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Estratto della pubblicazione n^JJMTjQd^E Estratto della pubblicazione This page intentionally left blank Estratto della pubblicazione 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 Estratto della pubblicazione 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 Estratto della pubblicazione 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 Estratto della pubblicazione 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 n ' 111 B R t^y^ n B^ <^ "r i \J> %aJ taJ* juqcjiinq ounb \J O \J 1 121 122 123 125 126 128 129 130 132 134 136 138 139 141 142 144 145 146 Jupiter Coyote Karmic Kerosene Dream Lake Trout 148 L,o,i i y 153 149 151 152 Leftover Salmon Lettuce Living Daylights Mango J a Dave Matthews Bam Max Creek Edwin McCain Band 154 156 157 159 160 162 164 a.I IVIb'Ocfc; 165 167 Medeski, Martin and Wood Merry Danksters Mighty Purple Mishap moe 169 170 171 173 7 Estratto della pubblicazione 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 Estratto della pubblicazione 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 Estratto della pubblicazione 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 Estratto della pubblicazione 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 Estratto della pubblicazione 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 Estratto della pubblicazione 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 Estratto della pubblicazione 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 Estratto della pubblicazione The band's origins can be traced back to Daytona Beach, Florida, in the early 1960s. It was there that Gregg Allman bought his first guitar, which was soon appropriated and eventually mastered by his older brother, Duane. The pair formed a number of bands while Gregg attended high school, and after his graduation they took one such outfit on the road under the name Allman Joys. Although that group soon disbanded, in 1 967 the duo traveled to Los Angeles, where the formed a new band, Hour Glass, and began to record. Although this group broke up too, perhaps the most notable aspect of the Allmans West Coast tenure was that Duane committed himself to the slide guitar. In fact, he taught himself the art while in bed with a cold - he would stroke the guitar with a glass Coricidin container, which soon became the trademark of his bottleneck playing. Duane returned home a year later and was invited to Muscle Shoals, Alabama, to participate in a Wilson Pickett session. The young guitarist quickly distinguished himself. While there, he met drummer Jaimoe Johnson, who had backed such luminaries as Otis Redding. Duane also befriended members of the band Second Coming and started to sit in with them. That group featured bass player Berry Oakley and a guitarist named Dickey Betts (the band also included Larry Reinhardt, who would later play with !ron Butterfly). Anxious to form a new group of his own, Duane recruited his pal Butch Trucks (who had met the Allmans while in Jacksonville with his band the Bitter ind). Finally, Duane encouraged Gregg to return from Los Angeles, and the Allman Brothers Band was born. This lineup accomplished more over the next two and a half years than many have done in five times that amount of time. After a number of intensive practice sessions, the elder Allman and Betts began to develop their signature dual leads. Meanwhile, Johnson and Trucks began to craft their own complementary styles. Oakley's bass supplied crisp yet lively polyphony. Above all, the band wrote songs that have become standards, which the group continues to reconsider today with ferocity and vitality: "Whipping Post," "Dreams," "In Memory of Elizabeth Reed," "Midnight Rider," and "Blue Sky" all emerged from this fruitful era. The Allman Brothers Band swiftly distinguished itself by performing more than five hundred epic live shows that explored its originals along with a selection of blues