cuz you acted like a big shot, so what happened to the big shot? (2X's), You thunk you were a real big shot." There is undeniable wisdom in the simplicity of the lyrics in the spirit of the late, great Willie Dixon. Also by using "thunk" Hidalgo seems to be mocking the stupidity of abandoning loved ones in the pursuit of self-interest. This instantly became one of my favorite studio tracks ever, as it speaks directly to one of my personal pet peeves. I can't wait to see them rip the crap out of this song live.
The ear and soul get an immediate respite on the ensuing track, the absolutely lovely Cumbia Raza. Cesar's voice is in stunning form, especially on the line, "que bonito le meaneas morenita es basilon." This Spanish-sung number features some sweet interplay between Steve Berlin's sax and Hidalgo's accordion, which leads to a quick percussion breakdown, out of which we are treated to another example of Berlin's blissfully tasteful approach to soloing. This song could've benefited from Berlin extending this solo, but Lobos generally reserves this kind of thing for the live setting. I am not Spanish major, but this song has a carefree celebratory feel. It seems to encourage the listener to dance and celebrate your vision of a creator and the family from which you came.
The reflective Run Away With You, is further proof that David Hidalgo is quietly one of the most expressive singers in rock and roll. You can hear both the dignity and self-doubt of the song's character as he laments a poor personal decision of his past. Corazon benefits from tremendously recorded percussion, which is right out front in the mix. Every time I hear this song I am forced to get up and glide around the room in a percussive-induced haze. Perez and Bisetti are supported by Pete Thomas drumming (of Elvis Costello and The Attractions) and the percussion skills of Alex Acuna. Some Say, Some Do, attacks the plethora of followers in a crumbling world desperately in need of leaders. Rosas sings with a convincing urgency. Berlin again shines, this time on baritone sax, but I would love to hear him extend his solo, as it would have increased the dark tone of the song. Building on this theme with the following track, Turn Around the listener is encouraged to change him(her)self. The first four couplets seem to relate the importance of acting free of ego. This allows you to get to the point where you can trust your instincts, because your actions will be considerably more likely to be with pure intentions. Hidalgo is presumably hoping people will then have eschewed rebellion for the hope of personal gain when he sings, "Whether coming or going, never know what to do, never look for a reason, when you break the rules." If one's has these pure intentions his (her) instincts will not be misguiding.
The band returns to the profound statements made clearly with straight-ahead lyrics for the final two songs. The first, another Spanish-sung number, La Playa celebrates the beauty of taking a day at the beach. A simple pleasure that should not be taken for granted. Perhaps summing up the tempered hope of this CD is Why We Wish, which stresses the importance of optimism during our fleeting existences in this changing world. "Once a poor, poor soul, found what looked like a stone, and held up into the sun, saw a diamond shining, forever it seemed, and his searching, searching days were done."
I thoroughly enjoy this CD, and I respect that Los Lobos has an interest in making a concise artistic statement. However, in this age of people burning their own personal CDs, packed with over 75 minutes of music, it is curious why a band would release a 38-minute CD. Especially Los Lobos, who has never released a full live album, and who probably has a sea of blistering performances in their archives. I'm sure if live tracks were listed separately on the CD case, and if there were a sufficient pause after the final track of the original material, their artistic integrity would still come out in tact. They could exhibit how some of the songs from the last album, Colossal Head, really came to life when performed live. It would also serve to give the buying customer a bit more for his(her) money, and help spread the word that this band is outstanding in a live setting.
"Million Miles: Live Recordings 1997-1999" - Bob Dylan
Columbia Records
by Rob Turner
Bob Dylan's importance to the world's musical landscape as a songwriter as been documented almost to the point of tedium. In the last few years, his importance as a performer, peer, and supporter of independent record stores has also emerged.
Just in the past calendar year he has helped to revive the career of two other extremely important songwriters of our day. Joni Mitchell hadn't toured in close to sixteen years when Dylan goaded her back to the road in May of 1998. Her notorious disdain for live performance was assuaged by Dylan's often-finicky audience embracing her return with great enthusiasm. Don't be surprised if she supports her next album with a long overdue theater tour as a headline act. Paul Simon was reportedly frazzled by his recent Broadway flop, "The Capeman." Apparently the arrogance of Broadway was not ready for a story chronicling the life of a murder, perhaps an example of why Broadway continues to fail to reach the younger generation (unless Pete Townshend lets them have "Quadrophenia"). Simon's CD "Songs From The Capeman," was an excellent release but it suffered from the association with this unsuccessful play. Last summer Dylan dragged Paul back to the amphitheaters for a very enjoyable, if expensive, co-headline tour. Although Simon was often blown off the stage by Dylan (not to mention the fact that he irked many Dylan fans by steadfastly refusing to deviate from his set list), he was clearly invigorated by the tour. He is now working on a new album, and should tour on his own sometime in 2000.
Dylan also presents awareness for the importance of the independent record store in this age of corporate consolidation. He has released two EPs in the last three years, and provided them free of charge to these stores to distribute among their customers as they saw fit. The more recent of these, "Million Miles: Live Recordings 1997-1999" reveals the Dylan band incarnation just before Charlie Sexton joined and Bucky Baxter left for this summer's aforementioned tour with Paul Simon. Thorough Dylan fans will notice that the exact same version of three of these songs were released on a bonus CD in Australia's version of "Time Out Of Mind." It is still a treat for collectors, and the version of Million Miles is not available anywhere else to my knowledge.
The CD is an excellent example of how Dylan makes up for his limitations as a singer. Mainstream society often criticizes his nasal voice, the ultimate example of some folks not "getting it." Dylan writer Tim Riley put it well when he said, "Like Elvis Presley, what Dylan can sing, he quickly masters; what he can't he twists to his own devices." Dylan is not about hitting high notes or striving to compete with Celine Dion. However, he can deliver the emotion and character of a song better than just about anybody in any genre of music.
A perfect example is the lead track on this short disc. It is the audio from a rare Dylan television appearance, recorded shortly before he received a few grammy's in early 1998. This heart-wrenching reading of Love Sick (as well as a mid-90s version of Forever Young performed on The Late Show with David Letterman, which hopefully will also be released someday) helped to put Dylan's frightening reading of Masters of War on a late 80s Grammy broadcast behind him. Far is it from me to try to attach any definitive meaning behind any of Dylan's sea of brilliant work. I do have a sneaking suspicion that this song is written about the lingering love he has for a woman who severely broke his heart when she left New York to go to school in Europe back in the 60s. More informed Dylan fans than myself have already speculated that, Don't Think Twice, It's Alright, was written for this woman, who appears on the cover of his "Freewheelin'" album. Love Sick represents a rare case of Dylan internalizing his venom. He seems frustrated with his ability to put such a distant love behind him. When he delivers lines like, "you destroyed me with a smile" the anguish in his voice could not possibly be lost on even the most casual listener.
