The Strange Tones Take Port Angeles

Crisp late summer day, perfect for a trip out to the Olympic Peninsula for the Port Angeles Blues Festival. As we cruised through a grove of sunlit fir trees and slid into the parking lot, we could hear the sound of rock music. Oh, I mean Blues, 'scuse me.

Strange Tones do it up at Blues Festival

That's the thing about The Strange Tones. They're one of those hip retro bands that easily moves between genres: rockabilly, blues, rock, pop, even a little country. Playing ALL THEIR OWN ORIGINAL MATERIAL! With so many tribute bands and cover bands out there, it was refreshing and very interesting to listen to a full set of original songs. And they can really write. The husband-wife team of Julie and Andy Strange (easy to name your band when "Strange" is your real last name) write a nice mix of catchy, danceable, and melodic songs that harken back to music you'd hear in those little surfside roadhouses in southern California.

And on top of the great writing, their musicianship is top-notch. Julie plays a rockin' turquoise blue Strat, while husband Andy holds and rolls it on bass, and Suburban Slim growls and scowls a fine rhythm guitar and vocals. J.D. is one of those fine (and rare) drummers who knows dynamics, with that tricky combination of soft hands and a pounding bass, making it look easy. But wait! Remember those Pete Townsend guitar moves? All three (including bass) strut and arch in a line-up, coming at the audience. Love it!!

Their disk "Crime-a-billy," recorded in a secret, under-volcano location "to protect and serve your ears," literally takes control of your shuck and jive dancing feet. I especially like the fun and funny song "Something Stinks" which reminded me of early Brian Setzer material when he was at his finest. Melodic while punchy, the song deserves a better name! Get their "Crime-a-billy" disk on Meteor Sonic Records.

From Portland, Oregon, this band tours from Vancouver to Southern California in the summertime. They're back in their secret studio recording now. I'll be looking for their next gig!

LEED Zeppelin Wows Seattle

Why are there so few Led Zeppelin cover bands? Why are even fewer worth seeing? Because it's virtually impossible to nail Robert Plant's voice.

Enter Brandon Wisley, new lead singer for Leed Zeppelin. Brandon owns the experience with complete authority. With leonine swagger and curly locks, Brandon prowls the stage, waiting for the exact moment to unleash his tremendous vocal fury. Then, with artistry and modulation he woos such emotion out of Led's ballads, damsels beware. Not only does he nail the voice, but he exudes that Sex and Rock n' Roll animal magnetism with which Robert Plant was so mightily endowed.

The hair stood up on the back of my neck as I witnessed sublime and a heart felt renditions of some LedZepII material, which, in my opinion, is their zenith. To pull off a good Led cover, all the players have to be balls-out rock, and this band does it. Jeff Nelson on bass stoically rammed the beat home with Rich Rios and Chris Kiger. They are local boys, mostly from Black Diamond, with one member from another Led cover band called Kashmir, all superb.

Friend their Facebook band page, and check out upcoming shows.

Mickey Hart's Big Bang

Photo by Michael Weintrob

Mickey Hart Band

featuring Tim Hockenberry, Crystal Monee Hall, Vir McCoy, Ian “Inx” Herman, Gawain Mathews, Greg Ellis, and Sikiru Adepoju.

Tractor Tavern, Ballard, WA

December 1, 2011

I didn’t need any convincing to go hear Mickey Hart and his new band play a tiny brick warehouse in Seattle last Thursday night. Only 200 people? To hear this legendary seeker and world traveler, who made 22 albums and performed 2,300 live concerts spanning 30 years with the Grateful Dead? Not surprising, the entire crowd was dancing and cheering from the first note on. There’s always a magical “je nais se quoi” around the music and members of the Grateful Dead.

In an article I read recently, Mickey explains his theology. I think it explains his reason for being, and his special passion for music:

“Speaking as Mickey Hart, Rhythmist, it's about the rhythm of things. Everything is interlocked. The world is rhythm. Everything in the world has a vibration. Anything that's alive and moves has a vibration. And if it has a vibration, it has a sound. And if it has a sound, there's an effect emotionally that it can have on you, spiritually perhaps. Whether it be through brain-wave function or something that makes you dance, it's all interconnected. Music is just a miniature for what's happening in the universe and deep space, from the beginning of time 13.7 billion years ago.”

