Jam Bands: North America’s Hottest Live Groups Plus How To Tape And Trade Their Shows by Dean Budnick


32564c2b0f48841.jpg Author Dean Budnick
Isbn 978-1459651319
File size 20 MB
Year 1998
Pages 538
Language English
File format PDF
Category music


 

n^JJMTjQd^E This page intentionally left blank JAM bands n ortn America, s hottest live groups PLUS how to tape and trade their shows jH'"3ifji y^EWfiii^ffE^^ ECW PRESS The publication of this book has been generously supported by the Government of Canada through the Book Publishing Industry Development Program. Copyright © Dean Budnick, 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any process - electronic, mechanical, photocopying, recording, or otherwise - without the prior written permission of the copyright owners and ECW PRESS. CANADIAN CATALOGUING IN PUBLICATION DATA Budnick, Dean Jam bands: North America's hottest live groups plus how to tape and trade their shows ISBN 1-55022-353-4 1. Rock groups - United States. 2. Rock groups - Canada. 3. Sound - Recordings and reproducing - Amateurs' manuals. I. Title. ML395B927 1998 781 66'092'27 C98-931411-1 Cover design by Guylame Regimbald. Design and imaging by ECW Type & Art, Oakville, Ontario. Printed and bound by Imprimerie Interglobe, Beauceville, Quebec. Distributed in Canada by General Distribution Services, 325 Number College Blvd., Etobicoke, Ontario M9W 7C3. Distributed in the United States by Login Publishers Consortium, 1436 West Randolph Street, Chicago, Illinois, U.S A 60607. Distributed in the United Kingdom by Turnaround Publisher Services, Unit 3 Olympia Trading Estate, Coburg Road, Wood Green, London N2Z 6TZ. Published by ECW PRESS, 2120 Queen Street East, Suite 200, Toronto, Ontario M4E 1E2. www.ecw.ca/press PRINTED AND BOUND IN CANADA Contentents Acknowledgments Introduction: Jamboree 11 13 Agent Porridge Agents of Good Roots Allman Brothers Band Aquarium Rescue Unit Baaba Seth Barefeet and Company Beatroots Big Head Todd and the Monsters B i g Sugar The Big Wu Black Crowes 15 16 18 Blew Willie Blue Dogs Blue Honey Blue Miracle Blue Yard Garden Blues Traveler 21 23 25 26 28 30 31 33 35 36 38 39 41 42 45 46 47 48 Boud Deun Box Set Ton! Brown Band Burlap to Cashmere Calobo Chief Broom Conehead Buddha Cool Water Canyon Crosseyed Day by the River Deep Banana Blackout Dexter Grove The Disco Biscuits 50 52 53 55 56 58 60 62 63 5 Domestic Problems Donna the Buffalo Shelley Doty Drifting Through Gibb Droll Band Dude of Life Ekoostik Hookah Electric Circus Emma Gibbs Band The Emptys Entrain Everything Fat Cats Fat Mama Fighting Gravity Fiji Mariners Bela Fleck and the Flecktones Fool's Progress Foxtrot Zulu Freddy Jones Band Freebeerandchicken Frogwings From Good Homes G. Love and Specia Sauce Galactic David Gans and the Broken Angels Gila Monsters God Street Wine Gov't Mule Gran Torino Greyboy Allstars Grinch Guster Heavy Weather Hello Dave Higher Ground 6 65 66 68 69 70 72 73 75 77 78 80 81 83 84 85 87 89 91 93 95 97 98 99 101 102 104 105 107 109 111 112 114 115 116 118 119 Hipbone I Homuncislus Honeyjf Child The Hosemobile Hot Tuna Hubinger St Huffamoose Charlie Hunter and F ound for Pound Hypnotic Clambake iiiuminaii Inasense Sherri Jackson Band Jazz Mandolin Project Jioolp thp Handlp The Jongleurs Jordhuga Jerry Joseph and the Jackmormons " B I B 122 123 125 126 128 129 130 132 n ' 111 B R t^y^ n B^ <^ "r i \J> 121 %aJ taJ* juqcjiinq ounb \J O \J 1 134 136 138 139 141 142 144 145 146 Jupiter Coyote Karmic Kerosene Dream Lake Trout 148 L,o,i i y 153 Leftover Salmon Lettuce Living Daylights Mango J a Dave Matthews Bam Max Creek Edwin McCain Band 154 156 149 151 152 157 159 160 162 164 a.I IVIb'Ocfc; 165 167 Medeski, Martin and Wood Merry Danksters Mighty Purple Mishap moe 169 170 171 173 7 Moon Boot Lover Mother Hips Mountain Express Band Native David Nelson Bam New Brown Hat Next Stop Willoughby Old Dead Bug Ominous Seapods One Step Beyond Oroboros Pele Juju Percy Hill Phish Poi Dog Ponderinc Post Junction . . Puddle Junction Puddleduck Quiver The Radiators Radio l-Ching Ratdog Michael Ray and tl Cosmic Krewe The Recipe Retried Confusion Rubberneck Rugby Road Rusted Root The Samples Santana Merl Saunders anc the Rainforest Band Schleigho Screamin' Cheetal Wheelies Sister Hazel Sister 7 Skin 8 175 177 178 179 181 182 184 185 186 188 189 191 192 194 197 198 200 201 202 204 206 207 209 211 212 214 215 216 218 220 222 224 225 227 228 230 T h e Slip Slipknot Smokin' Grass Soup Sourwood Honey Stir Fried Gordon Stone Trio Strangefolk String Cheese Incident Sunfur To the Moon Alice Omar Torrez Band The Tragically Hip Derek Trucks Band Turtle Grove Uiu Uncle Mingo Verticle Horizon Vinyl ViperHouse Nathan Whitt and Chief's Tale The Why Store Widespread Panic The Winebottles Yeti Yolk Zen