This live version of Can't Wait gives an idea of how his band was shredding this song during late 1997 and early 1998 shows. It was performed at the tiny El Rey Theater in Los Angeles. This was part of a run of shows at the end of his much-celebrated "Club Tour" in December of 1997. Hollywood buffs will be interested to know that the flag-waving Dylan head Jack Nicholson was in attendance on this evening. This song gives an indication of the abilities of guitarist Larry Campbell, who replaced JJ Jackson (now with Lucinda Williams), in the spring of 1997. Larry's gliding guitar approach is an ideal backdrop for Dylan's piercing lead vocal. Campbell is an ideal complement to Dylan's choppy lead guitar lines.
On Can't Wait Dylan presents a character at once frustrated and enamored with a lover. This is particularly evident when he sings, "If I ever saw you comin' I don't know what I'd do, I'd like to think I can control myself, but it isn't true, that's how it is, when things disintegrate, but I don't know how much longer, I can wait." Also, when he stretches out the word "still" as he sings, "even after all these years you're still the one."
Million Miles is from February of this year, when it was following Dylan's set opening "Gotta Serve Somebody" at many shows. I always took this song to be about unrequited love, but in the context of following Serve Somebody it took on a new meaning. Suddenly, it hit me as a desperate plea to a confounding someone of a higher power (be it a deity, a boss, or a disinterested public) that the character is struggling to understand. This is the beauty of Dylan, as the way he will sing a work, alter a lyric, or at what point during a show he performs a song can all completely alter the meaning a listener takes from a song. When he sings "I did so many things I never did intend to do." on this version I feel he's appealing for mercy. Long time Dylan bassist Tony Garnier and ex-Jerry Garcia Band drummer Dave Kemper are locked in tight as Larry solos during the first guitar break. We also get an idea of why some critics have called Dylan possibly the most improved guitarist of rock's legendary elite. While some of rock's legends are struggling with newfound limitations, Dylan has found new life.
I would like to respond to the last line of the song where Dylan sings "I know plenty of people, must be someone want to put me up for a day or two." If you're ever stuck in Atlanta Bob, have your manager email me and you can stay with us as long as you like. I have two great cats and plenty of music to entertain you with. Hey, I'll cook you dinner, and maybe we can co-pen a few songs!
Anyway, our brief Dylan live encounter closes with a solid Cold Irons Bound. The studio version of this song garnered Dylan a grammy for (gasp!) best male lead vocal. This is a tight, but somewhat "close to the vest" version of this instant Dylan classic, also from the last leg of his December 1997 club tour. The song evolved into more adventurous spaces in 1998 (particularly during his European shows), with long spacey intros and extended Campbell/Dylan guitar duels. Live versions of CIB provide a window of how Dylan has been influenced by (dare I say?) The Grateful Dead. I'm sure many of the Dylan elite would disagree, as they are comfortable denying even the most blatant examples of The Dead (especially Garcia) having helped to shape Dylan's current persona (especially the brilliant but flawed Dylan biographer Clinton Heylin). Somehow they even overlook the fact that Dylan himself has credited Garcia heavily, but we all have our limitations in our analysis of music.
Hungry Dylan collectors may also want to seek out the other EP that Dylan provided to independent record stores in November of 1997, titled "Live '96." This one starts with a ragged but right, acoustic My Back Pages. Dylan even dusts off the always-welcome harmonica on this number. The highlight of "Live '96" is an expressive version of Boots Of Spanish Leather which is among the best versions I've ever heard. These two acoustic chestnuts bookend scorching versions of two songs that Dylan performs all too infrequently, Tombstone Blues and Ballad Of A Thin Man. The end of Tombstone has a great moment as Dylan repeats the same riff while JJ Jackson plays a riff reminiscent of The Guess Who's Shakin' All Over. I also love the way Dylan improvises "next time you do please remember pleeeeze to telephone" during Thin Man.
One interesting note, last February just before concluding his set in Nashville, Dylan commented that Thin Man was about "people who get into the show for free" and desperately seek for things to criticize. The target of his ire on that night was a local writer, who shall remain nameless, who had panned the outstanding "Time Out Of Mind". In typical Dylan fashion, he resisted his urge to perform it on that night. He did throw down...
Fans of Dylan covers should seek out the CD "Brand New Lifetime" by Jon Shain which concludes with a strong, solo acoustic version of Meet Me In The Morning.
"Out Of The Madness" - The Derek Trucks Band
House Of Blues 51416 1436 2 by Christopher Orman
If we accept John Berger's comments on art, to paint is to know your past, to comprehend greatness. When one comes to a high level of mastery they then unlearn. The great artist returns to a childlike state, clear and without any contrivances. At that point the artist has their own voice, and is able to create new art, setting a precedent with vitality.
One great example of Berger's analysis is the works of Rembrandt. Before he lost his wife, Rembrandt's works lacked sincerity, holding close to the forms which were common in oil painting. Once he realized society and the importance of the humanities, he began creating art that was not for commercial purposes, but for psychological purposes. Characters began to have a depth. These changes, a desire to create unfeigned originality, results in Rembrandt's high standing in the art world.
Music is certainly part of the art field and it would not be egregious to apply these statements to Derek Trucks. First and foremost is Trucks' age, a mere twenty years old. Secondly, he is just now reaching the heights where he can unlearn the past to create new a vital works.
In the meantime, "Out Of The Madness", is part of that ascension, the second step of many to come, in which Trucks finds himself and what he can create. This can explain the random genres attempted on this album and the numerous cover tunes.
This amazing album begins with a wonderful reading of Son House's Preachin Blues. There is a gospel flair to this tune, more than likely created by guest Matt Tutor's emotive voice. Trucks plays around with some of the slide parts that Son House played, never truly breaking from the mold. More than likely a tribute to Son House, it is also an example of his steps up the ladder. One must pay tribute and show where they come from.
If this theory is applied to all of the cover tunes, we can come to a deeper understanding of where Trucks is heading, or maybe not. Trucks along with Warren Haynes tackle Good Morning Little Schoolgirl, better than I have heard Taj Mahal, the Grateful Dead, Cream or plenty of others perform. Another cut, Ain't That Loving You, also stays in the vein of tribute. Yet, the most conspicuous tribute piece is Death Letter, in which Trucks plays solo acoustic slide, with Haynes adding his coarse vocals. With each piece, Trucks' smooth slide playing is exhibiting his comprehension of the art. Though at the same time, he never leaves the exquisite boundaries of the past. He remains within the confines of the songs, a sincere wink at the past.
Other cover tunes are used to show the other tastes of Trucks. For example, Look-Ka PyPy, a Meters' tune, allows him the freedom to mine the jazz/funk side which he illustrated with gusto on his eponymous debut. While the song maybe isn't as funky as the Meters' version, it still remains a show for his ability to adapt the slide to other genres. Another piece, the Frogwings' cover Kickin' Back is shaking hands with the Allman Brothers Band's classic In Memory of Elizabeth Reed. With smooth, Latin and jazz moments, it will be the song most embraced by jamband fans. It is also possibly the only song that gives a look into the effulgent future of Derek Trucks. Approximately five minutes into the song, Trucks takes a solo that traverses sounds not played with a slide before. Possibly he had returned to an infantile moment of clarity with no restrictions abound. Or as Freud may say, "he has returned to that primitive man stage".