Mickey has been digging deep inside his psyche to explore the frontiers of the cosmos for many years. Some of the Dead’s drums/space jams are legendary for his polyrhythmic sound sculptures. Like this one from June 14, 1989:

Grateful Dead Drums/Space June 14,1989

The show last Thursday night featured an amazing electronic drums-synthesizers cockpit, at the core of which Mickey buzzed, tapped, and pounded, all the while intently commandeering the sound. His set took up half the stage; the other half featured three fine--and previously unknown to me--musicians: a lead guitar player, a fabulous male singer (who did The Other One), and a rich soprano who made a few of us cry when she sang a slow, heartfelt Brokedown Palace. In the background hulked a Shrek-like bass player who at some key moments stole the show with his Lesh-like symphonic stylings.

The Other One from the other night

The band gleefully and comfortably stretched out to explore the vibrations of the Universe. Recently Mickey explained how he actually gathers sounds from space:

“I'm working with NASA and scientists like George Smoot, who won the Nobel Prize in 2006 for his discovery of the big bang. Pulsars, galaxies, supernovas, black holes, stars, planets—they all have a vibration. And since space is a vacuum, there's no sound. The only way those vibrations can travel is through light waves. Once we've gathered those with radio telescopes, I take the algorithms and make sound out of it. And that's what this band I'm touring with now is about. The band will be playing these sounds and having a conversation with the universe. You'll be hearing sounds that no human has ever heard before. The sounds that spawned you. These vibrations that are your ancestors.”

OK, heady stuff for sure. And very cool in theory. In practice, I was a bit relieved to find that the sounds were a lot more accessible cerebrally than I thought they would be. In fact, strangely familiar and danceable. Rich and multi-layered, and very interesting. Distant cousins of techno-world-jazz-fusion-rock. It was also interesting how these primordial sounds so easily slipped into recognizable songs, like a seal into water: did Mickey know some of my favorites are Scarlet Begonias, The Other One, and Brokedown Palace? Or do they just have the vibrations that Mickey (and I) resonate with most?

Union Jack: Rolling Stones Tribute This Saturday

Stu Gordon on bass, with Mick Zimmerman

Albert Ceccacci tears it up on "Can't You Hear Me Knocking"

Union Jack - Last Show of the Year this Saturday 9:30 p.m.!
Celebrating the re-issue of "Some Girls"

at BB McGraw’s

440 16th st NE, Auburn, WA 98002
253.333.8205
http://www.bbmagraws.net 

“I still want to be Keith Richards,” said a guitar-player friend of mine recently. We were talking about tone, and how certain musicians not only get great tone out of their guitars, but create their own signature sounds that are recognizable as their own from the first note.

That signature tone is one of the reasons it’s so hard to nail the Stones’ sound, and why there are so few Rolling Stones tribute bands worth seeing.

Enter Union Jack, stage right. Great, danceable Rolling Stones music that’s so ultimately cool. And they really do nail it with the right sound, great musicianship, and a touch of showmanship. That would be enough for me, but the band goes the extra measure and provides a dramatic impression by dressing and acting the parts of the members of the original Rolling Stones band. Watching their “Keith” played by Ciggy Cater, I’m almost transported back to 1978 when I first saw the Stones, playing Anaheim stadium (Peter Tosh and Prince opened).

Raw guitar work, scorching solos, and that oh-so-right feedback. Albert Ceccacci, who literally and musically “plays” the Ronnie Wood part, looks a lot like Ronnie under the black rock’n’roll hair. Mick Zimmerman makes a great “Mick” front man, with scarf-swashling struts and flourishes.

But, I have to say my favorite is the understated Stu Gordon, who plays the Bill Wyman bass part. No small feat: Stu brings all the touch and elegance of Bill’s genius bass compositions, along with the Power of a long-time bass-playing veteran. And even as the original Wyman-Watts rhythm section was the bedrock upon which the Stones’ sound was laid, Stu and now-drummer Bruce Ericson drill deep.

Union Jack, this Saturday 9:30 p.m. – 1:00 a.m.

