Fusion Geeks unite! What is probably the greatest assemblage of pure musicianship on a tour in many, many years just passed through the West Coast, and I was there. That's right, a set of Frank Zappa music followed by a set of Return To Forever, the greatest Jazz Fusion band of their generation. The icing on the cake was that RTF was joined by Jean-Luc Ponty for this tour, the most rockingest jazz violin player to ever pick up the instrument.
I hope everyone out there in the land of the internets had a grand 4th of July weekend, preferably spent far, far away from any computers or wi-fi connections. I had one for the record books: four days of camping and music up at the High Sierra Music Festival in Plumas County, high in the mountains. There was non-stop music from 10am to 4am, four days in a row, and I did my darndest to catch as much as I could. It is truly the most well-put together festie I've ever attended, and I would recommend it to any music lover. Here's my writeup of the long, exhausting, exhilarating weekend over at Jambase, supplemented with tons of awesome pics:
Having graduated from the same school of British blues-rock as Clapton and Page (all three played in the Yardbirds at one point, Page and Beck together for a time), Jeff Beck seemed to be the black sheep of this graduating class. While his chops were on par with his soon-to-be-more-famous cohorts, Beck's musical vision proved to be less accessible than his peers. Beck never strove for the bombast and arena-rock showmanship on the caliber of Cream or Zeppelin, and instead carved out his own legacy of instrumental music, churning out quality albums of blues-rock and jazz fusion over the years. He did score a couple of platinum albums in the mid-70s (back when the public actually listened to jazz fusion), but fell out of the mainstream eye in the ensuing years. His unique playing style (vibrato bar, no pick, finger tapping, etc) is instantly recognizable, and is known to pull sounds out of a guitar that boggle the mind. It's reassuring that Beck has had a resurgence in recent years thanks to a new-found musical relationship with Clapton. He is a true virtuoso, and deserves all the praise he can get.
Kath was the lead guitarist of The Chicago Transit Authority (soon shortened to just "Chicago") from 1968 until his death at 32 in 1978. His amazing talents were often obscured by Chicago's big-band format, which had a large horn section often taking the lead. Despite this, Kath managed to attract the attention of Jimi Hendrix, who once told Chicago saxophonist Walter Parazaider, "Your guitar player is better than me." Kath struggled with addiction and weight problems throughout the 70s, and has perhaps the most tragic death on this list. Kath was playing around with a supposedly unloaded pistol at a party, and put it to his temple and pulled the trigger. There was a bullet in the chamber, and Kath died instantly. His solo on "25 or 6 to 4," from Chicago's second album, is legendary:
Howe has seen his share of mainstream success as lead guitarist of Yes, and also had a stint with Asia in the early 80's. Yes was a giant in the music world through the 70s, and Asia scored a few pop MTV hits in the 80s, though few actually know Howe by name, and few know that he is equally remarkable on classical guitar as he is on electric. Prog rock has garnered an ugly reputation since its peak of decadence around 1974, and Yes has lost much of its street cred since, save for a rabid cult following that it maintains to this day. Howe still tours with Yes regularly, and with all his chops intact, taboot -- his otherworldly technical mastery is second to none. His acoustic skills warrant their own track, on top of some classic electric Yes freakout-rock:
Fripp founded King Crimson in 1969, and proved to be the only consistent member of the group, which saw drastic musical and stylistic shifts over its long history. He pioneered prog rock and heavy metal with his dissonant stylings and heavy riffage, and later dabbled in electronic soundscapes with Brian Eno, on top of many, many other side projects. What's notable about Fripp is that his guitar style takes nothing from the blues-based tradition, instead containing more of a European avant-guarde/classical influence. His music is certainly not accessible in any sense of the word, nor is it meant to be. Fripp has consistently challenged the ears of his fans over his long career, though he never ceases to amaze with the weirdness he conjures up with six strings. Case in point? The searing shards of sound he lays down on this Brian Eno track:
The lead guitarist for Deep Purple from 1968-75, Blackmore was a master of the hard rock riff, having written one of the most recognizable riffs in the history of rock ("Smoke on the Water"). Though this alone should be enough to cement his legacy, it doesn't scratch the surface of what he was capable of with a guitar. After quitting Deep Purple, he formed the since-forgotten band Rainbow, his own project which featured Ronnie James Dio on lead vocals for a time. Rainbow became legendary for its epic live performances, and with Blackmore's lightning-fast fingers at the hem, they crushed audiences night after night. He retired from hard rock in the 90s, and now plays exclusively folk music. Blackmore also warrants two tracks to show his prowess both in the studio and live. His flawlessly executed solo at 3:50 of "Highway Star" is one of the greatest ever laid on wax, while the live Rainbow track is sprawling in its messy virtuosity. Both are awesome, in completely different ways.
While most know him for his crude humor and absurdly challenging compositions, Frank Zappa was also an absolute monster on the electric guitar. No one has or ever will play the six-string anything like he did, as he brought his own twisted musical sense to every guitar lick he ever played. When improvising, Frank attempted to create spontaneous compositions with his solos. No one ever knew what he would play next, and he set his band up so that they would respond to what he played. This often resulted in new "songs" being created on the spot. The results were often bizarre and avant-garde, and sometimes sublime. I would recommend picking up the 3-disc set Shut Up 'N Play Yer Guitar for more on this technique, which is comprised solely of live guitar solos. As with the rest of his music, his guitar work exists in its own musical universe, free of influence from nothing but the genius in his own head (and maybe some Stravinsky).
