Jake Shimabukuro, Hawaiian Ukulele Virtuoso

Vacationing in Kauai this week has afforded me the opportunity to catch up on reading, spending time with family, friends and listening to music; music I might not ordinarily be exposed to. Enjoying an after dinner Mai tai with my sister-in-law Diane, I mentioned that one of my favorite musicians, Futureman of Bela Fleck and the Flecktones, had just finished a tour with Hawaii's most famous uke player. "Jake Shimabukuro?", she asked. "Why yes!" I said, "Do you know him?" Diane revealed that Shimabukuro had once performed for her young cancer patients at Capiolani Childrens Hospital in Honolulu. "He was amazing and his music was beautiful. Plus he was really, really fast." I first heard Shimabukuro on the Flecktones' 2003 album, "Little Worlds". His recent video performances on MySpace during Futureman's Black Mozart Ensemble's tour, will convince anyone who sees it, that Shimabukuro is indeed one of the most gifted talents to emerge from these sacred islands.

Though many still have trouble pronouncing his last name and the instrument he plays, Jake Shimabukuro (she-ma-BOO- koo-row) is becoming recognized as one of the world’s top ukulele (oo-koo-LAY-lay) musicians. Renowned for lightning-fast fingers and revolutionary playing techniques, Shimabukuro views the ukulele as an “untapped source of music with unlimited potential.” His virtuosity defies label or category. Playing jazz, blues, funk, classical, bluegrass, folk, flamenco, and rock, Jake’s mission is to show everyone that the ukulele is capable of so much more than only the traditional Hawaiian music many associate it.

At just four years of age, Shimabukuro's mother gave him his first lesson. “When I played my first chord I was hooked,” says Shimabukuro, “I fell in love with the instrument.” That love grew into a deep passion to create and innovate. Experimenting with various guitar effect pedals allows Shimabukuro to create sounds never thought possible on the tiny four-string, two-octave instrument. A true showman, his performance captivates audiences with intricate strumming and plucking, electrifying, high-energy grooves and smooth, melodic ballads evoking heartfelt emotion.

Evolving from the heavily amplified riffs that earned Shimabukuro the reputation as “Jimi Hendrix of the ukulele.” Shimabukuro masterfully extracts the pure “clean” natural acoustic sound of the uke, delicately making a single note smile or cry on his new solo album Gently Weeps. “Recently, I've been touring a lot as a solo artist,” says Shimabukuro, “and it was suggested to me that I record an album to directly reflect my live ‘bandless’ set. The songs I chose for this project are tunes I frequently perform at my shows. There are a couple of new ones, but these are mainly songs that I've been playing for a while.”

The highlight of the album is Shimabukuro’s cover of George Harrison’s “While My Guitar Gently Weeps.” Last year, a video clip of Shimabukuro playing this song in Central Park started circulating the internet resulting in emails of support and amazement from across the globe; France, England, Germany, Sweden, and also Australia and Korea where Jake recently signed distribution deals. To date, the video has been viewed over 1.5 million times. Shimabukuro had the honor of meeting Harrison’s widow, Olivia, backstage at his show with the Honolulu Symphony this past November. Afterwards, she described feeling George’s presence with her when Shimabukuro played his rendition of George’s Gently Weeps.

From a modest beginning performing at a local Honolulu café, Shimabukuro has gone on to play famous venues such as the House of Blues and The Knitting Factory (Los Angeles), The Birchmere (Alexandria, VA), Tipitina’s (New Orleans), Joe’s Pub and B.B. King's Nightclub (NYC), The Bumbershoot Festival (Seattle), The Fuji Rock Festival (Japan) and many others. Touring with Jimmy Buffett in 2005, 2006 and 2007 gave Shimabukuro the experience of a lifetime, regularly exposing his virtuosity and amazing stage presence to crowds of over 50,000. Shimabukuro’s first national television performance came in December 2005 on NBC’s The Late Show with Conan O'Brien. In June 2002, Shimabukuro became the first ukulele player from Hawaii to sign with Epic Records International/Sony Music International. Three years later, he obtained a U.S. distribution deal for his Hitchhike Records label.

His selection as the spokesman three years in a row for Hawaii Tourism Japan’s (HTJ) aggressive campaign to market Hawaii to Japan, as well as his frequent tours of the island nation, have also made Shimabukuro a household name in Japan. "Rainbow," a track from Walking Down Rainhill, was selected as HTJ’s theme song as well as the official Honolulu Marathon theme song in 2004. In 2006, Gently Weeps track “Beyond the Break” was selected as the Marathon’s theme song and was played as Shimabukuro crossed the finish line upon completion of his first marathon run.

Shimabukuro’s musical accomplishments are well known throughout the Hawaiian Islands and Japan, though he is perhaps known equally as well for his outgoing personality and warm heart. In his spare time Shimabukuro often visits schools to talk with and play music for the children of Hawaii, hopefully inspiring thousands to put their energy into learning about and playing music.

The State of Hawaii recognized Shimabukuro as an outstanding musician and role model for the people of Hawaii. In 2004 Shimabukuro was named Hawaii’s goodwill ambassador to Japan and received “The Japanese Foreign Minister’s Commendation” for being an active voice in U.S.-Japan relations at the grassroots level. In a ceremony held on September 4, 2006 Jake Shimabukuro was appointed as the 160th Okinawa-Uchina Ambassador at the Okinawan State House.