Tricksters Zero Zoo People Zuba Appendix A How to Tape and Trade Live Shows Appendix B Wetlands: Ten Years of Grooves Appendix C Additional Resources: Magazines a n d Music Appendix D Zero Degrees of Separation 231 233 234 235 237 238 239 241 243 245 246 247 248 250 251 253 254 256 257 259 260 261 263 265 266 267 269 270 272 273 275 283 295 299 This page intentionally left blank AC KN O W L E D G M E N T S As one might imagine, there are hundreds of people who contributed enormously to this project: band members, managers, record companies, fans, and numerous observers of the scene. I wish to offer them all rny profuse thanks. I would also like to single out the helpful, friendly people at ECW Press who helped Jam Bands come to fruition: Robert Lecker, Holly Potter, Guylaine Regimbald, and Mary Williams. 1 am grateful, as well, for the assistance and support of my family: Alfred Budnick, Janet Budnick, Stacy Budnick (check out her handiwork at www.jambands.com), !da Budnick, other Budnicks, and, of course, the ever-affable Leanne Barrett. Having said all that, for sundry reasons I particularly lift my coffee mug in gratitude to Randy Alexander, Sam Ankerson, Larry Bloch, Chris Brewer, Toni Brown, Roy Carter, Lynn Cingari, Darren Cohen, Lee Crumpton, Jenny Davis, Jon Dindas, Charlie Dirksen, DMA, Walter Durkacz, John Dwork, Benjy Eisen, J. Tayloe Emery, Brett Fairbrother, Peter Ferioli, Jakob Field, Curt Foehl, Canyon Foot, Andy Gadiel, Pete Gershon, Ellis Goddard, Jacob Gold, Jake Gold, Sarah Gowan, Michele Gross, Andrew Haan, Paul Hagen, Ken Hays, Jorge Hernandez, Rob "Gumby" Hillard, Sara Kelly Jones, Carrie Lombardi, John Lynskey, Neil Mandel, Lynne McGee, Zane Nashed, Brad Navin, Allen Ostroy, Paul Parietti, Chris Patras, Lisette Rioux, David Saslavsky, Doron Segal, Pete Shapiro, David Shulman, Pete Sienkiewicz, Manny Sinnegan, Thomas Smith, Andrew Stahl, Jake Szufarowski, Ben Tanen, Jon Topper, Howard Turkenkopf, Rob Turner, Joe Urtz, John Wanzung, Kirk West, Carol Wade, Jeff Waful, Andrew Wagner, Jim Walsh, Rebecca Yudenfreund, Chris Zahn, Jon Zazula, Marsha Zazula, and Gina Z, 11 This page intentionally left blank INTRODUCTION JAMBOREE Something is in the air. I've been enjoying live improvisational music for many years now, but it seems that today, more than at any other time 1 can recall, we are awash in accomplished band incorporating a range ot genres and unified by a commitment to improvisation. Jon Zazula (impresario of Crazed Management who guides Disco Biscuits, Juggling Suns, and Ominous Seapods with his wife and partner, Marsha), has described it to me as a New Renaissance, and I think he's right. What's more, 1 can see by the swelling audiences at many of these shows that people are eager to experience this music. Nowadays, individuals are drawn to those bands that vest every performance with vigor and creativity, that are not merely playing the same songs note for note night after night. These groups are stretching, allowing their inspiration to lead them into some fascinating realms. All of the bands collected in this book have the courage and artistry to do this, and there are plenty of them out there for you to discover and enjoy. The impetus for this book was supplied by the jazz and blues encyclopedias that line my bookshelves. Over the years, I've acquired a large but in many cases sketchy knowledge of many notable jazz and blues performers. So, when one of these artists comes to town or when someone recommends a particular recording to me, I'll often consult one of my books in order to learn a little more about the performer in question. Similarly, I had come to realize that there were many jam bands whose names 1 recognized without knowing much more about them. So I wrote this book to fill my own need - and, I hope, yours as well. My aim was to provide a resource: when a group comes through 13 your town or someone mentions a band, you can pick up this book and enlighten yourself. If one of the jam bands listed is playing near you, I hope you'll decide to check it out, as I believe that every band I've included is well worth seeing; that's why they're here. Still, of course, everyone has his or her own taste. I have to confess that an additional goal I had in putting this book together was to spread the good word about bands that you may not know (and that may not be heading to your local venues — at least not yet). There are a number of captivating groups out there that just tear it up night after night but are not yet national names. Also, go out and support your local heroes to keep their momentum building. Ensure that they keep playing so that we will all be able to enjoy them for years to come. Each entry in this book introduces you to a different band. I have tried to evoke