"Out Of The Madness" does not have an enormous amount of originality, especially for blues fans. What it does exhibit quite remarkably is one artists' movement up the ladder to the plateau of dynamic originality: setting a new blues precedent. For those who want to have something of the next great guitarist, grab this album. Someday, you will be able to put it on and listen to how far he has come. It may be somewhat akin to comparing an early Rembrandt with a late piece, and therefore to realize the heights he reached.
"Help Us Get High" - various artists (produced by Richard Gehr)
Shanachie 5738
by Jesse Jarnow
Excluding soundtracks and tribute albums, there are basically two purposes for compilation discs. Both stem from the smart business sense of putting a fairly diverse roster of artists onto one release. The first cause, far more popular in the mainstream than in the jambands scene, is a for the album to benefit some worthy aim. The premise is that the more bands on it, the more people will purchase it -- crossover appeal. More records sold, more money to the cause (at least, in an honest world).
This crossover appeal is the basis of the other reason for compilations as well -- exposure: It's to get rabid fans of Band X to purchase an album because of a previously unreleased track by that band... and hopefully get turned onto Bands Y, Z, P, Q, and J as well. Or, by that, it's to get people who have never heard any of the bands into them by providing a broad overview as to whatever coagulation the bands emerge from. Judging by the musical content alone, "Help Us Get High" might possibly succeed amply on both levels... if not for two things: the cover and the title.
Perhaps it's a case of forcing the listener not to judge a book by its... well, you know the rest. Or maybe it's just a way of everybody involved laughing at themselves. Either way, the cover is some scary shit. For those who already listen to jamband music, and can laugh the title off, the illustration is surely extremely off-putting: two, er, hippies (one flashing the peace sign), stand in full Mansonite regalia - Xs replacing the infamous swastikas on foreheads - glaring evily, colored just slightly off and holding a sign with the album's title on it. They look like goddamn zombies, real "Night of the Living Dead" shit. Maybe that's it. Living Dead, get it? Nah, bra. It's just freaky.
The music, too, is freaky. But that's to be expected. It's good, in fact. Really good. In assembling these nine tracks, Gehr (co-author of the Phish Book, and all-around music writer) has managed to pick - for the most part - nine of the most diverse voices in an increasingly cluttered arena. Even those who practice fairly normal variations on improvised music are, at the very least, extremely solid representatives of the genre. Take the Ominous Seapods, for example. Until lead guitarist Max Verna's departure a little less than a year ago, they were - perhaps - the perfect practitioners of straight-forward jamband music. Genres combined in balanced proportion and, thanks to Verna's soaring guitar lines, the band managed to play a generic white-boy funk sound really damn well. Their contribution, the title track off of their 1998 album "Jet Smooth Ride", grooves in an easy drive-through-your-hometown-in-your-parents'-car-at-a-brain-curdling-velocity kinda way.
The other straight-forward track on the album -- Jiggle The Handle's Something About You provides the disc with its only real bummer. As tight as the band is, and as fun as they can be in concert, this track doesn't hold up very well. Unfortunately, at least in terms of jamming, neither does that of the Seapods (as much as I love Max-era 'pods). The jams, respectively, pan the two ends of the spectrum. The Seapods, while retaining the aforementioned groove, push through the changes but, unfortunately don't get very far. That's unfortunate, because the 'pods were certainly capable of doing such a thing during that time period. Meanwhile, Jiggle's jam disintegrates into what feels like an inconsequential spaciness. Both Jiggle The Handle and the Ominous Seapods are tight bands who are fun to listen to. For proof of the Seapods status as a tight - albeit quite musically normal band - check out their 1998 live release, "Matinee Idols". The problem here, though, is that neither of the tracks really stick -- at least in contrast with the high weirdness that permeates the rest of the disc.
Slightly odder than the 'pods or Jiggle The Handle, if only because of the composed middle section, is moe. -- the closest thing there is to a big name on the document. In the past year, moe.'s experimentation has turned inward -- a rare step for bands in the genre. While the band still plays expansively and stretches out, their focus of late - combined with the (re)addition of percussionist Jim Loughlin to the band - has been an increasingly more intricate dynamic focusing on subtler colors and tones within their improvisation and, more often, within the songs themselves. Recorded at the tail end of their fall 1998 tour, one of their last shows before the return of Loughlin, Buster showcases the measured listening of guitarists Al Schnier and (especially) Chuck Garvey. It's interesting that the band would make this turn now as they move into larger, boomier halls where subtleties tend to get swallowed by the vastness of the rooms. It's nice to have a pristinely mixed soundboard recording.
The next track on the disc, The Hosemobile's Big Bird and Pot Empty, picks up (unintentionally) on a thread from Buster's composed middle section and comes off sounding sort of like Bob Weir's Victim or the Crime as played by Phish circa 1988. It's heavy. In fact, it sounds almost like... Mr. Bungle, the demonic circus-music geeks that are the mutant children of Faith No More and John Zorn. Hippie music? Hardly. Perhaps the Manson children on the cover of "Help Us Get High" are to tourheads what the glaring clown on the cover of Mr. Bungle's self-titled debut are to actual clowns. Hosemobile is sludge-jam. On Lincoln, the now defunct Boud Deun lay down an impressively dark base, on top of which violin player Greg Hiser plays an arching lead -- which is what gives Boud Deun's track a flavor unmatched by anything else on the disc. The violin is an instrument under utilized in improvised rock. While similar to guitar in the way it fits in with the music, its tone and phrasing are substantially varied enough for the track to separate itself.
Before continuing, I feel the following must be put on the table: All of these bands have the ability to separate themselves from the pack. That's why they're here, on this disc. Within the insular jamband scene - not to mention the worlds and universes outside of it - there's a lot of good music to listen to. What makes it more frustrating is that, generally speaking, those who listen to this kind of music are addicts. At least, I am. I guess I should only speak for myself. My first instincts upon hearing a cool new band usually push me to do at least some of the following things: sign up on their mailing lists (official and fan-based), trade for some tapes, check out tour dates, plan my next few weekends when I should be doing work around seeing them...
I'm not blown over by too many bands anymore. There's a lot of talent out there, but a lot aren't quite sure what to do with it. Nonetheless, I don't feel out of place saying the following: dammit, this album is dangerous... at least in that regard. I'm an obsessive person. When I get into a band, I want to get in to them. I want to understand them somehow. Thanks to the miracle of tape trading, there's plenty to understand. That's almost the problem. I've been listening to Phish for nearly seven years - the longest I've probably ever focused my attention on any one group - and it's a daunting task keeping up with them. Jamband music is not pop music -- and it's not for those with short attention spans. It's a high maintenance activity. The question raised, then, is whether or not I spread my listening attention thin by getting into every band presented here (or, rather, the ones that I'm not obsessed with already) or smile happily and acknowledge that these bands are great... but I simply don't have time to devote to them all.