Shimabukuro toured with Bela Fleck & the Flecktones (2002, 2005, 2006) and recorded on the band’s aforementioned Little Worlds album. Shimabukuro is also featured on Ziggy Marley’s Grammy Award winning Love is My Religion (2006) and contributed to the soundtrack of the Jimmy Buffett-produced film, Hoot. This was a priceless experience for Shimabukuro and gave him the confidence to score the recently released Japanese independent film HULA GIRL. Two songs from the film score, “Wish on My Star” and “Hula Girl” are bonus tracks on Gently Weeps.

Recognized as a virtuoso not only by his audience, but also by fellow musicians and producers as well, Shimabukuro has had the opportunity to perform with and/or open for Diana Krall, Fiona Apple, Bobby McFerrin, John Hiatt, Victor Wooten, Chris Thile, Keller Williams, Tommy Emmanuel, Mike Marshall, Darol Anger, Les Paul, Jamie Cullum, Kaki King, Stanley Clarke, Blues Traveler, Stephen Bishop, John Craven, Hot Buttered Rum, Radiators, Honolulu Symphony, Chance and Mista D of Nashville’s MuzikMafia.

Energy, imagination, and innovation have been Shimabukuro’s keys to success. He plans to continue recording, performing, collaborating, and staying happy. “I love what I do. I’m forever thankful for music.”

Shimabukuro won't be in the Bay Area until November, when he performs at the Palace of Fine Arts during the SF Jazz Festival. Until then, Mahalo Jake Shimabukuro.

"It IZ What It IZ"... Hawaii's Israel Kamakawiwo'ole

Before my arrival in Kauai this week, fellow music lover, friend, (and D1 Supervisor candidate) Eric Mar, turned me on to the song "E Ala E", by "IZ", aka Israel Ka"ano'i Kamakawiwo'ole, one of Hawaii's greatest musical geniuses. The 1995 album featured the political title song "E Ala E" and the moving "Kaleohano". As his career progressed, IZ became known for promoting Hawaiian rights and Hawaiian independence, both through his music (whose lyrics often stated the case for independence directly) and through his life. IZ became famous outside Hawaii when his album "Facing Future" was released in 1993 with his medley of "Over the Rainbow" and "What a Wonderful World", which was subsequently featured in several films, television programs, and commercials.

Kamakawiwo'ole was nicknamed "The Gentle Giant" by his admirers. He was described as always cheerful and positive, and he was best known for his love of the land and of the people of Hawaii. Through his consummate ukulele playing and incorporation of other idioms (such as jazz and reggae), IZ remains one of the major influences in Hawaiian music over the last 15 years.

Israel Ka"ano'i Kamakawiwo'ole was born on May 20, 1959 at Kuakini Hospital in Honolulu to Henry Kaleialoha Naniwa Kamakawiwo'ole, Jr. and Evangeline Leinani Kamakawiwo'ole. Wiwo'ole means courage or courageous in the Hawai'ian language. Kamaka may come from kanaka, which means man. IZ was raised in the community of Kaimuki, where his parents had met and married. He began playing music with his older brother Skippy at the age of 11, being privy to the music of the great Hawaiian entertainers of the time such as the likes of Peter Moon, Palani Vaughn, and Don Ho, who frequented the establishment where his parents worked.

In his early teens, his family moved to Makaha, Hawaii. There, he met Louis "Moon" Kauakahi, Sam Gray, and Jerome Koko. Together with his brother Skippy, they formed the Makaha Sons of Ni'ihau. From 1976 throughout the 1980s, the Hawaiian contemporary band gained in popularity as they toured Hawai"i and the continental United States and released 15 successful albums.

Sadly, in 1982, IZ's brother Skippy Kamakawiwo'ole died of a heart attack. In that same year, IZ married his childhood sweetheart Marlene and soon after had a daughter who they named Ceslieanne "Wehi".

IZ formed the musical group Makaha Sons of Ni'ihau with brother Skippy plus Louis "Moon" Kauakahi, Sam Gray and Jerome Koko. They recorded No Kristo in 1976 and released five more albums, including the similarly titled Na Mele Henoheno Na Makahiki Mui, helu ‘ekahi and Na Mele Henoheno Na Makahiki Mui, helu ‘elua, which included the famous Hawaiian independence anthem "Hawaii'78", before Skippy's death in 1982. The group became Hawaii's most popular traditional group with breakout albums like 1984's Puana Hou Me Ke Aloha and its follow-up, 1986's Ho'ola. IZs last recorded album with the group was 1991's Ho'oluana. It remains the group's top-selling CD to this day.

In 1990, IZ released his first solo album Ka"anoi, which won him awards for Contemporary Album of the Year and Male Vocalist of the Year from the Hawaii Academy of Recording Arts (HARA). Facing Future was released in 1993. Considered his best album by many, it featured his most popular song, the medley "Somewhere Over the Rainbow/What a Wonderful World", along with "Hawaii 78", "White Sandy Beach of Hawaii", "Maui Hawaiian Sup'pa Man", and "Kaulana Kawaihae". Facing Future debuted at #25 on Billboard Magazine's Top Pop Catalogue chart. On October 26, 2005, "Facing Future" became Hawaii's first certified platinum album, selling more than a million CDs in the United States, according to figures furnished by the Recording Industry Association of America. On July 21, 2006 BBC Radio 1 announced that "Somewhere Over the Rainbow/What a Wonderful World" would be released as a single.

In 1994, Iz was voted favorite entertainer of the year by the Hawaii Academy of Recording Arts (HARA). "N Dis Life" (1996) featured "In This Life" and "Starting All Over Again". As his career progressed, IZ was known for promoting Hawaiian rights and Hawaiian independence, both through his music (whose lyrics often stated the case for independence directly) and through his life.