BB McGraw’s

440 16th st NE, Auburn, WA 98002
253.333.8205
http://www.bbmagraws.net

Robben Ford is Golden

Robben Ford, Triple Door, Seattle, October 19, 2011

Robben Ford does not disappoint. Whether playing his beautiful vintage Gold Top, or cream-colored Tele, he alternately woos and bullies the most fantastic tones out of his guitars.

With a past studded with legendary music stars, Robben brings it all to every show. You can hear the influences haunting his playing. Robben has toured with such jazz greats as Joni Mitchell, Jimmy Witherspoon, and Miles Davis, Bill Evans (Miles’ saxophonist), and John Scofield, and pop and rock legends George Harrison, Phil Lesh, Darryl Jones (Rolling Stones’ later bassist) and Bob Dylan, among others.

Robben plays at a “Wow!” level, right up there with Pat Metheny and Larry Carlton.  In fact, his Gold Top guitar was a gift from Larry. And he makes it shine.

His current trio, performing last night in front an intimate audience of 250 lucky people, absolutely mesmerized. Each artist was distinctly and insanely great, from Robben’s soulful singing and masterful playing, to drummer Gary Novak’s pin-point sticks and boom, to bassist Jimmy Haslip’s artful architecture and never-wavering pulse. Robben writes much of his material, but it’s often hard to tell he’s doing a cover; his unique character and style makes the song his own.

Visit www.robbenford.com for tour dates and information about his instructional “guitar dojo” and clinics.

Billy Shew Band

Shew Fetish

Go and see Billy Shew and you will be humming melodies and tapping toes for days. Billy is one of those rare guitarist/songwriters who gets into your head and lingers. Maybe it’s the fact that he writes his own original material and does his own vocals—his music is delivered straight from the heart.

It doesn’t hurt that he has mastered his instrument and makes it look easy. Or that his playing is bright and musical. Billy isn’t hard on the ears or the eyes. But what truly engages is his ability to do what good movies do, and that is to “suspend disbelief.” Meaning, he takes you away, and for a brief time you’re removed to a magical place all his own making. Don’t pinch me, I don’t want to wake up!

Billy Shew lead vocals and guitar, Doug McGrew on drums, and Hank Yanda on bass,
doing a mystical "Feels Like Rain"

Billy’s new album, called Look at Me Now provides a clue to his enigmatic appeal. Starting with the punchy How ‘Bout Now? he’s right there, and, you realize instantly, so are you. With surprising chord progressions, nice fat bass, great lyrics, and tasty embellishment licks, Billy is all about being in the moment. He exudes a sense of gratitude and yet longing. The poignant “Is This Real?” shows a childlike awe and wonder. His stellar band brings rich harmonies and depth to the arrangements. A special shout-out to his bassist, Hank Yanda, one of the best around. Love the old ’62 jazz bass, smooth as velvet.

Get the new Billy Shew CD “Look at Me Now” only $10

Look for show dates on Billy Shew’s Calendar

Guitarist Robben Ford to play Seattle

photos by George Wells

Guitar Hero Robben Ford

For those of you who know who Robben is, or have seen him play, you know what I’m talkin’ about. This guy’s discography reads like the Rock n’ Roll Hall of Fame roster. I’ve had the distinct pleasure of experiencing Robben’s musical genius live on several occasions. And a lucky audience will have an opportunity again:

Robben Ford, with guitarist Mike Landau, bassist Jimmy Haslip, and drummer Gary Novak, Triple Door, Seattle, October 19

Robben has played with artists as diverse as Joni Mitchell, Jimmy Witherspoon, Miles Davis, George Harrison, Phil Lesh, Larry Carlton, Bonnie Raitt, Claus Ogerman, Bob Dylan, John Mayall, Greg Allman, and many others.

Robben recently started his Guitar Dojo, a learning center where he shares his experiences and musical discoveries. Here, follow along as Robben gives you personal and comprehensive lessons through high quality streaming video. You can also virtually visit sound checks and other live recordings.

A little history from his website:

He began to teach himself guitar at age thirteen upon hearing the two guitarists from The Paul Butterfield Blues Band, Michael Bloomfield and Elvin Bishop. In the late 1960’s, Ford frequented the Fillmore and Winterland Auditoriums in San Francisco to see Jimi Hendrix, Eric Clapton, Cream, Led Zeppelin, Albert King, B.B. King and all of the progenitors of blues. “It was an incredible time for electric guitar,” Robben recalls.

