REVIEWS

Reviews of recent concerts, new music CDs, new groups, etc. written by our contributors. If you would like to be a regular contributor, please send photo and short bio. All articles should be submitted in English, but if that is not your native language, please include text in your native language and we will print both. Articles should be sent to jams@jambandseurope.com

THE CALIFORNIA HONEYDROPS

Spreading Sweet Honey in Spain

13.03.2011 @ Octubre Club (Valencia, Spain)

The California Honeydrops have a surprisingly eclectic style of music which brings in elements of second line, dixieland, blues, jazz and R&B, so they often get booked into some surprsing venues. Sunday night found them in a small auditorium, kind of like one of those private screening rooms, in the basement of a local cultural center... with an audience comfortably seated and expecting "a jazz sunday". All that was missing was the "No Dancing Allowed" sign. But as a band which has paid its dues busking on the San Francisco metro, the Honeydrops are all about tackling uncomfortable (or rather too comfortable) venues and tough audiences. They started the show off putting aside their instruments and launching into a nearly acapella version of their second line styled "Cry for Me", accompanied only by hand held percussion. It took almost no time to have the audience clapping along and stomping their feet. For a good hour and a half, the band kept the momentum and the vibe as the worked through songs from both thier albums, and even threw in the newly minted "Carolina Peach" (part of their apparent obsession with food, which included naming an improvised jam on the spot as the "Paella Boogie"). The band enjoyed an excellent rappor with the crowd, throwing in commentary between songs in more than passable Spanish, and setting up songs such as "Miss Louise" , their ode to older women. Bandleader Lech Wierzynski plays both guitar and trumpet, which allowed some great horn interplay with saxman Johnny Bones, and although they no longer haul around their "soul tub" (as they refer to the washtub bass), drummer Ben Malament did break out the washboard for a few tunes including "Pumpkin Pie" (as i said, these guys are food driven) to the delight of the audience, giving a real "americana" feel to the show. However, the real key to their sound can be found in the excellent vocal harmonies which offset Lech's soulful but upbeat leads. The band closed it all out with an extended take on Ray Charles' "I've Got  A Woman" and the crowd left more than satisfied with probably the most lively "jazz sunday" they had spent to date. Sweet as honey. Highly recommended, but try to catch them somewhere where you've got room to dance.

THE NEW MASTERSOUNDS IN SPAIN

LET ME IN

Kinetix

2010

The instructions on this one are pretty simple.

go to the band's webpage www.thekinetix.com

download free live sampler

listen to the music.

say "wow!!!"

return to webpage

order a copy of the album

(last two steps may be repeated as this is their third CD release)

ELECTRIC REVIVAL

10 Midnite Ride

VARGAS BLUES BAND

E: Blues Latino

GRACE & MELODY

11. World Keeps Moving On

JACOB FRED JAZZ ODYSSEY

15.03.2010 @ Cafe Wilhelmina (Eindhoven, Holland)

(To see a full photo esssay of the concert click here)

I think I need to get out more to see Jazz concerts.

My first misconception was in thinking that Cafe Wilhelmina was one of those famous dutch "coffee shops" and everyone would be stoned out of their mind in a marijuana smoke filled room. As it turns out, in Holland a "Cafe" is just that, a "Cafe", the same as in any other country. And a Coffee Shop is, well, not really a coffee shop, or whatever.

My second misconception was in thinking that because of the close association with jam bands that JFJO enjoys in the U.S., I could expect a young "hippie" crowd. And although there was a scattering of college age kids, easily identified by the obligatory oversized Skull Candy headphones hung around the neck, the badge in Europe of hip, discerning music lovers, the majority of the audience was much older, wearing turtlenecks and tweed jackets, instead of tiedyes. The jazz crowd in Europe, it would seem, is very serious.

My next misconception was in thinking that "experimental" jazz was going to be somewhat difficult for my ears to digest. (I saw an Ornette Coleman concert more than 20 years ago, which was quite cool, but at times I had trouble seeing how a particular string of notes could legitimately be called a melody) However, as "experimental" or avant garde as JFJO may be, and admittedly they like to throw in a lot of disconcerting sudden time changes, it's just four guys that groove, that swing, and that jam.