In 1997, IZ was again honored by HARA at the Annual Na Hoku Hanohano awards for Male Vocalist of the Year, Favorite Entertainer of the Year, Album of the Year, and Island Contemporary Album of the Year. He watched the awards ceremony from a hospital room.

"Alone In IZ World" (2001) debuted at #1 on Billboard's World Chart and #135 on Billboard's Top 200, #13 on the Top Independent Albums Chart, and #15 on the Top Internet Album Sales charts.

Throughout the later part of his life, IZ's obesity began to take it's toll and at one point he weighed as much as 758 pounds on his 6 feet 2 inches frame. He endured several hospitalizations and on June 26, 1997, IZ died of weight-related respiratory illness, at the age of 38.

The Hawaii State Flag flew at half-staff on July 10, 1997, the day of IZ's funeral and his koa wood coffin lay in state at the Capitol building in Honolulu. He was the third person in Hawaiian history to be accorded this honor (the other two were Governor John A. Burns and Senator Spark Matsunaga) and the only non-politician. Over 10,000 people attended his funeral. Thousands of fans gathered and cheered as his ashes were scattered into the Pacific Ocean at M'kua Beach on July 12, 1997.

On September 20, 2003, hundreds paid tribute to IZ as a 200-pound bronze bust of the revered singer was unveiled at the Waianae Neighborhood Community Center on O'ahu. The singer's widow, Marlene Kamakawiwo'ole, and sculptor Jan-Michelle Sawyer were present for the dedication ceremony.

"E Ala E" has become one of my all time favorite IZ tunes.

Thanks Eric.

Trilok Gurtu's "Twenty Years of Talking Tabla"

"Twenty Years of Talking Tabla" is a 20-year journey through the career of percussionist Trilok Gurtu. Rita Ray of BBC Radio described him as “a serial collaborator” – this carefully chosen compilation shows exactly that side of him. As a world class virtuoso, now in his mid fifties, Trilok has attracted a world class set of collaborators; these started with John McLaughlin in whose trio Trilok flourished as the featured soloist for 4 years, other jazz greats continued this path – Joe Zawinul, Jan Garbarek, Don Cherry, Pharoah Sanders were all attracted to Trilok’s burning sense of rhythm. Of course he is deeply rooted in the Indian tradition, so it is no surprise to see that collaborations also took place with the glitterati of Indian musical society – his mother, Shobha Gurtu, Zakir Hussain, L. Shankar, Shankar Mahadevan and Sultan Khan. World music has become an established genre in which Trilok has further “ploughed his own furrow” to great effect, collaborating with Salif Keita, Oumou Sangare, Angelique Kidjo, Neneh Cherry, Tuvan throat singers Huun Huur Tu, the Malian musicians from the Frikywa family and the Italian, Arke String Quartet.

Trilok is obviously obsessed with colours, tones and rhythms while never neglecting melody, and as such, he is a musician who brings passion, vision and craft to his compositions and performances that make them immediately accessible. The sleeve notes below were compiled by Gerry Lyseight, Gaham Lawson and of course Trilok Gurtu. I happily confess that I own virtually all of these albums.

"Shobharock" from Usfret recorded in 1987 Silva Screen Records (CMP)
Twenty Years ago, Trilok released his first solo album Usfret (influencing the likes of Talvin Singh, Asian Dub Foundation and Nitin Sawhney in the process) and formed his own road band in 1988. Shobharock is the opening track and features his mother’s layered vocals over a striding electronic beat alongside compadres Don Cherry on trumpet, Jonas Hellborg on electric and fuzz bass and L Shankar on doubleneck electric violin. TG: “This was the first time I had recorded with my Mum and I had to trick her into doing it as she had never worked with Western drums before. I recorded her parts with only Tabla backing and added the other instruments later. When she heard the finished track she said “Who’s the singer?”. She grew to love the track and through it learned to sing harmony.”

"African Fantasy" from "African Fantasy" recorded in 1999 Mintaka Recordings
Benin’s Angelique Kidjo sings the almost hymn-like title track from 1999’s African Fantasy. Trilok adds the lightest of percussion and Ravi Chary adds to the mood on Harmonium. Nicholas Fiszman brings a gloriously subtle E Bow guitar.TG: “African Fantasy is my arrangement of a song by L. Shankar called Song for Everyone which I originally performed with him alongside Jan Garbarek and Zakir Hussein”.

"Have We Lost Our Dream" from "The Beat of Love" recorded in 2001 Blue Thumb (Universal)
This is a wonderful collaboration masterminded by Trilok: Salif Keita, “the golden voice of Africa” sings a poignant duet with Sabine Kabongo -about his sadness for the future of Africa, lamenting the various States in Africa – listen carefully you can here all the names of the States. Sabine, who had an illustrious career with Zap Mama, answers Salif’s Malian vocal in English. Wally Badarou adds synth and Amit Heri guitar in an exquisite piece.

"Dinki Puriya" from "African Fantasy" recorded in 1999 Mintaka Recordings
You can imagine Trilok and sitar player Ravi Chary watching each other intensely as they perform this intricate conversation between tabla and sitar on ‘99’s African Fantasy CD.

"Expression Of Love" from "Remembrance" recorded in 2002 Universal India
Remembrance was recorded by Universal India in Bombay, it was a coup to get so many respected musicians to appear together; Trilok wrote this track for his mother to perform with Shankar Mahadevan and Sultan Khan. Shobha Gurtu, close to her eightieth year, with a wall full of Government Awards, was offered a duet with Shankar Mahadevan.