their aims and accomplishments in a few paragraphs. In almost every case, I have highlighted their most recent recordings to give you a better idea of their artistry and intent. I hope that the web information I have provided will allow you to acquaint yourself further with many of these groups. The appendices are intended to complement your experience and provide a more expansive overview of recent developments. Appendix A, "How to Tape and Trade Live Shows," will be most helpful to those of you who do not yet have a massive tape collection or are debating whether to purchase your first portable deck and mikes. Appendix B, "Wetlands: Ten Years of Grooves," will introduce some readers to a unique and wonderful venue and will serve to enhance the memories of other readers. The information in Appendix C, "Additional Resources: Magazines and Music," tips you to organizations, publications, and other resources devoted to the thriving jam-band scene. Finally, Appendix D, "Zero Degrees of Separation," outlines a game that I hope will entertain you while you're riding to a show or during a set break. All in all, I hope my efforts lead you to appreciate the many wonderful bands that are currently performing across the country on a daily basis. Purchase their recordings, collect their tapes, but above all go out and see them play live. Join in the jamboree (and please feel free to contact me via the Web site www.jambands.com). 14 AGENT POR E BISICYs piano, keyboards, wocals CHAPAD©S° tenor saxophone MlKEOOEBEL^ass SAM MARTI NA: alto saxophone, vocals BRETT ROTHENHAUS- drums ALEX WEINSTESN^ guitar, banjo, wocaSs BRIAN BRIAN Agent Porridge may be the quintessential American band in that the group's music is an amalgamation of the country's indigenous musical forms, from jazz and funk to bluegrass. The group formed at the State University of New York's Fredonia campus in 1995, and the only thing more diverse than its members' musical tastes may be their academic majors: these range from English education to speech pathology to recombinant-gene technology. Speaking about the band's musical eclecticism, guitarist Alex Weinstein (the lone music major) states: "We've followed the examples of the bands out there that we're really into, and we've tried to cover as much ground as we can." The members of Agent Porridge believe that the group's live performances, which draw on so many genres, achieve unity through a collective enthusiasm. Weinstein adds, "we try to put a ton of energy into it, we try to have fun with the crowd. As we've been growing, though, we've turned more to the funk side of things. The horns are very Maceo Parker influenced." When asked how the horn players occupy themselves when they are not being utilized in a particular song, Weinstein answers, "Well they certainly don't dance. Actually, one of them [Sam Martina] sings, and the other [Brian Chapados] does some freestyle rapping when we give him the nod." Another of the band's strengths is its core of capable songwriters. Although keyboardist Brian Bisky composed the bulk of the songs on Agent Porridge's first release, other band members also contribute. 15 Weinstein notes, "the rule is that once you bring an idea to the band it becomes a communal thing." This last phrase seems to capture the spirit of Agent Porridge, which is starting to build a following of devoted listeners who anticipate that the group will provide music, energy, and humor for some time to come. D I S C O G R A P H Y The Territory Shall Be the Universe (1997). This release presents the band's diverse offerings. Within the first cut, "Push Me Over," jangly guitar gives way to an unexpected, funky horn break. "Where You Are," the bluegrass number that follows, tiptoes a fascinating line between enthusiasm and caricature (Weinstein's brief turn on the jawharp, Snoopy's instrument of choice in Snoopy, Come Home, enhances the mystery). "Broadway Joe," which comes up next, is an extended instrumental that veers off to explore new sonic avenues in a manner similar to the elaborate orchestrations of Trey Anastasio. Moreover,"Detune" evokes images of chanting monks who have been offered some swinging sax assistance, while a steady reggae backbeat defines "Ziggy." Finally, with its lively cover of James Brown's "Pass the Peas," the band demonstrates yet another affinity. WEB SITE www.watchtowerent.comXagentporridge AGENTS OF GOOD ROOTS • M M • BRIAN JONES: drums, vocals J.C. KUHL: saxophone STEWART MYERS: bass, vocals ANDREW WINN: guitar, vocals Richmond, Virginia's, Agents of Good Roots is a band that seeks to craft strong compositions yet chooses to transform these creations in the live setting. The quartet will often use its well-designed songs as a starting point for some agile improvisation. 