The Cafe Wilhelmina is probably the most intimate venue I've been to yet. Less than a hundred people. all seated at tables and drinking from huge goblets of dark Dutch beer. At first, it struck me as more of a recital than a concert. Somebody, I have no idea who, stood up and addressed the crowd in Dutch, providing a short introduction of the band, and called out the names of the band members one by one, inviting them on to the stage accompanied by polite applause. JFJO front man, Brian Haas made a few remarks and the band launched into a Thelonious Monk cover. During the songs there was silence, no one talked, no one danced, no one really moved at all. After each number the room erupted in applause, but then just as quickly calmed to await the next piece, as Haas offered a few comments. I'm not sure if it is the formal, sober nature of the Dutch or the seriousness with which Jazz is taken here in Europe, but the atmosphere was a bit surreal.

As the show moved on, and the band got louder, and bit more "rock n roll", the applauses got louder and more animated. About halfway through the second set, with "Drethoven", the rowdier elements in the crowd really got the upper hand, with whoops and shouts of "bravo"" and people moving around to enjoy the groove.

JFJO is a band that plays for the audience, but not necessarily to the audience. Improvisation abounds and players seem much more focused on each other. At times it is hard to tell who is the lead and if anyone is th anchor. Especially evident was the musical conversation between pianist Haas and drummer Josh Raymer. Free from the constraints of a rock backbeat, Raymer gives equal attention to each element in his set, bouncing around to play off Haas' riffs, and resembling a busy chef cooking a dozen dishes at the same time. More than once the discussion got so heated, and with lap steel player Chris Combs off painting his own eery musical collage in the background, that bassist Hayes was left as the only one to maintain a semblance of some musical framework. Haas is a chameleon on the piano, mxing up equal parts of classical, blues, honky tonk and pop, and then occasionally throwing in a short phrase on the Melodica to set the theme. The addition of Combs on lap steel to the lineup. it would seem was intended to add an earthy, americana feel to their sound. However, Combs has his own style, a bit otherworldly, which if anything gives a more exotic flavor, perhaps eastern european or middle eastern, to the group, when it is not something even more eery.

Brian Haas is an energetic player, no soft lounge music here. As he hunches over the keys, his hands springing forcefully up and down like a mad scientist, I couldn't help recalling the passage from On The Road where the main characters stumble upon a George Shearing concert, and remember that before there was "jam" (or the Grateful Dead for that matter) there was Jazz.

JFJO gets painted often as very avant garde and pretty "out there", meant perhaps as compliments but not always helpful at opening up new audiences. I just saw four guys jamming there socks off, I'm not sure what is so unconventional about that. It's not really dance music, it's more for listening. But if you listen with even a little bit of attention, you get more than anyone's fair share of "wow, that was cool" moments.

The two sets themselves consisted mainly of songs from their latest EP and a preview of their upcoming ful length LP, with a few Beatles covers thrown in. Very much a break from the past, and a perfect introduction for newcomers to the latest incarnation of JFJO. I brought about half a dozen friends to the show with me, none of whom were jam band or jazz fans, or really particularly paid much attention to music in general. They left the show completely floored. New converts, to jazz or jam or just JFJO, i don't know, but certainly excited to get out and see another show. And if a band can do that, then it's worth the ticket.

Set List

4 in 1

the Return

This Our Home

The Sensation of Seeing Light

A Laugh for Rory / The Black & Crazy Blues

Julia

David

Country Girl

Drethoven

Song for Lauren

Trampoline Phoenix

E: Hambry's Window

E: Happiness is a Warm Gun

E: Stay Gold

THE STEEPWATER BAND with MARC FORD

05.03.2010 @ Durango Club (Valencia, Spain)

(To see a full photo essay of the concert click here)

The concert was billed by the promoters as "historic", which may have been a bit of an overstatement. I would, however, easily give them "epic" or "monumental".

The Sala Durango is basically a renovated warehouse in an industrial park on the outskirts of Valencia; the lack of neighbors being an advantage given the hours at which some concerts end, this one included. On friday night it was relatively close to a full house, although not as packed as the sold out shows on the rest of the tour. Perhaps the rain had dampened some concertgoers plans at the last minute. This is the Steepwater Band's third full tour through Spain, after making a splash at the Azkenaya Rock Festival, so they have a pretty solid fan base.

The band got on stage at about 11 o´clock and started their swamp stomp with "Roadblock" off their last album. With "Grace and Melody" they descend deeper into the swamp. Jeff Massey works the neck of his guitar unleashing a few solos with a surprisingly bright tone. The sound off the stage is rich and full. Had to take a second look just to make sure there were only three guys up there playing.