He is still a young man who has rapidly become a star due to his wonderful singing in Bollywood films. So for him, this was a chance in a life time, but then to add Sultan Khan too, was amazing. Sultan Khan is the most venerated Sarangi player having accompanied Ravi Shankar and Allah Rakah for many years before succeeding with a solo career. The result is stunning.

"Water Solo" previously unreleased recorded live by Denmark Radio. Engineer Jacob Langkilde, Producer Anders Dohn in Copenhagen in 2003
I first saw Trilok perform live in the late 90s and that show remains one of the best I have ever seen from anyone. Trilok sits/kneals on a carpeted stage surrounded by all manner of percussion instruments, including a bucket of water. Every instrument is there for a reason – none of it is for display or novelty. It can be quite difficult to see exactly how some of the sounds are produced although at another show there was a mirror arrangement above his head angled towards the audience which solved a few musical mysteries. One of the many highlights of that first show was his Water Solo which involves him striking a thin sheet of metal, amplifying the resulting reverberations and slowly submerging the vibration metal into the aforementioned bucket of water - creating an ethereal sound akin to something devised in the legendary BBC Radiophonic Workshop.

"The Other Tune" recorded in 1993 from "Crazy Saints" Silva Screen Records (CMP)
A Joe Zawinul tune featuring the great ex-Weather Report man on keyboards and his trademark vocoder mano a mano with Trilok on drums, tabla and percussion. TG: “Joe had originally planned to record with me for 2 days but we got on so well that 2 days became 10 and then we toured as a duet for a year. I knew that he enjoyed boxing so I originally suggested the duet idea! He wanted me to join his band but I explained that my days of being a sideman ended after working with John McLaughlin. I like to play my way and collaborate with musicians I respect rather that join someone else’s band ”.

"Balahato" recorded in 2006 from "Arkeology" Promo Music
Balahato comes from Trilok’s latest release- Arkeology - recorded with Italy’s Arke String Quartet and has an almost Celtic feel - with Trilok providing both the pulse as well as the percussive vocal against sawing strings. John L Walters puts it well in The Guardian

“These accomplished players mesh and weave in the best 20th-century manner, and violinist Valentino Corvino is a passionate soloist. Their tunes imply Indian, Balkan and Celtic rhythms, in asymmetric time signatures that suit Gurtu down to the last demisemiquaver: he flies around the six-, seven- and 14-beat patterns.”

"Seven Brings Return" recorded in 1998 from "Kathak" Mintaka Recordings
Steve Lukather is one of the world’s most sought after session guitarists, best known for his work with Toto as well as Randy Crawford, Michael Jackson et al and he features here heavily on virtuoso axe. Trilok’s incendiary blasts of percussion and vocal colour an evolving melody. TG: “Seven is a lucky number in many cultures and 7/8 is a favourite time signature of mine. Steve said it was a great time signature to listen to, but really difficult to play but he did a great job”.

"Mother Tongues" Edited to 4:53 recorded in 1989 from "Live at the RFH" JMT Recordings (Universal)
Recorded live at London’s Royal Festival Hall on 27th November 1989 (from which the album takes its title), Trilok was part of legendary guitarist John McLaughlin’s Trio which also features Kai Eckhardt, one of the world’s great bass players and a member of several of Trilok’s own bands. Here three giants of their chosen instruments match each other lick for lick in a literal master class of jazz improvisation. TG: “I have to give great credit to John for sticking to his guns and believing in this project because it wasn’t an immediate success. My drum solo on Mother Tongues attracted lots of praise and after this live album we played to bigger and bigger audiences around the world”.

"Dance With My Lover" previously unreleased recorded live by Denmark Radio. Engineer Jacob Langkilde, Producer Anders Dohn in Copenhagen in 2003
Trilok’s composition originally appeared on “The Beat of Love”, but this is a Live recording two years after the studio album appeared with Sanchita Farruque taking the vocal duties and Celia Reggiani playing keyboards. Ravi Chary, a long-time member of Trilok’s road band, plays sitar. Usually a quiet, dignified man, one can hear that on this performance he was really rocking – in fact it was one of those rare occasions where a classical sitar player stood up and played his sitar like a guitar. The whole performance is really cooking.

"Save Our Children" recorded in 1999 from "Save our Children" Verve Records
Save Our Children is taken from the sax legend Pharoah Sanders’ album of the same name produced by Bill Laswell who captures an incredible Tabla sound for Trilok. It contains a spiritual chorus and African rap. The creator has a master plan - and it involves Trilok.

"Big Brother" recorded in 1999 from "African Fantasy" Mintaka Recordings
Oumou Sangare is Mali’s most high profile campaigner for women’s rights internationally as well as one of their most famous singers. She features on African Fantasy and adds her superb vocal to Big Brother backed by a typically tight, funky band with Trilok chipping in on the vocals. TG: “Africa Fantasy was about bringing together the African and Indian roots of jazz. I had known of Oumou for many years and when I asked her to participate she jumped at the idea. I said she could do whatever she wanted and she turned up at the studio with 2 backing singers and an n’goni player”.

"Once I Wished a Tree Upside Down" recorded in 1991 from "Living Magic" Silva Screen Records
When Trilok recorded his second album “Living Magic”, our serial collaborator was still in his collaborating infancy, yet this duet with Jan Garbarek shows us what is to come. Here Trilok on tabla and percussion duets with Jan’s skipping sax weaving melody lines in and out. An early example of Garbarek’s distinctive sax sound that was to become so popular later on.