classics. However, twin tragedies soon struck the band. In October of 1 971 Duane died following a motorcycle crash. He was twenty-four. A little more than a year later, Oakley also passed away when his cycle crashed into a bus. The band eventually regrouped, drafting able bassist Lamar Williams and keyboardist Chuck Leavell (who would later perform with Sea Level, Eric Clapton, and the Rolling Stones). In the wake of these losses, the band still managed to produce 19 Estratto della pubblicazione Medeski, Martin and Wood: (1) Pete Sears played with Zero; (2) Pete Sears played with Leftover Salmon on Euphoria] (3) Leftover Salmon played with John Medeski on Euphoria. Phish: same as above; then add (4) John Medeski played with Trey Anastasio on Surrender to the Air or MMW jammed with Phish on October 14, 1995. Meatloaf: (1) Steve Kimock played with Vince Welnick in Missing Man Formation', (2) Vince Welnick toured with Todd Rundgren's band; (3) Todd Rundgren played on Meatloaf's Bat out of Hell. Try these associations yourself: the Slip (hint - Oteil Burbridge has played with the Slip); Strangefolk; Kevin Bacon (hint - Jon Bon Jovi appears on the Bacon Brothers release). Zero Degrees of Separation can occupy time during set breaks, road trips, even when you're alone and trying to keep yourself entertained. The ultimate feat would be to link all of the bands in this book to Zero. 300 PHOTO CREDITS The author and publisher gratefully acknowledge the photographers, bands, and management companies that provided photos for this book. All photographs are property of their copyright holders, and should not be reproduced in any form. A list of photographers follows: AGENTS OF GOOD ROOTS, Dave Krieger; ALLMAN BROTHERS BAND, Kirk West; AQUARIUM RESCUE UNIT, Thomas G. Smith; BIG HEAD TODD AND THE MONSTERS, Thomas G. Smith; BLACK CROWES, Chris Patras; BLUE MIRACLE, Tiffany Hill; BLUES TRAVELER, Thomas G. Smith; BOUD DEUN, Rob Gassi; CALOBO, December Carson; CONEHEAD BUDDHA, Mike Mario; COOL WATER CANYON, Bryan Perraud; THE DISCO BISCUITS, Josh Altman; DONNA THE BUFFALO, Rob "Gumby" Hillard; SHELLEY DOTY, Misao Mizuno; GIBB DROLL BAND, Zane Nashed; FAT MAMA, Dara Blumenheim; FIGHTING GRAVITY, Danny Clinch; FIJI MARINERS, Zane Nashed; BELA FLECK AND THE FLECKTONES, Rob "Gumby" Hillard; FOOL'S PROGRESS, Tony Baker; FREDDY JONES BAND, Thomas G. Smith; FROGWINGS, Kirk West; FROM GOOD HOMES, Thomas G. Smith; G. LOVE AND SPECIAL SAUCE, J. Tayloe Emery; GALACTIC, Chris Patras; GILA MONSTERS, Katie Dalsemer; GOD STREET WINE, Thomas G. Smith; GOV'T. MULE, Zane Nashed; GRAN TORINO, Bob Bayne; GUSTER, Liz Under; HEAVY WEATHER, Eric Diedrich; HOMUNCULUS, Melissa Scheetz; HOT TUNA, J. Tayloe Emery; CHARLIE HUNTER AND POUND FOR POUND, Chris Patras; HYPNOTIC CLAMBAKE, Thomas G. Smith; INASENSE, Clark Jones; SHERRI JACKSON BAND, Chris Patras; JAZZ MANDOLIN PROJECT, Chris Patras; JIGGLE THE HANDLE, Laura Lakeway; JUGGLING SUNS, Les Kipple; LEFTOVER SALMON, Thomas G. Smith; DAVE MATTHEWS BAND, Thomas G. Smith; MAX CREEK, Thomas G. Smith; EDWIN McCAIN BAND, Chris Patras; PAT McGEE BAND, Catherine Williams; MEDESKi, MARTIN AND WOOD, Chris Patras; MERRY DANKSTERS, Carol A. Wade; MIGHTY PURPLE, Bette Allen; moe., Chris Patras; DAVID NELSON BAND, Lisa Law; NEW BROWN HAT, Thomas G. Smith; OMINOUS SEAPODS, Thomas G. Smith; PHISH, Thomas G. Smith; RATDOG, Chris Patras; MICHAEL RAY AND THE COSMIC KREWE, Zane Nashed; RUSTED ROOT, Thomas G. Smith; SANTANA, Thomas G. Smith; MERL SAUNDERS AND THE RAINFOREST BAND, Chris Patras; SCREAMIN' CHEETAH WHEELIES, Thomas G. Smith; SISTER HAZEL, Sam Erickson; SISTER 7, Karen Moskowitz; SOUP, Cara Markowitz; SOURWOOD HONEY, S. Murrie; STIR FRIED, Rita Weigand; STRANGEFOLK, Thomas G. Smith; STRING CHEESE INCIDENT, Rob "Gumby" Hillard; THE TRAGICALLY HIP, Clemens Rikken; DEREK TRUCKS BAND, Zane Nashed ULU, Joshua Silk; V1PERHOUSE, Matt Sharpe; WIDESPREAD PANIC, Chris Patras; ZERO, Chris Patras. 301 Estratto della pubblicazione