On "My Back Pocket" the guitar riffs are pure southern rock, as the Tod Bowers' bass line ripples out through the crowd. Some reviewers have gone so far as to call this band the new kings of southern rock, a title these guys are far too humble to accept, but they are clearly right at home with the southern sound. As with any blues trio (dare i call them a "power trio" - sounds a bit cliched), the roles are pretty clear. Bass and drums lay down the groove and the guitar provides the fireworks. There is a lot of musical space to fill and no one else around if you mess up. But these three have everything under control, dominating the stage and the music.

"Indiana Line" is pure ZZ Top.  Jeff Massey´s guitar  quivers as he plays slide and Tod bops up and down to his own gator groove. Jeff's voice is rough and at times it is more of a howl, but it fits the tone of their music. After "Lord Knows", the band takes a short on stage beer break, and then launches into "Baby You're On Your Own." The song chugs along steadlily as the band brings us back to Chicago, home of the blues, powered by Joe Winters drumming. But then, just as suddenly we find ourselves back in Spain, as Jeff Massey embarks upon an extended Flamenco slide guitar jam. (editor's note: to the best of our knowledge, slide guitar is not included in the standard Flamenco catalogue)

Finally, the band closes out the first set with "Live With Me." The guitar work is fast and tasteful, and the song evolves into a high speed guitar v. bass duel. The seven song set left me a bit dissappointed, as the band was smoking and I had come hoping to hear a lot more of the Steepwater Band's material. However, I had no idea what was to come next.

After a short break, the band reemerged accompanied by Marc Ford. There was no set list, or at least none which they would follow. This shouldn't be taken as a sign of disrespect towards the audience, nor towards his bandmates. Simply stated, Marc Ford knows no other way to make music. He plays to the moment, choosing his songs depending on where he is at and where the crowd is.

The set started with a slow bluesy guitar as Marc coaxed the notes from his guitar one by one. Slowly the band joined in  as they began the first of many jams to follow. At one point, Marc advises "Put your seatbelt on!" On each song the band waited for Marc's lead and then let loose themselves. Although there were moments when the band itself didn't know what songs they were playing, you wouldn't have known listening. The boys from Steepwater are that kind of a band, righteous rockers themselves but also an impeccable backing band. They moved through an unfamiliar repertoire from Delta blues to full on rock, without missing a beat.

The set hit a high point with "Just Let It Go" from his album "It's About Time." In the middle of the song, he turned his back to the audience and the band almost huddled as they jammed off each others playing. Later he would let his guitar slip down to his side and rap to the audience. They followed with a cover of "Steady Rolling Man" which really gave the band room to jam. And then Jeff Massey took over vocals for "Fire Away" from their latest album.

Marc Ford, although he has had a somewhat storied career and has not always received the recognition he is due, is an incredibly honest musician. He leaves you feeling as if he really has bared his soul to the sudience from the stage. When the reggae infused encore finally ended and we looked at our watches it was after 2:30 a.m. The show had lasted 3 and a half hours with only one short break.  We were exhausted, the band was exhausted, but everyone left knowing they had seen something difficult to repeat.

Unfortunately for the fans on the rest of the continent, Marc Ford is only playing the shows in Spain. However, The Steepwater Band alone is a force to be reckoned with, and i know that a month of touring with Marc Ford and basically "winging it" for over two hours each night is going to take these guys to a whole new level. And drummer Joe Winters assures me that he plays three hours every night. So get ready for blues and boogie across Europe.

Set List

Roadblock

Grace and Melody

My Back Pocket

Indiana Line

Lord Knows

Baby You're On Your Own

Live With Me

(Sorry, first set only, for the rest you'll have to speak with Marc, if he remembers)

RAISE UP THE TENT

Tea Leaf Green

Surf Dog Records

2008

TAUGHT TO BE PROUD was truly a breakthrough album for Tea Leaf Green, earning them awards, accolades from the press and an introduction to a national audience. Already widely followed for their highly praised live performances, the group proved that they were capable of producing an exciting studio album which harnessed their high level of musicianship with a collection of well written songs. So, when the group entered into the studio to start work on the follow up album, RAISE UP THE TENT, the inevitable question was, could they do it again? At the same time, the group had lost a cornerstone of the band to road fatigue, when original bassist Ben Chambers decided to call it quits. So this album would also mark the first collaboration in the studio with recently arrived bassist Reed Mathis (formerly of Jacob Fred Jazz Odyssey), as well as the first album for their newly signed record label and the first time that they would work  with a producer, David Lowery, outside of the TLG inner circle. All of which amounted to a lot of anticipation and a certain dose of uncertainty.