"You, Remember This" recorded in 1998 from "Kathak" Mintaka Recordings
A beautiful song, written by Trilok and his mother Shobha, she titled it, so its become a “keepsake” for Trilok. It was inspired by a street musician they came across. Shobha gives a wonderful vocal performance for her son while Kai Eckhardt underpins Trilok’s rhythm and adds a wonderful melodic bass solo towards the end.

"Agne Yano" recorded in 2005 from "Farakala" Frikyiwa Records
Proving again that no musical category can confine him Trilok takes to Mali to collaborate on a project put together by French DJ Frédéric Galliano’s Frikyiwa organisation. Hadja Kouyaté sings lead on Agne Yano. Abandoning all his familiar instruments, Trilok gets into the African spirit with balafon, water calabash and shékéré. TG: “I trekked 700 kilometres into Mali for this recording in very difficult circumstances. Afterwards I travelled to Bamako to stay at Oumou Sangare’s hotel. She said that it was a part of the country that was incredibly inaccessible and was amazed that I had spent time in what was effectively desert!”.

"Greetings" recorded in 2002 from "Remembrance" Universal India
This track was eagerly anticipated by the Indian musical community, they knew that nobody other than Trilok could stand the heat from Zakir’s revered tabla playing. They were not disappointed – “Greetings” sees the two maestros go head to head with Trilok excelling on sonic effects, kit and percussion while Hussain runs through his formidable repertoire on the tabla. TG: “I had known Zakir for years and my mother read an interview of his where he stated that, I had taught Western drummers how to play the kit. She agreed with what Zakir said, which was a great compliment from both of them”.

"Vignola" recorded in 2003 from "Broken Rhythms" Mintaka Recordings
The adventurous fusion of Italy’s Arke String Quartet and Tuvan throat singers, Huun Huur Tu, point up Trilok’s ceaseless musical imagination. They add their unique colours to what was essentially a duo piece recorded in his home town of Bombay with Trilok on percussion and Roop Kumar on vocal.

"Ganapati" recorded in 1998 from "Kathak" Mintaka Recordings
The Kathak CD features Trilok in the company of his band at the time, The Glimpse. Ganapati features the voice of Neneh Cherry and is dedicated to the memory of her stepfather, the great innovative Jazz man, Don Cherry, who had been instrumental in bringing Trilok to the West. TG: “Ganapati is the king of all attributers, remover of all obstacles and relates to the benevolent Hindu God Ganesh. I saw Don in that light, to me he was the great innovator, more so than Miles Davis, and way before his time. A true inspiration to others, he knew that music, the best music, had to touch spirituality. Not many achieve this even momentarily but it’s something everyone can feel when it happens. This was what Don was always striving for. Neneh was almost in tears as she sang”.

"Planet Earth" recorded in 2003 a remix by Talvin Singh, from "Remembrance" Universal India
Tabla player and DJ Talvin Singh is a long-standing devotee of Trilok’s and can often be seen in the audience at Trilok’s shows. As the most visible proponent of the British Asian Underground scene in the ‘90’s and collaborator with everyone from Bjork to Madonna, Talvin here pays his respects to his mentor with this remix of Planet Earth a medley of tracks from Remembrance.

"The Works" of Kit Watkins

Recently, I received a copy of a fantastic DVD by the the multi-talented musician Kit Watkins entitled, "The Works". This Data/DVD is an incredible collection that spans nearly thirty years of this prolific artist. Watkins first came to my attention on the campus of Georgetown University, during his tenure as founding member of the group, "Happy the Man". Sponsored by the university's then forward thinking radio station, WGTB, Watkins and his group produced a show that is now the stuff of legend and heralded the age of prog-rock and new age music of the late '70's and '80s. There are 27 albums and 12 bonus tracks in mp3 format on the DVD, (including my personal favorite, "Over the Andes" with Coco Rousell), making this a must have collection of a true musical genius.

Another reviewer once wrote of Watkins, "Kit Watkins first came to prominence as part of legendary progressive band, Happy the Man. Despite disbanding years ago after just a couple albums, Kit still gets questions as to if and when this band might ever get back together. Later he joined up with Andrew Latimer in Camel for the album, "I Can See Your House from Here." Shortly afterwards he became a solo artist with his first album, "Labyrinth." From here it was inevitable that Kit would start his own label, Linden Music.

For me, Kit's music is a perfect example of why more artists need to start their own labels. The major labels make it a point to market to the lowest common denominator. An artist on a major label, and even many niche indie labels, must record albums that basically sound the same from beginning to end and from one album to the next. That makes it easy for the labels to market, but denies the artist any artistic growth and eventually cuts short his/her career. Kit refuses to treat his audience in this manner. Instead he assumes that they are both very intelligent and very curious and each album is a new adventure in a totally different musical world."

Born to classical piano teachers in 1953 in Virginia, Kit Watkins studied piano at home from ages 5 through 13. During his teen years, Kit was drawn to rock music and became a driving force behind a series of local bands, playing organ, synthesizer, and flute, as well as singing lead. By age 18, he was discovering his own writing abilities. He soon joined up with the band Happy The Man (HTM) which was forming at the local university. It was with HTM that Kit honed his skills in composing, performing, arranging, and producing. During its six years, the band recorded five albums, including two produced by Ken Scott and released on Arista Records. In 1979, Kit then joined the British band Camel for an album produced by Rupert Hine and several tours of the UK, Europe, and Japan from 1980 through 1982.



Kit’s solo career began in 1980 with the self-produced album Labyrinth, released on his own Azimuth Records label. The album won him 5th place in Keyboard magazine’s Annual Readers’ Poll Awards for keyboard album. He recorded and performed with drummer/percussionist Coco Roussel during this period. During the 80s, Kit continued to produce solo and collaborative albums, some released on his own label, while others were picked up by larger independent labels. In the early 90s, Kit formed a new label, Linden Music, which released a number of his new recordings, as well as CDs by Robert Rich, Jeff Greinke, David Borden, and others.