Schleigho, for example, kicks ass. So do Fat Mama, for that matter. Both take on improvised music from the jazz extreme of things, both laced with just enough funk and rock to consider calling it something else. Schleigho's contribution, Biscuits, utilizes their primary hook by grooving tightly and fluidly. While their sound here isn't outstandingly original, it is certainly extremely well played. Moreover, one can hear the band members listening intently to each other -- even if the result isn't most out there piece in the world, close listening will provide numerous pleasantries. Fat Mama are a rarity in the jazz end of the jamband world as perhaps the only combos that integrates genuinely free music into their sets. This is the starting point for Yidd Panther, featured here, which starts as chaos but coalesces into order as various instruments drop into their parts. Gehr's liner notes pretty well sum it up: "old-fashioned, chat-driven jazz meets the dark face of electronica". Erik Deutsch's keyboards bridge dissonance with melodic invention and link multiple heads into one beast.
Firewater, by The Slip, contains perhaps the purest improvisation on the CD. It is, in fact, entirely improvisation -- an excerpt of a jam that the band particularly dug -- and certainly a wonderful example of what they are capable of. Putting all of these bands onto a spectrum, Firewater may be the complete opposite of The Hosemobile's Big Bird and Pot Empty. While The Hosemobile feature composed darkness, the Slip's music - here, in particular - is simply ethereal dreaminess -- and, quite possibly, my favorite track on the CD. The jam, while continuing some melodic elements of Eube (perhaps the source of the improvisation) from 1997's "From The Gecko", floats on a sparsely lush bed of noise that is simultaneously rhythmic and melodic. The size of the wave and the force behind it are all one thing. That's exactly how Firewater -- like waves pushing up against the ocean shore on a quiet evening.
While the Slip's improvisation is a calm night, the regrettably short jam on the Disco Biscuits' Little Betty Boop is a cyclone, led here by Aron Magner's pulsing keyboards. The sound quality on Boop, compared to the rest of the album (which is across-the-soundboard top notch) is pretty atrocious, tinny and booming... swallowing up, for the most part, Marc Brownstein's bass. Nonetheless, through the echo, one can make out the makings of something new. The recording, made in June of 1998, catches the Biscuits on the very tip of the tip -- close to the beginning of their techno excursions. What we hear here, before it fades and the CD player shuts off, is a band pushing at the boundaries of traditional jamband music. It hasn't quite broken through yet, on this recording, but with the hindsight of the past year and half, it most certainly has. The energy is palpable.
Little Betty Boop, like many of the tracks here, fades out. The story somehow feels incomplete, though the promise of more shines through. There is more to all of these bands -- there's even more to most of the actual music presented here. It's like a radio serial, if you want. Or something else. Much like the world of ponds in C.S. Lewis's "The Magician's Nephew", each of the tracks here appear to be a glimpses into much larger worlds.
"Sharp In The Flats" - Ekoostik Hookah
self-released
by Christopher OrmanTaking Friedrich Nietzsche's comments on history and analyzing many jambands, an interesting notion can be constructed. Nietzsche feared the monumental history, achievements of great magnitude made previously by man will weigh heavily on those trying to create art, writing and this case music for those in the present. The fear was that many in the present would become antipathetic and refuse to create art, feeling greatness had already been achieved. Many jazz artists have this fear, with their genre including names like John Coltrane, Miles Davis and Bud Powell. Almost all jambands have a deer in headlights look, with the great monster The Grateful Dead staring down. Bands in this scene are compared to the Dead, in the realms of songwriting and improvisation. Then if they are too close to the original, they become ostracized as a burlesque of greatness.
This must be the case with Ekoostik Hookah. If not, then I have no reasoning or logic to explain the fact that they are not a prevalent name in jamband houses around the country. Their latest release, "Sharp in the Flats" is an example of a band treading on the lands of Grateful Deadom, of this enormous monument, with no appearance of trepidation. They stand toe to toe with the past, recreating it and never sounding like a cheap imitation.
Before flying headlong into analysis of this remarkable two CD set, the title itself is somewhat outré and possibly a double entendre. "Sharp in the Flats" if you say it fast enough sounds like "Shark in the Flats". A shark, in a shallow waterway, with people splashing around, ready to wreak havoc. Or maybe a shark that is prepared to take on past history. Now if one takes the title straight, it is the perfect definition of improvisation. Throwing around scales, sharps and flats, reaching the outer limits of the musical universe.
With such an intriguing title, it is obvious the music is going to be good. Yes, Ekoostik Hookah follows the same musical paths as those of the Dead. Lyrically they are the most sincere in the genre, redolent with Robert Hunterisms, poetic and uplifting. The first CD begins with Utopia, a decent song, yet once the listener hits Faces In The Crowd it will be impossible to remember the first tune. Featuring a gorgeous bridge and sing along chorus, it literally brings chills to an old deadheads spine. Of the eight songs that make up the first disc, Loner, a song off of "Dubbadubbah", is the highlight. Acoustic guitar and electric melt together, with lyrics about youth, which call to mind Van Morrison's And it Stoned Me or Wilco's Misunderstood.
On the second disc, the band moves closer to the monument in front of them. Moonshiner, an old bluegrass tune, is reminiscent to the Dead's western portion of their shows. Its change of pace is similar to what El Paso was for the Dead. Not only that, this shows that Ekoostik Hookah, like the Dead did, enjoy their music running fresh off the mountains of Appalachia. Yet, this disc is also the one showing a departure from the paradigm. For example, Alexander, which is plentiful with tempo changes and a jam section reminiscent to the Allman Brothers Band, would not have made it into a Dead set. Another illustration is the funky Roller Coaster. This song would probably fit better into a Phish setlist, with its deep penetrating groove. Imagine Weigh with a hammond organ, and you have Roller Coaster.
Writing twenty paragraphs, one about each song would not do Ekoostik Hookah or this two CD set much justice. What can be said, is that it all sounds so familiar, yet different. While that isn't the most astute comment, actually an oxymoron, it is the only way to summarize this album. It shakes hands with the past, sounding very much like the band people followed for years. Yet on other levels, the sound is unique, mixing in Allman Brothers and Lynyrd Skynard influences, which saves Ekoostik Hookah from being considered a Dead knockoff. Do yourself a favor and purchase this album. It represents everything this scene should be about. Maybe they don't destroy the monument, but they definitely give it a run for its money.
"In It Again" - Jiggle The Handle
self-released
What happens when different colors and shapes, held in place by mortar are arranged in various patterns? In the world of art this description could bring thoughts of a style called mosaic. With this style the artist takes varying shapes, colors, and textures and places them together in a very specific pattern to reveal a larger picture found within. The key to a mosaic is, each little independent piece of the puzzle is needed to form the true masterpiece. Without one, it can't be complete and the whole work suffers. But when everything is together and in the right place it looks so freakin' cool. So, by now you're asking, "How the hell does this factor into a review of the new Jiggle The Handle CD?" Two ways: first, the cover art for Jiggle's newest disc "In It Again" is a picture of a mosaic. A fine example of the definition above. Second, I believe that in some cases an album can also fit this definition, without bending it too far from the original. "In It Again" fits this idea perfectly.