On his interest in jazz, Robben says, "I fell in love with the sax-playing of Paul Desmond and The Dave Brubeck Quartet, and before long found Ornette Coleman, Archie Shepp, Yusef Lateef, Roland Kirk, John Coltrane, Wayne Shorter, and of course, Miles Davis.”

Robben’s first attempt at forming his own jazz quartet was picked up by legendary blues singer Jimmy Witherspoon, who brought Robben to L.A. He toured the U.S. and Europe with Witherspoon and was seen by Tom Scott and members of The L.A. Express, who were about to begin a promotional tour with Joni Mitchell for her recording “Court and Spark.” Robben was invited to play guitar on the tour and played on two recordings with Mitchell and The L.A. Express. “The two years I spent with Joni were the most formative of my musical life. Joni was just brilliant and very accessible.”

Beatle George Harrison invited Robben to join him on his “Dark Horse” tour of the U.S. and Canada…”

After moving to New York, he was called to play with musical icon Miles Davis. “Producer Tommy LiPuma played Miles my work with the Yellowjackets, then three days later, Miles called me personally to join his band. Shocking!”

 “Tiger Walk” is an instrumental recording produced in New York with Keith Richards' rhythm section…”

In 2000 Robben was invited to tour with Phil Lesh and Friends, co-billing with Bob Dylan, and reuniting him with Billy Paine and Paul Barrere of Little Feat, as well as drummer John Molo. “This experience gave me new respect for Jerry Garcia as a musician and songwriter. The songs and musical context were pure pleasure--real guitar music!"

In 2002, he released “Blue Moon” [I highly recommend this album]. His third release for Concord was entitled “Truth”. “I feel this is the best work I have done in terms of a solo recording. It is my most realized work as a songwriter, and I feel like I am reaching higher ground as a guitarist. [I second that!]

Robben has been touring the world off and on with the legendary guitarist Larry Carlton, the two producing “Live in Tokyo”, and an “unplugged” DVD from Paris. Collaboration seems to be the current M.O.-- projects with John Scofield, and touring and recording with fellow Miles Davis alumni saxophonist Bill Evans, as well as Randy Brecker and Rolling Stones bassist Darryl Jones.

Most recently (2010) Robben released “Renegade Creation,” with a group of musical friends who have played in different combinations and contexts over the years and decided to focus on a project together recording for Mike Varney’s Shrapnel label. This is a rock band, Robben’s first, and the results have people talking: “Dare I say everyone who hears it, loves it!” The other members are guitarist Mike Landau, bassist Jimmy Haslip and drummer Gary Novak. [This is the line-up playing at Triple Door Oct 19 !!!]

HOT HOT Beatles Show: The Nowhere Men

Nowhere Men play to a crowd of 800 people at University Village, Seattle

Now that’s rock n’roll, when the guitar player literally lights his amp on fire! That’s what happened Wednesday night at the outdoor University Village show featuring the apparently hotter-than-hot Nowhere Men.

George Myers on rhythm guitar got us all dancing with “Get Back” and looked over to see flames coming out of his amp, while Rick on bass stopped playing and quickly, carefully, unplugged a few things. But did a mere burning amp stop the show? No! They continued right on with a fabulous medley that included, I Want You, She Came In Through the Bathroom Window, and A Day in the Life. At one point I thought the lead guitar player was going to light his amp on fire too, his playing was so hot!

Day Tripper at U Village

About 800 people enjoyed hearing Beatles’ music live on a rare sunny warm evening, while the Nowhere Men tripped the light fantastic through the Beatles’ library. Early songs, like “Please, Please Me” and “I Wanna Hold Your Hand” reminded us of the simple innocence of the young Fab Four, as we traveled through time to later, more satirical songs like “Taxman” and “Revolution.”

But it’s the psychedelic era of the Beatles’ body of work that I think the Nowhere Men get absolutely pitch-perfect, with songs like “Lucy in the Sky with Diamonds,” “The Walrus,” “Glass Onion,” and other White Album-era pieces. These are more complexly-orchestrated compositions that really showcase the musicianship--and heart--of The Nowhere Men’s playing. They don’t try to assume the Beatles’ looks or personas; instead they strive to capture the intent and integrity of the sound of the Beatles. And they succeed.