His music style has changed focus from album to album, and has encompassed such varied forms as progressive, electronica, ambient, jazz, and world-fusion. Some notable influences include artists such as Brian Eno, Mickey Hart, Mark Isham, Joe Zawinul, Harold Budd, Wayne Shorter, Steve Reich, Joni Mitchell, Jon Hassell, Eberhard Weber, Jeff Greinke, Steve Roach, and Wendy Carlos.

In 2001, Kit performed a milestone concert in Philadelphia for The Gatherings series, hosted by Chuck van Zyl of Star’s End Ambient Radio. It was Kit’s first performance in 20 years, and his first ever as a solo artist in a new genre. In preparation for this concert, Kit began learning and using an electronic wind instrument as the focal point of his stage performance. He finds this instrument far more expressive and liberating than electronic keyboards, especially for melody and solo work. Coupling his abilities on flute with his many influences by horn and reed players, the migration to the electronic wind instrument has been a natural. The Gathering CDs are also available, as well as a video of the concert on DVD.

Also in 2001, Kit briefly formed an improvisational ensemble named Tone Ghost Ether. The group was realized through a natural interaction between three musicians (Kit Watkins, Brad Allen, John Tlusty) searching for a common form of expression. All of the music by Tone Ghost Ether was improvised and played in real-time without overdubs.

Kit Watkins is continuing to record and release new works from his private studio in Brattleboro, Vermont. The music of Kit Watkins can be heard on-line at KitWatkins.com, as well as on such broadcast radio shows as Hearts of Space, Star’s End, and Echoes. His wide ranging interests in music and sound allow him to change his focus from album to album resulting in a fresh experience for both artist and listener. Expect the unexpected.

Billy Cobham Comes to Yoshi's... Both of Them!

Billy Cobham is clearly one of the greatest drummers of this or any era. At age 63, he still brings it. His career is certainly legendary; Miles, McCoy Tyner, Horace Silver, Stanley Turrentine and a founding member of one the greatest fusion groups of all time; John McLaughlin's Mahavishnu Orchestra, just to name a few. Last week, Cobham began a week long stint at the Yoshi's on Fillmore with his "Spectrum Revisited" quartet, featuring guitarist Dean Brown, keyboardist Mark Soskin and bassist Victor Bailey. That group ably covered some of Cobham's electric music of the '70's, '80's and '90's.

Last night, Cobham paired down his 7 piece kit and moved to the Yoshi's in Oakland, this time with his "straight ahead" group, with pianist Kenny Barron, bassist John Williams and long time friend and trumpeter, the incredible Randy Brecker. Along side his late brother, the saxophonist Michael Brecker, they helped cement Cobham's place in the annals of jazz; co-founding the '70's group, Dreams, and performing on many of his greatest albums from the Altantic era. It's not too late to catch one of the most unforgettable drummers you will ever see.

Last year, I wrote about growing up in DC and first seeing Billy Cobham with guitar virtuoso John McLaughlin and his ground breaking Mahavishnu Orchestra in 1972. After that unbelievable show, on American University's famed football field, Billy Cobham soon became my favorite drummer.

Cobham's incredible rudimentary skills were second to none; I'd personally seen him over thirty times, and his massive frame and joyous playing will leave anyone who sees him gasping in amazement. Those skills have not diminished one bit, as evidenced in a recent DVD, "Billy Cobham: Live at 60". Joining Cobham for yet another concert in Paris, was his Culture Mix group, featuring the great "Junior" Gill on steel drums. With footage and interviews, this DVD is a remarkable window into the life of perhaps the best drummer of ours, or any generation.

Only a few times in history has a musician been singled out as the world-class master of his instrument. Cobham is one of those few artists. For over 30 years, he has received international acclaim as the total consummate percussionist. Cobham, with his matchless, dazzling, ambidextrous skills as a drummer, has applied the same insistent fervor to his long list of monumental achievements. He’s an accomplished composer and record producer. It is a rarely known fact that he was at the forefront of the electronic music industry and it’s development through Jazz.

He was one of the first percussionists, along with Max Roach and Tony Williams to utilize the Electronic Drum Controller made in 1968 by the Meazzi Drum Company in Milano, Italy while on concert tour with Horace Silver in Europe. He is one of the few Percussionists, specializing in the Jazz drum set to lead his own band. The award winning Cobham has custom designed trend setting acoustic and electronic drum sets and has endorsed products that he created and refined.

Cobham has performed on hundreds of records with his own groups and with some of the music’s most luminary artists, and his trademark - biggest, fastest, explosive drumming - has energized the international stages of concerts, symphonies, big bands, Broadway, festivals, television and video. He has been a teacher of his artistry, giving drum clinics, conducting workshops and symposiums throughout the world. His stylistic influence, which has literally created a category of music, is an outstanding part of the history of modern music.

Since 1980, Cobham had been dividing his time between his home in Zurich and the United States where he lived in New York City and northern California until that time, underscoring his unique internationally influenced origins as a musician. Cobham was born on May 16th, 1944 in Panama, surrounded by talented parents and a brother, Wayne (producer, horn player, MIDI specialist, writer), Cobham’s love for drums was kindled by his cousins who played and constructed steel drums and congas in Panama. Some of his earliest memories are of himself playing timbales.