As the opening track In It Again (Part II) fades in, a slinky, even sexy funk rises from the nothingness. The words, "This is your life, You better start living" ring clear and true as that funky drum beat and punchy bass line begin to fade off. Yes, it's a short song but it makes a couple more appearances later on and in sticking to my theory of a musical mosaic this track - the In It Again trilogy, if you will - acts as this mosaic's mortar holding the pieces of this album together to make it a whole.
Walking Backwards the albums second track starts off with a drum beat very similar to the intro of Bouncin' by that, umm... other band. That's alright though 'cause it works wonderfully with the calypso feel of this tune. Some of the best lyrics on this CD are contained in this song. The message is quite simple, live life to the fullest and enjoy life as it comes to you... find yourself and reflect on how life has been good to you. That's what it means to me anyway. I thoroughly enjoy this song. Bouncy, fun, and it has a good message. Before you know it the lyrics are through and they've segued into the beautiful song Twighlight Kind of a subtly chaotic piece in a way. I envision the time in the evening when the sun is just going down and the air is calm and cool. But if you think about it, at that very time when things are calm and wonderful on our half of the planet the sun is just beginning to scorch the earth again on the opposite half. Twighlight fades out...
Ah yeah! Disco funk complete with a wanky talk-box solo, Fine Line would have made the '70s proud. A song about standing on the brink of insanity without completely losing your mind. All I can say is ya gotta love this disco funk.
The next track, Everything is a bit of a departure from the first few... but in a real good way. Kind of has a Paul Simon "Graceland" type of quality to it. Soft subtle guitar, rolling bass lines and heroic keyboard flares. It builds to a beautiful climax in the guitar solo that leaves this listener soaring.
In It Again (Part I) appears next reviving pieces of the first track. This one is a little less funky... only a little, and has a dirty blues feel to it. I can actually feel the guitar getting picked... HARD. Yes indeed, they are in it again, adding a little more mortar to this work, while still piling on the unique pieces of this puzzle.
Reggae with a bit of Sublime flava. The track Slow Down is a powerful song, literally echoing from the speakers. Every note seems very exact and important. No wasted noise in here, no way.
The Dragon brings us in another direction that we haven't heard yet on this disc. Jazziness is abundant on this one. But wait this is a multi-track affair, not just one part... not just two parts... not even four parts, this one's got five. The Dragon comprises the opening lyrical segment and a beautiful mellow jazz jam that builds and leads into a majestic portion called Dream. This track gives you the feeling that you're flying and can do whatever the hell you want. Simply a beautiful yet psychedelic piece, quite possibly my favorite part of the entire album. From every dream we must awake, and that's exactly what follows. Awakening, a frantic pace begins to build and wild drums, guitar, and bass begin to fill the room, the dream is over but we're still not fully aware of our surroundings. From the ashes of Awakening a new chaotic twist emerges. Out Of The Darkness represents that place between being awake and falling back towards dreamland. It's the point just before you hit the snooze one last time. Then finally just as you think this can't get any weirder The Dragon Reprise is upon us and we're whisked back to safety by the mighty dragon.
Finally starts with an awesome acoustic slide line that leads you to believe this one may be a little bit country, which is an alright thang. Then with the blink of an eye, that thought is gone and they proceed into a straight up pop rocker. When the first chorus comes a ska groove makes a brief appearance. A very poppy number that's very dancer friendly.
The album ends the same way it began, slathering on a little more of that mortar, In It Again (Reprise). This time it's just the vocals but it's just as powerful and an awesome way to end this album.
This album has just the right mix of everything: textures, styles, and sounds. From the calypso Walking Backwards, to the disco funk on Fine Line, add the reggae beats on Slow Down, and the jazzy stylings of The Dragon; this album creates a unique, whole musical image that leaves you reeling for more. So many styles that work so well together, if it is possible to call an album a musical mosaic, this is surely one.
"Interplanetary Escape Vehicle" - Sound Tribe Sector 9
self-released
by Evan Leon
First of all, a quick disclaimer. Sector 9's CD sounds very little like what you will hear at one of their shows. Sure, I have seen them play most of the songs off of the album at shows, but the album makes them sound like more of a prog rock or a funk band, which I guess they are to a degree. There is an interesting parallel between, say, The Disco Biscuits' last album being recorded right before their real jump into their techno-flavored Bisco and this album, because it seems that Sector 9 made a similar move, not in style of music exactly, but the fact that the recording was done right on the border between their two styles of music. As said before, this produces the startling effect of the CD not preparing you very well to handle the live show.
Barring all of the good and bad points of both of their different styles of music for now (before and after the album came out), this album's got some really catchy stuff in it. Many of their songs are built on impressive, euphoric riffs seemingly influenced by a combination of Primus, Rush, Yes, and ELP, that are not properly given justice on the album, since they work much better if they somehow appear out of thin air after a twenty minute jam.
For example, my personal favorite here, the Moon Socket > Hubble, which opens the album. Moon Socket apparently follows the standard jam song structure here, done very well, in Sector 9's unique also-techno-inspired-but-not-quite-trance style and fades out into a small jam which lands on the spacey Hubble. About a minute later, the song explodes in one of the cathartic hooks I was talking about, then jams on with increasing intensity, and drops back into an even more impressive section that leaves awestruck, stunned looks on peoples' faces in concert. I believe that the fact that the jam in between is a short two minutes on the album, while it can go on for considerably longer live, is a large factor in the emotional effect of that particular section, and there are many, many more sections like it on this album.
As for the other tracks on the album. Wika Chikana follows, providing more of a funk groove, and actually getting really deep at points. It's definitely a stark contrast to the feel of the rest of the album, and all of the other songs of theirs that I have heard. Next is H.B. Walks to School, which has many tightly composed sections, and I have never seen it live, so I don't know if it is consistently performed this way. I would not mind at all if it was, however. Very upbeat, bright... very easy to picture a little kid walking down the street on a beautiful day. This is also the closest thing to actual Prog Rock on the album as well. A good comparison, if anyone knew the Goo Goo Dolls when they actually used to be a badass punk band, their instrumental ballad thingy Iggy The Cat Gets A Bath reminds me of this song a lot. Four Year Puma comes next, which provides the most insight as to where Sector 9 were headed right after they released this. Very tight fast funk groove with that extra unlabelable quality that makes it all their own. Definitely techno-inspired somehow, but it's hard to place.