Superb sound mixed by Audio Media of Seattle.

Catch their shows any chance you get. Here’s The Nowhere Men show calendar.

Victor Wooten, Bass God

Victor Wooten on bass; Bela Fleck on banjo

A little Zydeco from Bruce Hornsby on mandolin;

Regi Wooten on washboard; Bela on banjo

Bruce Hornsby and the Noisemakers
Bela Fleck and the Flecktones
Chateau Ste. Michele Winery, July 30, 2011

There IS a god! A bass god—and his name is Victor Wooten. Forget for a moment that he plays with one of the greatest--if only--jazz fusion banjo players ever (yes, “jazz fusion banjo” all in the same sentence)—Bela Fleck. That is another story in itself.

Victor Wooten astounded and thrilled us on Saturday at the Chateau Ste. Michele winery concert. Bela Fleck and the Flecktones  opened for Bruce Hornsby and the Noisemakers, which I was OK with seeing, too.

But, I went specifically to see Victor, and I wasn’t disappointed. He does this thing where he gets the bass going and uses both sets of fingers in opposite directions swirling up and down the fret board, as if he’s playing a great horizontal harp. It’s really unbelievable to watch, and the sound is poly-fantastic. Victor exudes pure joy when he plays. I think very few musicians feel that free onstage.

I always appreciate when great musicians “give back” by supporting music education. Victor has gone far beyond that. His Bass/Nature Camp, in its 12th year now, has grown into a permanent school on 150 acres near Nashville. People from all over the world come to Wooten Woods to learn or improve their bass playing, with instruction from greats like the legendary Chuck Rainey (Steely Dan, Aretha Franklin, etc. ) and Steve Bailey (Dizzie Gillespie, Jethro Tull, etc.). Even my bass hero Robin Sylvester (Bob Weir's Ratdog and TRI Studios) is in awe of those guys. You can apply to attend the bass camp by sending email to: basscamp@victorwooten.com

A word or two about Bela Fleck—what’s up with the name? It’s Southern, people! And it’s pronounced “bay-lah.” Bela exudes the cool of a California surfer, while superb picking and harmonies underscore his soulful interpretations. Bruce Hornsby cleverly invited Bela and Victor back onstage with him, to take his own performance higher. Bruce has written some great songs, like The Way It Is, and Spider Fingers, and although all are written for the piano, they translate very well to the bass (after all, piano and bass are both in the Rhythm Section). Bela’s banjo acted as a surprising guitar duo: rhythm and lead guitar effortlessly rolled into one.

With the orange-plum sunset gloaming behind us in the soft summer evening, they played a bittersweet Mandolin Rain, about longing and love lost. Bela and Victor wove a beautiful orchestration. The rich, purple-black 2007 Cold Creek Cabernet didn’t hurt either.

Nowhere Men and the Beatles

The Nowhere Men

Last night was a gift: golden summer evening, bare feet on the grass dance "floor," and the Nowhere Men playing Beatles music! These players, led by George Myers on rhythm guitar, and Rick on bass, capture the real, live sound of the Beatles' foursome.

From their website:

"The group decided early on that they wouldn't try to physically impersonate The Beatles, but rather to concentrate on how to deliver the total sound in a live format within the context of a foursome. This has become the group's challenge and motivation. As a result, their audiences enjoy the interpretations of the early Beatles and the creativity involved in performing some of the more complex arrangements from albums like "Sgt. Pepper" and "Abbey Road.” In 2005 the band played a farewell show, intending to wrap it up after 15 great years, but the pure enjoyment of the music and the fun of sharing the experience with an audience brought them out of “retirement.” Their goal is still the same as it was when they started in 1990 – to create a live musical experience that comes as close as possible to "The Beatles" unforgettable sound."

Passionate players, fine instruments, exeptional electronics, and sophisticated mixing board and tech (thanks, Steve!) bring the Sound home.

One of the best live music experiences in the Northwest.

Experience The Nowhere Men this coming Wednesday, August 3, 2011, at University Village 6:30-8:30.

http://www.nowheremen.com