The Cobhams moved to New York City in 1947, when Billy was 3 years old. He had his stage debut in performance with his father at the age of 8. Cobham developed his seriously voracious appetite for drumming in the highly competitive Drum and Bugle Corps. arena with St. Catherine’s Queensmen, prompting him to attend New York’s famed High School of Music and Art to study music theory and drum technique with seminars by such renowned talents as Thelonious Monk and Stan Getz. Cobham remembers "In those days, Jazz was a bit off-limits to students while classical music was preferred by the education establishment. So, of course students craved to meet jazz artists.

Miles Davis was the most talked about personality of the time and had the best musicians working with him Cobham recalled; "We’d listen to him and analyze, as we did with other professionals. But in those days, all roads did lead to Miles." "He was the goal to shoot for because he had a knack for putting the right components together (musicians and music) to convey the ultimate message through Jazz."

Cobham’s most notable offerings to fusion jazz are his own 35 recordings beginning with "Spectrum", which was released on Atlantic Records in 1973 and reissued on compact disc by Rhino Entertainment in 2001. Amid the re-release of Spectrum, Cobham has several projects in the works including "Drum + Voice" (due via Sony), and a range of educational tools he produces through his own company, Creative Multi-Media Concepts. Among the resources is the book "Conundrum", which is published by Warner Publishing, and a slew of Music Minus One interactive CDs which feature selections from Spectrum and other projects of Cobham's. Cobham has been part of several new films, "Sonic Groove" and the French film "Sonic Nerve".

At last night's show, Cobham played one of his greatest tunes, "Heather", (from the LP "Crosswinds"), and one he confessed, wasn't sure why he hadn't played it very often. That particular song is perhaps one of my favorites, made all the more special by the keyboard work of George Duke and the late Michael Brecker. Brecker and Miles were the very first to use wah-wah and other effects on their trumpets. After the show, I told Randy, "You did your brother proud on "Heather'..." Brecker smiled and thanked me.

Billy Cobham & Friends
featuring Kenny Barron, John Williams and Randy Brecker
Yoshi's at Jack London Square, Oakland, CA
Friday, April 18th @ 8:00 pm, $24:00 & 10:00 pm $16
Saturday, April 19th both shows $24:00
Sunday, April 20th @ 7:00 pm $24 & 9:00 pm $16

Manring Kassin Darter at 142 Throckmorton Theatre

with Edo Castro and E. "Doc" Smith

Bassist Michael Manring is well known for his work with groups like Montreux, Henry Kaiser and Wadada Leo Smith's Yo' Miles!; his duets with the much beloved and sorely missed Michael Hedges, songwriter John Gorka and a host of the Windaham Hill label's best known recording artists like George Winston. His most recent CD, "Soliloquy", is yet another musical milestone. However in 2001, Manring began his collaborations with fellow virtuosos, flautist Larry Kassin and pianist Tom Darter, resulting in their seminal work "Scatter". This Saturday night at Mill Valley's 142 Throckmorton Theatre, the trio reunites for what promises to be another wonderful evening of "chamber music for the new millennium".

Separately, Manring, Kassin, and Darter have extensive, multi-faceted careers as musicians. Together, they perform provocative, complex compositions - music that tears down stylistic walls and refuses to be compartmentalized. While listeners can hear echoes of classical, jazz, rock, folk, avant-garde, and world music in their performances, the net result is something completely new: chamber music for the new century.

This virtuoso trio has been astounding audiences for the last ten years with their amazing chops, quiet soul and diverse compositions. With over 100 albums to his credit, bass phenom Michael Manring has been hailed as "the world's greatest electric bassist" while pianist Tom Darter's compositions have drawn praise from Elliott Carter, Aaron Copland and Karel Husa and music critics have compared Kassin's flute playing with Rahassan Roland Kirk, Hubert Laws and Paul Horn.

Opening the evening is Edo Castro and myself. Edo is a multi-stringed bass virtuoso and has performed with a plethora of jazz greats; Roy Haynes, Ed Thigpen, Johhny Griffin, Armando Peraza, Stu Hamm and Mark Egan, just to name but a few. I'm of course, a regular contributor to Beyond Chron, in addition to being a drummer and percussionist who has worked with the likes of Brian Eno, Madonna, Warren Zevon, Mickey Hart, Jimmy Cliff, and John Mayall among others. I'm also the inventor of the musical instrument, the Drummstick. A new recording featuring this remarkable evening is due out in early June.

Michael Manring is also known for his innovative approach to the bass and adventurous solo concerts, spawning the popular "Bass Solo Nights" concert series around the bay area. He has appeared on approximately 200 recordings, and toured throughout the Americas, Europe, and Asia. He has received Grammy and Bammie nominations, the Berklee School of Music Distinguished Alumni Award, two Gold Records, and the Bassist of the Year award from the readers of Bass Player magazine.

Larry Kassin founded the internationally recognized Noe Valley Music Series in 1981, at the acoustically superb Noe Valley Ministry in San Francisco, California. His wide-ranging performance style has led to appearances with Bobby McFerrin, Jessica Williams, SF Klezmer Experience, Rhiannon, Sonia, and Box Set, plus a recent CD release with Doors keyboardist Ray Manzerek and Beat poet Michael McClure.

Tom Darter is the founding editor of Keyboard magazine, established the Contemporary Music Ensemble at the Chicago Musical College of Roosevelt University, where he also taught music theory and composition. He has arranged two albums of music for the Kronos Quartet Monk Suite (Music of Bill Evans), played keyboards on numerous Jerry Goldsmith film scores, and has won several composition awards.