Tap-In, the next track, is usually the springboard for a massive thumpin' jam, which is hinted at around 2 minutes into the track, but it quickly gets cut off for some reason, which is cause for frustration for myself, and probably many other fans as well. Then comes Quests, which appears to be the largest musical accomplishment on the album. They have definitely come up with some formula for inspiring wonder and amazement through their music, and the potential of that comes through very clearly in this tune. I found myself playing the first two minutes of the song over and over again, because it's too damn good. Definitely a classic example of one of the recurring riffs I mentioned that works spectacularly after getting a little more distance from the song first, then jumping back into it. Unfortunately, the album ends on a bit of a low note with Evasive Manuevers, which gets your head nodding but is far less impressive than the rest of the tunes.
I realize that most of this talk leaves out a discussion of Sector 9's style, which should probably be important, since not many people are familiar with their style. The best thing I can think of is the first description that I gave, which is the Rush/ELP/Yes/Primus combination, and then they took all of it and threw in twenty minute jams with hard, fast drumbeats and percussion, solid synth and organ sounds, full bass and incredibly laid-back guitar (it's just about impossible to find anything resembling a guitar solo on the album, which is very refreshing). It's a really infectious combination, but it doesn't come out as well as it should in the studio, or at least it didn't at the time. My advice would be to get the album, but promise yourself that the next time they come to town, you catch the show. It should all make sense after that.
"Better Live Than Never" - Hidden Agenda featuring Andre Cholmondeley of
by Rob Turner
Within the past calendar year I have taken in my first two Project Object shows. They are an incredible tribute band, and they are helping to keep the music of the great Frank Zappa alive.
Although there is room for improvisation within some of Zappa's songs (especially King Kong) they are mostly intricate compositions which Project Object delivers with stunning accuracy. It is not surprising then, that when PO guitarist Andre Cholmondeley performs with his side band Hidden Agenda, they take a looser more improvisational approach. This is evident immediately on the aptly titled "intro" which features a four chord melody that descends into a jam where Andre is dueling with Ray Finn's electric piano (I think) which sounds like a violin. The guitar has a nice sound to it, but the jam meanders a bit, but just when it starts to build toward something we're back at the four chords. The second track is even more confounding as it sounds like bad ambient music and I'm puzzled as to why it's included at all.
With Brighton Noise we begin to get an idea of Cholmondeley's brilliance as an improviser. Andre rips a stunning guitar solo that could be referred to in Zappa verbiage as "stunt guitar." Antar Goodwin reveals himself to be a generous and savvy bassplayer, holding a steady beat, and then steering the improvisation to new territory just before the track fades. He then shows off his prowess as a solo performer on Cat Sequence which rendered my two cats useless on a recent listen, perhaps it had the same effect on Andre's cat....hence the name. Andre gets some very interesting sounds out of his guitar, and we get more of a window into his personality as a guitarist on this gorgeous track than anywhere else on the CD. It is marred by a weird sound glitch in the final minute.
Ray Finn paints a synth gem on Thirty Times Around, working very well with drummer Jura deAlmeida on the introduction, until Cholmondeley glides in with some fine guitar. We do get more of an idea of the range of Andre's own guitar personality in Hidden Agenda than in Project Object. However, he is clearly influenced by Zappa's "Shut Up and Play Your Guitar" album on this track. He does some nice work low on the neck, and he plays off drummer deAlmeida frequently. Ray Finn's electric piano reminds of a Zappa cohort, Tommy Mars, on the studio song Flesh and Blood/Solos. In the liner notes Andre comments that "everything I play is equal parts sloppy/well played" he may be referring to this track. It is a great track even with Finn and Cholmondeley's flubbed notes, as the interplay seems to shape the song. Although it is one of 5 tracks that Andre takes a writing credit for, I would like to know what extent of it is composition. If he actually wrote this challenging piece, we should keep an eye on him as a songwriter.
Santa Cruz is my favorite track on the disc. It starts innocently enough with some smartly placed Finn splashes of notes. This track, listed at recorded at "Saint" in May of 1996 (is this Asbury Park's legendary club?) finds Cholmondeley easing into the song with a riff reminiscent of Pink Floyd's Another Brick on the Wall. Perhaps sensing that they could stumble toward a derivative course, Antar Goodwin plays a flurry of notes, which eventually lead them on a different path. Finn is vital to this performance, as his wash's set the table for Andre's adventurous lead. However, if it were not for the listening skills and patience of drummer Roger Sherman, this track might completely fall apart. Juan Carlos Izaguirre steps up with some aggressive percussion, which guides the group to some new territory for the last couple of minutes of the track. Twisted Roots is the only live track from the last 18 months. Recorded in February of 1999, it finds Cholmondeley with a new array of effects. Jason Silverio is on drums, and Andre again plays off of him in Zappa fashion. Sometimes the effects are a bit too much, but the audience in attendance applauds rewardingly when he pauses for just a second. When he harnesses the power of these effects he should be an even more dangerous guitar player. Dave Hollander steps in to lend some well-placed sax work.
Pissing Match is the one written composition on this disc that the band seems to stick to in the live setting. Andre again has sloppy moments, but I just love his tone. It represents the most straightforward reading on the disc. Andre refers to some elephant in the audience, but doesn't elaborate in his brief liner notes. It inspired him somehow, as he pulls off a superb guitar solo after acknowledging the elephant. Stay Alive For This is another studio selection, yet it is an improvised piece. This one is brain candy, and it rivals Santa Cruz as my favorite on the disc. About four and a quarter minutes Andre uses a nice guitar effect, but unfortunately abandons it quickly. We get more gentle, subtle guitar on this track than on most. Then about six minutes in Goodwin and Cholmondeley lock into a funky groove that propels them through the end of the track.
The disc closes with the chaotic, aptly titled Unwind in the Insane Asylum. Roger Sherman provides the "unwind" portion, as his measured drumming anchors the track. Again we are treated to Andre's command of his guitar effects. However, the band seems to be on different maps at times during this number.
Andre is a vegetarian and he owns his own health store. Don't try and tell him chicken is good for you. He is also an earthy player, and it is comforting to know that someone with his exceptional talent is taking good care of himself. I don't know if Hidden Agenda tours outside of New Jersey (which Andre refers to as the Garden/Garbage State) but information on the band would be found at www.ufomusic.com. And of course Project Object is off the map amazing, and information on them can be found at www.projectobject.com.
"Seven Even" - The Emma Gibbs Band
self-released
by Dave Rioux
OK, who the hell is Emma Gibbs? When I first started doing reviews for Jambands I told Dean that I wanted to do bands that I had never heard of, that way I could listen with complete impartiality. But now I haven't slept for three days because I'm up all night surfin' the net trying to figure out where they got the name "Emma Gibbs!" I understand the first part is my fault, but come on! I can't be subjected to this kind of mental torture!! When you're as anal-retentive as I am, you need to know these things.
Alright, I'm better now. Besides, I never really asked any one. Now... on with the music.