This is a musician who has never bothered with mainstream success, and instead choose to always follow his muse, wherever it may take him. As a result he is impossible to pin to any genre, as he has dabbled in everything from folk, blues and gospel to Cuban and African music. Though he has released many great solo albums, he is best known as a studio session man, having played with every act you can name, including Captain Beefheart, the Stones, John Lee Hooker, and most recently, Buena Vista Social Club. Rest assured, whatever he touches turns to gold, as he is a true master of his craft.
he leader and founder of the original Fleetwood Mac, Green has been lost to time as one of the most gifted guitarists to come out of the British blues explosion of the 60s. It has been nearly forgotten that while Clapton was being called "God," they were calling Green "The Green God." He was really that good. Tragically though, like Pink Floyd's Syd Barrett, he was an LSD casualty who dropped out of the band by 1970 due to schizophrenia. After years of obscurity, he's started performing again in recent years. At his peak, though, he rivaled anyone in the world with his searing, soulful guitar work.
Buchanan was an American blues guitarist with a tone that could break your heart. A true virtuoso, he recorded a couple of albums that went gold, but never achieved any type of real breakthrough success. He struggled with drinking problems and got sober at one point, but could never shake his demons. In 1988, after being arrested for public intoxication, he committed suicide in his jail cell.
An Irish blues-rocker, Gallagher was a hometown hero in his own country. He achieved some success in the UK, but never really broke through outside of the British Isles, though he maintained a loyal cult fanbase throughout his career. His clean, furious playing is a joy to listen to, on par with Clapton at his dirtiest. Gallagher died in 1995 due to liver failure, at 47.
A Bay Area hometown boy and the lead guitarist of Quicksilver Messenger Service, Cipollina is considered one of the fathers of the San Francisco psychedelic sound - that classic vibrato twang is his signature tone. For years he was considered the Bay Area's best kept secret, and was content to play around locally in a number of bands after Quicksilver broke up. He often sat in with the Dead during hometown shows, and was beloved by local fans and musicians alike. He died tragically at age 45 in 1989 of chronic emphysema.
Need some greasy funk in your life? Look no further than Lettuce, the supergroup of all-star virtuosos which is guaranteed to slap you upside yo' head with a heavy dose of syncopated party groove. Lettuce recently headlined the Fillmore, sharing a triple-bill of epic proportions with Jazz-Funk trio Soulive and drummer extraordinaire Adam Deitch's Break Science. The coverage of this extravaganza is over at Jambase:
One of the finest acoustic/Americana acts in the biz today, The Devil Makes Three possess a show-stopping catalog of near-classic anthems of and for the working man. Hailing out of Santa Cruz, this trio has got songwriting skills and three-part harmonies that slay, and when given a chance, are very likely to work their way into your "new favorite band" category very quickly.
So who's excited about the Beastie Boys' new album? Coming a full seven years after their last proper hip-hop album (a long time even for them), Hot Sauce Committee Pt. 2 is a much welcomed return to form for these three pioneers of cool, especially as Adam Yauch is coming off of a battle with throat cancer. To have these guys still making super-fresh beats in their 40s is certainly something we can all be thankful for, here on this first night of Pesach.
This week's review tackles some pipin' hot, shit-kickin' acoustic music. The bluegrass/country/ rock-ish ensemble Hot Buttered Rum put on a raucous show last week at the beautiful Great American Music Hall, where they showed us their musical stew of pickin' + drum n' bass grooves ain't nothin' to mess with. These guys tackle the Americana of string band music with a rock band approach, and do it with grace and precision. They know how to put on a hell of a party too, said party being documented over at Jambase:
DJ performances are often hit-or-miss affairs for me, as I thrive on the act of spontaneous musical creation in the moment. But Chromeo is an exception of sorts, a hybrid "band" of two dudes who perform their songs accompanied by pre-programmed backing tracks. The experience is super-fun for those who come to dance their retro-butts off, though it left me somewhat wanting in musical creativity. But apples and oranges, I suppose. The guys are clearly talented musicians if they're cranking out track after track of insanely catchy, finely-honed retro-electro-pop. The fact of the matter is that they have a huge arsenal of sing-along worthy, funky-as-hell anthems that are guaranteed to please any crowd. Here's my review of their East Bay performance:
Cake is simply a timeless band. Whatever they do, it is of a consistently high caliber, and is always catchy and fun. For the past 15 years or so, we've always been able to rely on them to deliver their own brand of dry-humored pop-funk-rock-country goodness.
The Swedes were recently in town to bring us into their musical world a few weeks ago, and a sold-out crowd at the Independent was there to soak up every second of it. Little Dragon is a strange little band that excels in synthy, detached pop, and though their live show left a bit to be desired, their music as a while is thoroughly unique and worth seeking out.
Writing about instrumental music ain't easy. Especially exploratory, free-jazz-mind-fuck-fusion. Thus was my challenge when presented with the opportunity to cover and adequately express the music of Spectrum Road on paper. This supergroup of virtuosos has recently come together to pay homage to the inventor of Jazz-Rock, drummer Tony Williams, and the result is astounding.
The turn of the new year always brings lots and lots of great touring bands to the Bay Area, and there's no better way to dive into twenty-one-one than with a great big heaping slab of FUNK. That is just what Staten Island's The Budos Band brought to the Independent for a two-day run of deep, dark grooves. Equipped with a four-piece percussion section, these Daptone Records recording artists were here to slay, and they dug deep to bring it hard to a sweaty mass of revelers. Who needs vocals when you've got nine dudes deep in the pocket rockin' your socks off?
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