"Scatter" is a truly beautiful collection of well thought out and marvelously performed pieces. Recorded live in San Francisco, it begins with the playful "Gizmo" and shows the trio at it's rollicking best; "Ultra-body Over the Mountain" is another deceptively complex, yet tight arrangement. "Scatter", the CD's title cut lives up to it's name; a hectic ride you may wish to fasten your seat belt for; "The Chicago Picasso" is one of the loveliest songs on album, with Darter and Kassin's interplay a sparkling gem. I could hear Darter channeling Eubie himself on the jaunty "Eubie Blake on Mars", and honestly, can anyone actually play as fast as those three on "Sabar"?

Greg Rule of Keyboard magazine once said of the trio, "Mindboggling musicianship. Complex, provocative compositions. Darter, Manring and Kassin are all-around awesome!" Upon seeing them, I think you'll agree.

Manring Kassin Darter
with Edo Castro and E. "Doc" Smith
142 Throckmorton Theatre, Mill Valley, California
Saturday, April 12 8:00pm
$20.00 General Admission
$15.00 Students
$22.00 General Admission, Day of Show

Freddie Hubbard Comes to Yoshi's

One of my fondest jazz memories came many years ago at Maryland's Merriweather Post Pavilion. I had come to see the fantastic pianist Herbie Hancock's V.S.O.P., (very special onetime performance), quintet. This was the reunion of Miles Davis' original quintet, featuring saxophonist Wayne Shorter, bassist Ron Carter, drummer Tony Williams and in Miles' stead, the one and only Freddie Hubbard on trumpet. Each performer began the show by trading and soloing, until settling in on Hubbard. He didn't disappoint. Tonight and Saturday, Hubbard makes his debut at the new Yoshi's on Fillmore, celebrating his 70th birthday.Joining him are Bobby Hutcherson, George Cables, James Spaulding, Craig Handy, and Lenny White.

Freddie Hubbard is jazz royalty. One of the greatest trumpeters in the music’s history, the Indianapolis native came out of the Clifford Brown and Lee Morgan tradition to hone his own fiery and widely influential style. After rising to prominence as a member of Art Blakey’s Jazz Messengers (alongside Wayne Shorter and Curtis Fuller), Hubbard became a leader in his own right, producing a string of classic albums for Blue Note, Impulse, and, especially, CTI. As a composer, he’s contributed several standards (notably “Red Clay” and “First Light”) to the jazz repertoire. Help celebrate Freddie Hubbard’s 70th birthday as the trumpet legend comes to Yoshi’s with an all-star band comprised of friends and alumni, including Craig Handy, David Weiss, Dwayne Burno, James Spaulding, George Cables, and special guest Bobby Hutcherson.

Frederick Dewayne Hubbard was born April 7, 1938 in Indianapolis, Indiana, and in his youth, Hubbard associated with various musicians in Indianapolis, including Wes Montgomery and Montgomery's brothers. Chet Baker was an early influence, although Hubbard soon aligned himself with the approach of Clifford Brown and his forebears: Fats Navarro and Dizzy Gillespie.

Hubbard's jazz career began in earnest after moving to New York City in 1958. While there, he worked with Sonny Rollins, Slide Hampton, J. J. Johnson, Philly Joe Jones, Oliver Nelson, and Quincy Jones, among others. He gained attention while playing with the seminal hard bop ensemble Art Blakey and the Jazz Messengers, appearing on such albums as Mosaic, Buhaina's Delight, and Free For All. He left the Messengers in 1964 to lead his own groups and since that time has maintained a high profile as a bandleader or featured as a special guest, but never merely a sideman.

Along with two other trumpeters also born in 1938, Lee Morgan and Booker Little, Hubbard exerted a strong force on the direction of 1960s jazz. He recorded extensively for Blue Note Records: eight albums as a bandleader, and twenty-eight as a sideman. Most of these recordings are regarded as classics. Hubbard appeared on a few early avant-garde landmarks (Ornette Coleman's Free Jazz, Eric Dolphy's Out to Lunch and John Coltrane's Ascension), but Hubbard never fully embraced free jazz, though it has influenced his playing.

After leaving Blue Note, Hubbard recorded for the Atlantic label and moved toward a more commercial style. His next label was CTI Records where he recorded his best-known works, Red Clay, First Light, and Sky Dive. By 1970, his fiery, melodic improvisation and phenomenal technique established him as perhaps the leading trumpeter of his day, but a series of commercially oriented smooth jazz albums spawned some negative criticism. After signing with Columbia Records, Hubbard's albums were almost exclusively in a commercial vein. However, in 1976, Hubbard toured and recorded with V.S.O.P., led by Herbie Hancock which presented unadulterated jazz in the style of the 1960s Miles Davis Quintet with Hubbard taking the place of Davis.

1980s projects moved between straight-ahead and commercial styles, and Hubbard recorded for several different labels including Atlantic, Pablo, Fantasy, Elektra/Musician, and the revived Blue Note label. The slightly younger Woody Shaw was Hubbard's main jazz competitor during the 1970s and 1980s, and the two eventually recorded together on three occasions. Hubbard participated in the short-lived Griffith Park Collective, which also included Joe Henderson, Chick Corea, Stanley Clarke, and Lenny White.

Following a long setback of health problems and a serious lip injury in 1992, Hubbard is again playing and recording occasionally, some have said, "not at the high level that he set for himself during his earlier career".

I can't tell.

Freddie Hubbard & Friends 70th Birthday Celebration
with Bobby Hutcherson, George Cables, James Spaulding, Craig Handy, and Lenny White
Yoshi's San Francisco, 1330 Fillmore
April 4th & 5th, 2008
Friday & Saturday, all shows $28 & $32