The response from the band is a triumphant new album, making it clear that TLG is here to stay, although not necessarily in the same place. The trademark sound of the band is more than consolidated, and newcomer Reed's bass fits right in the groove. At the same time, the band's music moves away from the full flavored country bent of the last album and charts a course instead towards straight forward rock ´n roll.

The introductory track "Let Us Go" starts out sparsely with a scratchy rhythm guitar and drum tandem, Trevor joins in with the first verse and keys. Finally, the bass comes booming through, thick and fat. "Hello, my name is Reed and this is my bass, " it seems to shout out, "sorry I'm late but I'm ready to play now." Next we get a bit of harmonica and a wacky guitar thing, but the bass line is what leaves an impression,  alleviating any doubts as to whether a new bass player would change their ensemble sound.

The psychedelic experimentation of their earliest albums has been banished and the jams are shorter here than on the previous album. This is a collection of soon to be classic TLG tunes; what counts here are the songs. Trevor Garrod continues to explore the American mythos, but now he's traveling the back roads of a decidedly more contemporary middle America, a land of gas stations, trailer parks and circus tents, revealing a slightly darker side to his songwriting. As always the music is upbeat and up tempo, true to the circus motif of this album.

"I've Got a Truck" is a quirky love song which shows off some mean slide guitar playing by Clark along with a bit of Trevor Garrod's honky tonk piano. "Don't Curse at the Night" takes us on a festive march with a calliope like organ run. "Red Ribbons " is a pretty psychotic vision, with Garrod nonchalantly delivering lines like " a train has slipped and gone off a cliff", but the energy of the music and the swirling guitar makes it a real upbeat rocker, and it's easy to forget exactly what you're singing as you blissfully join in the chorus.

"Not Fit" lurches along drunkenly and is delicious fun. However, as this track comes to its end, the band suddenly launches into a Zeppelin-esque full throttle jam which immediately fades out. It's hard to see the point, unless the entire purpose was to make the next song seem less out of place. But that is unavoidable. "Borrowed Time", one of two contributions to the album by Josh Clark, simply does not belong. The song has its merits, but both lyrically and musically it doesn't fit well into the TLG songbook. But that is the only misstep on the album. The same Josh Clark, whose guitar is driving the charge on this album away from countrified rock, is also responsible for penning "Stick to the Shallows", a fantastic country gem, complete with pedal steel and banjo, which is arguably one of the best songs on the album. The understated refrain, "had a hell of a day," is a keeper. 

The magic of TLG, live or in the studio, is the way their music slowly envelopes you and then lifts you off your feet, like a well scripted musical sermon it starts out slow and almost casual, but gradually the pitch increases and the choir kicks in, and by the end you're on your feet with the whole church shouting out "hallelujah."  The drums crackle, the bass thunders, the guitar paints a dizzying spiral ever upwards, the organ washes over everything and the chorus has you shouting along. On that alone, this album more than satisfies. The trademark TLG arrangement builds up the energy and explodes, on song after song, capturing the same exuberance and energy which makes them such a revered live act.

RAISE UP THE TENT's greatest sin is simply that it is not TAUGHT TO BE PROUD, but that would have been impossible anyway. It's a great album which points to a new direction for the band, without abandoning the TLG sound. Go out and buy the album; first, go out and buy TAUGHT TO BE PROUD, but as soon as you've done that, go out and buy RAISE UP THE TENT.

(note: Surf Dog Records has also rereleased the first three TLG albums as SEEDS, a 3 CD set, so if you want to get the whole TLG story this is your opportunity - and if you already have TAUGHT TO BE PROUD and want to know where parts I and II of the Gardern were, you'll find them here.)

Track List

01. Let Us Go

02. Don't Curse at the Night

03. Red ribbons

04. I've Got A Truck

05. Innocence

06. Not Fit

07. Borrowed Time

08. Slept Through Sunday

09. Standing Still

10. Stick to the Shallows

11. Keeping The Faith

THE NEW MASTERSOUNDS

E: Nervous

SOME ASSEMBLY REQUIRED

 Assembly of Dust

 Missing Piece/Rock Ridge Music

 2009

If you haven't heard Assembly of Dust yet, you should, and their newest album is as good a place as any to start. Their fourth album to date (depending on how you count - the first album was originally conceived as a solo project and one album is a live concert), and the first since the more than amicable departure of keyboard player Nate Wilson (who co-produced this album), this is their strongest entry yet.