In some of my searches I did come across a repeated quote about the band: "When pressed to categorize the sound of the Emma Gibbs Band, we describe it as a sweet blend of corn-fried okra and Miller High Life." Having never had corn-fried okra, and not being particularly fond of Miller "anything" (except that really cool bass-line at the beginning of the "Barney Miller" theme) this quote didn't really work on me. It did, however, lead me to think that they may be somewhat Southern in their musical orientation. Maybe with a bit of down-home twang; that kind of fun-at-the-barbeque, shit-kickin', good-to-dance-to-in-a-place-called-Mel's sound. But maybe not truly bluegrass. Lap Steel guitar and Mandolin are mentioned right in the CD jacket, so I know it's not Whitesnake's greatest hits.
Of course, I could pop the CD in and try to categorize it myself. So I did. Nope, not bluegrass, but kinda. Not really zydeco, but sorta has that sound sometimes. There's a cut (Down By Law) that reminds me a bit of Little Feat... so I guess we are starting to get a geographical sound anyway. Again, but that is written right in the jacket, along with an inner design that resembles a Celtic knot, of sorts.
There is a lot of energy in this music. Always an upbeat rhythm, marked with a bouncy-sounding Steel guitar, or harmonica riff. The first cut Travelin' Tune demonstrates various levels of this. The repeating melody that you are introduced to at the beginning has some serious "hook" going on in it. My daughter (who is only 4) said to me upon hearing it, "What movie is this from Daddy?" Which I can only assume is because it has "hook." You know, that kinda Disney-meets-Hooters sound that you get when there is a "fun" scene going on in a movie, and the producers are trying to portray just "how much fun" the characters are having. Typically I tend to review more in the jazz realm, and don't always listen to this style, so maybe that feeling of fun follows the bluegrass-country style around like a dog follows a sloppy hotdog vendor around at the county fair (or ridiculous metaphors follow my reviews around!)
One of the driving sounds in The Emma Gibbs Band seems to be Will Straughan's blend of sound/talent. His mixture of mandolin, lap steel, dobro, and trumpet (all very decidedly "southern" sounding instruments) and his claim to influences by the likes of Bill Monroe, Sam Bush, and Doc Watson; help to contribute to the "high and lonesome sound" that intermingles with the rest to give the band their unique draw. Personally, I like his approach on such front-running instruments. The trend on such, seems to be overpowering for most artists; whereas Will tends to add flavor without demanding total control.
The cut Down By Law reminds me so much of Little Feat's Two Trains that within the first few seconds of listening to this song, I had jumped to that particular conclusion. Drew Cannon lists some of his influences as Bela Fleck and Eric Clapton. I can see how some of Clapton's slide work and Paul Barrere's stuff can sound similar at times, especially in this instance. So to most it may likely sound more like it's Clapton influenced rather than Barrere, but to me the resemblance to the latter is uncanny. I probably shouldn't get as hung up on this particular song as I did, especially seeing it's a very non-typical song for this disc, but it is defining.
To define that particular high and lonesome sound that I spoke of, I'd like to recommend the cut As I Walk On. The 1-2 beat and constantly strumming acoustic guitar have such a melancholy sound, highlighted by the rippling accents of mandolin, that it could have come right from early NRPS. There are some striking parts during which the guitar and mando following each other note for note, in a kind of Allman Brothers' follow the leader pattern. I was also a pleasant surprised to hear some wonderful fiddle playing during As I Walk On that I should credit here to David Blackmon. Its lilting and sweet, and fits perfectly within the piece. He also appears in the first cut Travelin' Tune but I wasn't as aware of him there initially.
The vocals, however fitting to the genre, are my biggest concern. Richard Upchurch's lead vocals tend to come off as flat, albeit soulful. The harmonies fit nicely within the framework, but overall I would tend say that vocals/harmonies are probably Emma Gibbs biggest shortcoming. I should mention in passing that the lyrics are intriguing in many instances, and found myself wishing they had been included in the jacket. Upchurch has a unique way of painting his pictures, one that has got to be better than yours truly romancing dogs and hotdog vendors.
Emma Gibbs was a refreshing listen for me, one that I enjoyed on many levels. Although they aren't perfect (few are), they have youth and talent. A combination that has landed many a comparable band the fame it deserved; I don't see why Emma Gibbs should be any different. However, I would like to know where they got their name.
"The Wop Boom Bam!" - All That
Rounder
by Chip SchrammThe most exciting thing about the jamband scene at the present time is that it has no boundaries. Since most jam music is jazz influenced and fusion based to at least some extent, there are countless avenues yet to be explored by musicians of every genre. The latest release from All That, the New Orleans funk, soul, jazz, rap outfit, plows down these streets on an irreverent joyride. Whoops, there goes the neighborhood. Mixing and molding various influences into original work is the key to making just about any kind of successful art form. Creating original work with enough pizzaz and style to keep the public's interest is another task entirely. All That manages to pull it off without putting up a front or trying too hard to be something they are not. The sounds bubbling from this album aren't the kind of thing you want to play over Sunday dinner for your mother, but the combination of witty lyrics and the unique style of New Orleans brass should win quite a few converts in the months to come. Describing the sound of All That is a daunting task. Try picturing Funkadelic after eating a loaf of crawfish bread for breakfast. Now take Cypress Hill and add a touch of class. Add a guy on Sousaphone instead of an electric bass and what you have is a whopping chunk of energy. Alex Chilton, a successful musician in his own right, gives an honest assessment of the group, "I'm not too fond of funk, I'm not into brass bands, and I don't like rap, but I love this band."
All That has a lot of funk in everything they do, especially on the first track, Funk With Me. Funk With Me is the kind of song you put on at a house party when you're ready to get freaky. It serves as a fitting theme song for these guys with its swinging guitar grooves and punch bass lines. With lyrics like "come on baby, funk with me, you take me to ecstasy, lets all do the freak nasty, like Pamela and Tommy Lee" who can't help but admire freewheeling attitude of DJ Davis and Derreck Freeman? They play organ and drums respectively, but both do a bit of singing and rapping throughout the album. The rap isn't insincere or too egocentric, they just like to tell the story of life through their own somewhat blurred vision. On Collegiate Dope Slingazs, Davis and Freeman reveal the secret to their high marks in business school. All That paints a satirical picture of the modern college life, for better or worse. Again, any band bold enough to write a song like this is definitely worth a closer look, even though it earned them one of those little stickers on the front of the CD wrapper.
All That knows there is definitely two sides to every story, so they brought on Theryl "Houseman" DeClouet to sing on track 5, Flow On. His smooth, steady vocals are well supported by the horn section of Antonio Gambrell, Corey Henry, and Doug Miller. The Houseman encourages those who erase their brain cells on drugs to "come to your senses while you still got the time". Aside from recording a great track himself, Houseman provides a little yin to the yang of "The Whop Boom Bam". The band raps a little more audaciously on Shut it Off, throwing in quite a few creative rhymes to hip-hop flava of the tune. Play this one loud enough and your neighbors might agree.