16 For instance, J.C. Kuhl might interject a vivid saxophone soliloquy. Andrew Winn may then counter with a guitar solo that reflects his classical training. Meanwhile, bassist Stewart Myers and drummer Brian Jones will lock in on their own animated grooves. The band has honed its performance skills through an intensive touring schedule. Beginning as a trio - guitar, bass, and drums Agents of Good Roots first performed at an open-mike night in the fall of 1992, garnering immediate recognition for its engaging songs and Winn's distinctive, gruff vocals (the product of an operation to rebuild his larynx after a skiing accident rendered him speechless for a few months). Three years later, the band decided to draw in a saxophone player, working with a few before inviting Kuhl to join. Myers recalls, "We were excited by what J.C. offered. He added a heavy jazz element, along with his strong musical sense and ability." The band was soon averaging more than two hundred dates a year. As a result, Agents of Good Roots has emerged at the fore of a new generation of jam bands. Nonetheless, Myers expresses some discomfort with the appellation: "I'm not altogether comfortable with the term 'jam band,' because we're definitely song-oriented. There is a stigma that a jam band can't write a song and that's why they rely so heavily on jamming. Then again, when you see us live, we definitely expand on things and really take it to another level. In part, I think, that's why things are starting to build. We are really starting to crank." D I S € O G R A P HY Where'd You Get That Vibe? (1996) Straightaround (1997) One by One (1998). Agents of Good Roots cuts a wide swath on this release. "Come On" is an edgier offering with some gutsy guitar riffs. "Upspin" seems at the outset to be an entrancing shuffle but soon transforms into a vibrant slice of soul, abetted by strident background vocals. "Miss Misbelieving" introduces some country twang. "Smiling Up the Frown" is mellow, jazzier fare enriched by Winn's piano and Kuhl's saxophone accents. Finally, "Time Bomb" is an aptly titled fulmination. m EB SITE www.agentsofgoodroots.com 17 ALLMAN BROTHERS BAND GREGG ALLMAN: vocals, organ, and piano DICKEY BETTS: vocals, electric and acoustic guitar OTEIL BURBRIDGE: bass JAIMOE JOHNSON: drums and percussion JACK PEARSON: electric and acoustic guitar BUTCH TRUCKS: drums and percussion MARC QUI NONES: percussion The Allman Brothers Band remains one of the most riveting groups committed to the live-concert experience. The band crafts a sound that has been road tested for over twenty-five years while remaining fresh, free, and engrossed in the moment. At times, the band's guitars may command attention, whether it be Dickey Betts's passionate phrasings, Jack Pearson's stinging slide, or their rousing twin leads. On other occasions, the absorbing, soulful vocals of Gregg Allman hold sway. The bass lines of barefooted Oteil Burbridge prove by turns both rock steady and harmonically inventive. Situated above these players on the stage is the trio that fashions a spellbinding percussive collage comprised of Butch Trucks's thunderous drive, Jaimoe Johnson's crackling counterpoints, and Marc Quinones's lucid flurry. There's a lot happening here. 18

Author Dean Budnick Isbn 978-1459651319 File size 20 MB Year 1998 Pages 538 Language English File format PDF Category Music Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare Jam Bands is the first comprehensive guide to the emerging wave of improvisational music now thriving in North America. The book spans the continent, identifying more than 175 of the most noteworthy jam bands. Each entry includes photos, biographies, discographies, personal insights from band members, web site listings, and descriptions and analyses of each group’s distinctive musical styles and talents. Additionally, since all the profiled bands encourage live taping, Jam Bands offers a section devoted to the art of recording concerts and building a live – music library. Written by noted live – music fanatic and taper Dean Budnick, author of The Phishing Manual, Jam Bands is sure to please both long – time devotees of the jam band scene and new initiates as well. From Aquarium Rescue Unit to Zero, with stops along the way for moe., Medeski, Martin & Wood, Rusted Root, Strangefolk, and String Cheese Incident, Jam Bands will reacquaint readers with cherished groups and introduce new favourites, while unlocking the mysteries of taping.     Download (20 MB) Guitar Makers: The Endurance of Artisanal Values in North America Metallica: The Complete Illustrated History Jazz For Dummies (2nd edition) Balkan Fascination Guitar Theory For Dummies Load more posts

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