AOD  assembled an all star cast of jam band musicians to help out on this album, featuring a different performer on each track, in a format mastered by guitar virtuoso Carlos Santana. Although there are several tracks where the guest artist is so distinctive, notably Richie Havens voice on "All That I Am Now" and Béla Fleck's unsettling banjo lead on "Edges", that one almost forgets that this is an AOD album, overall it is the core band which shines through with a sound which is undoubtedly theirs. That they were able to recruit such talent is in itself a testament to the respect this band holds in the music community and the strength of their songcraft.

From the opening drum beats which launch the galloping ride of "All that I am Now" to the closing chords of the beautiful "You Lay the Dust", this album doesn't falter. There are no throwaways here, nothing that has you reaching for the skip button on your ipod. It's a delight to listen to, and no surprise that it made Hidden Tracks' list of 5 best albums for 2009. In fact, the most concise and accurate review of this album can be found in it's own liner notes - Greg Ginn (of punk rockers Black Flag) writes simply "you may as well just glue this CD into the player for the next year or so."

AOD doesn't try to break any musical ground here. If anything, they are an anachronism, more comfortable with the countrified rock which came out of the west coast in the late 70's than the electronic dance embraced by the latest generation of jam band musicians. Listening to this album, a host of artists come immediately to mind - Neil Young, the Band, Paul Simon, Gram Parsons, Little Feat, the Beatles, the Eagles, the Doobie Brothers. It's all there, and more. In another decade this band would already be dominating the airwaves.

Genauer is a mature, intelligent and imaginative songwriter. On this album his lyrics are perhaps more personal and introspective, concentrating on the trials of modern life, and, with the exception of "Leadbelly", steering away from the American mythos more characteristic of his earlier work. At the same time, he is a strong vocalist with a warm, honest voice, capable of a soulful growl when necessary. (although I didn't think anyone in their right mind would actually choose to trade verses with a voice as iconic as the nearly spiritual Richie Havens)

The new AOD is a tight quartet, playing masterfully around the Genauer songbook. The band moves seamlessly through a variety of musical idioms, quickly shifting gear from straight out rocker to psychedelic to country shuffle and back again. And they jam all the way through.

"All That I Am Now" starts the album with an insistent drum beat, matched to the trademark heavy handed strumming of Richie Havens' guitar.  With no disrespect to the confident vocals of Genauer, the moment when Richie Havens voice cuts in is a revelation, sending shivers up your spine. AOD's take on the state of the world, "Pedal Down", which has the curious distinction of appearing on the latest installment of the video game Rock Band 2, could have come straight out of Joe Walsh's songbook. "Arc of the Sun" is trippy psychedelic fun, rising slowly to a swirling crescendo with each chorus. The most infectious track is without a doubt "Second Song", with a loose, good time rhythm that keeps your feet moving, a shout out chorus and playful, bright accordion fills. Although, "Edges" is the sure crowd pleaser - dance ready with a rhythm which drives the song forward amidst a fierce banjo lead and a veritable guitar cascade. In "Leadbelly", a midtempo country shuffle telling the troubled story of an American blues legend, Genauer almost seems to channel Neil Young. The  acoustic "You Lay The Dust",  Genauer´s reflection on fatherhood, closes the album on a quiet, emotional note. It's a welcome return to earth after a fantastic 12 song ride.

Although the band and the album probably deserve 5 stars, I give them only four and a half, partly because one has to miss the colorful sound of Nate Wilson's keyboard playing on earlier albums and partly because assembling so much borrowed talent on one album is kind of cheating, and also so no one thinks I am a complete pushover.

TRACK LIST

01. All That I Am Now - feat. Richie Havens

02. Pedal Down - feat. Zach and Andrew Gabbard (Buffalo Killers)

03. Cold Coffee - feat. David Grisman

04. Arc of the Sun - feat. Mike Gordon (Phish)

05. The Second Song - feat. Keller Williams

06. Light Blue Lover - feat. Grace Potter and Tony Rice

07. Edges - feat. Béla Fleck

08. Leadbelly - feat. Jerry Douglas

09. Borrowed Feet - feat. John Scofield

10. Revelry - feat. Martin Sexton and Tony Rice

11. Straight - feat. Theresa Andersson

12. High Brow - feat. Al Schnier (moe.)

13. You Lay The Dust - feat. Jeff Pevar

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