One of the hallmarks of New Orleans jazz players is their willingness to jam with one another in whatever setting presents itself. This attitude is prevalent throughout the album, both on the rap tracks where live horn sections are normally pretty rare, and also on the instrumental tracks like El Futuro and T Chapman. Matt Perrine hits all of the bass lines really well and bounces back and forth between the trumpet and tenor sax throughout. The sharply rising and falling melodies evoke memories of street parties during the Mardi Gras season. They even tackle the Led Zeppelin classic Moby Dick, giving it their own unique twist. All That has so many pieces to play with that all of their songs are distinct from the others.
Anyone who has ever tried to organize a large musical project can relate to track number 6, Los Hombres De F.I.A.S.C.O. The messages on Davis' answering machine alone provide plenty of laughs, and the accompanying song, Fiasco, proves that All That can have a good time onstage without taking themselves too seriously. Making music that the average club patron can relate to helps the bond between listener and the band. The last two tracks on the album are something a little different, too. Davis sets some tongue in cheek poetry to the ragtime jazz played at Café Sonique on Red Beans. His vivid narration of the New Orleans experience flows through the French Quarter and out over the river like a kooky urban legend.
Overall, All That assaults the listener with a barrage of vocal and instrumental sounds that need to be listened to in their entirety to be truly appreciated. The songwriting in particular is honest and hilarious as All That refuses to trade off their style or substance. Some of the rapping might be a little more than some jamband fans might be accustomed to, but that is beside the point. These guys aren't too concerned with image to goof off a little and reveal their inner freak. Kind of like the movie "Friday" was to "Boyz in the Hood", "The Whop Boom Bam" tells a more palatable tale of urban delinquency than those presented by hard core rap and hip-hop artists. All That is a party band, so grab a copy of this disc the next time you are ready to get down. You won't be disappointed.
"Brand New Lifetime" - Jon Shain
by Rob TurnerThis new release is like a sonic walk through the warm fields of Americana music. The elegant accordion of Chris Frank (Red Clay Ramblers), and the cool mandolin of Charles Pettee (Shady Grove Bluegrass Band) call to mind the early days of The Band on the opening track, New Year's Day. It is immediately apparent that Shain's characters are real people, aware of their shortcomings. This character is hitching hiking across the country. The truck driver that taxi's the central character is described thusly, "He was wearing a cowboy hat, smokin' dope from a one hit bat, he must have been an old army bat, from the distance in his eyes." Later in the song the protagonist reflects on the woman for whom he seems to be travelling. "And her backlit silhouette, and her graceful pirouette, it was a silent minute, on a castle ballroom floor. Watched her cross the hall to me, eyes locked in harmony, when we kissed it was a symphony, crashing in my core." By the end of the song we discover that he is only dreaming, and he has completely blown the relationship with this dreamy vixen. However, he is able to accept responsibility and move on.
Shain has a way of sponging optimism out of the most painful topics. Come On Down finds a lonely character who somehow revels in his anonymity. With the fuzzy Spanish radio intro and outro, you can almost picture the character pining away in his lonely room. However, as the character longs for this person (or it could be an artist speaking to a world of people lost in their egos) to come on down to his cool and dark abode at the bottom of the stairs, one gets the feel that he is content in his world. As he eyes the object of his curious affection, he comments on the person's white stockings, chocolate brown shoes, and face hidden in the shadows. He seems to want to cure the other of a life lost in vanity. Then Shain busts out the a Gibson LG-O from the sixties to finger pick to deliver the old-timey Porcupine Rag which has a bridge reminiscent of the bridge in The Kinks Lazin' On a Sunny Afternoon. The listener feels for the character until his shortcomings are revealed in the final verse, "all I want to do is take my time, take you home and take what's mine, why you gotta go and do me like a Porcupine"
Those of you who like to sort out the more lyrically challenging songs should relish the Neil Young inspired The Captain's Song, as we are treated to a "remote viewing" of the ups and downs of a destructive relationship. Jack Barakitis' smooth Hammond organ input lends itself to the contemplative nature of this number. Shain is reunited with his bandmates from the critically acclaimed North Carolina songsters, Wake on Summer Is Over. Hearing Mark and Kirsten Simonsen during this will warm the hearts of fans of this band on this piece. Rolling Stones fans may find Summer Is Over particularly enjoyable, as it conjures up images of their early 70s studio albums.
We get Jon in his purest form with a killer live version of Dylan's Meet Me In The Morning, and another finger-picked masterpiece Loan Me A Year. The latter is one of two songs that date back to Shain's days with the Southeast's jamband, Flyin' Mice. The other, Light Still Shines is one of two songs that actually may have some mainstream appeal. Virginia City Girl is the other in this vein, and they both have straightforward meanings and less complex characters. Although I find it curious to have these two appear consecutively on the disc, it somehow works. Light Still Shines features the sparkling backing vocals of Ashley Carter, and some courting lap steel from Scott McCall. Drummer Steve "Bam Bam" Brophy gives this song some rhythmic depth by coloring with maracas and guiro. John Currie's dobro greatly enhances Virginia City Girl, as do Mark Simonsen's and FJ Ventre's backing vocals.
A gentleman by the name of Wyllie lends some sitar guitar to the title track. Although Jon's endearing trademark energy yelps are usually more than welcome, this one seems out of place when offered before a sitar solo. This song speaks to the uncertainty of life and tells us that if we embrace it, our lives can be enriched.
Shain's unique creativity is a logical extension of having grown up in a gritty Northern suburb of Boston, but having cut his teeth musically in North Carolina's triangle. He has a love of Carolina musicians, especially bluesmen Sonny Terry and Brownie McGee. His fondness for the South is exhibited in New Orleans '88, chronicling an inspiring trip through the heart of the South. Fans of Hobex and the now defunct Dillon Fence will recognize Greg Humphries' hearty voice on this track.
The crowning jewels of this CD are Child Of Tomorrow's Summers, and Sapphire Sky Shain's two strongest released songs to date. The former is a brilliant lament of children born into today's world of violence, greed, and confusion. I have a hunch that Sapphire Sky may be a rare autobiographical tune written for the woman Shain married a couple of years back. It likens the inspiration associated with finding one's way through the love of a woman, and draws parallels with the awe and wonder contained in the sky. This song is nothing short of outstanding, and could tug the heartstrings of even the coldest of souls.
Shain exhibits a shrewd sense of where guest musicians are needed. He smartly uses Boston bass man FJ Ventre's instrumental skills on six tracks. Ventre's bowed upright bass is pivotal to the performance of the aforementioned lead track. The drumming duties are shared between the colored approach of Mark Simonsen (who was also a member of Flyin' Mice and is reportedly beginning work on a solo album of his own), and the flawless performance of Steve "Bam Bam" Brophy. Brophy, another Boston musician, owns the studio that was the site of much of the raw tracks for this album as well. Ashley Carter's vocals are so gorgeous on two tracks that this writer has been forced to seek out her other work.
Shain's tour of the East Coast will extend through the end of the year, and it will include some radio gigs and some stops at Border's books. For tour dates, please check his web site at www.jonshain.com.
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