Revisiting "The Futureman Project"

While Bela Fleck and the Flecktones enjoyed a year off from the trials and tribulations of touring, they also found time for a variety of new endeavors; Fleck journeyed to Africa to record and discover the roots of his beloved banjo, and bassist Victor Wooten and saxophonist Jeff Coffin led their own groups on tour. Roy "Futureman" Wooten, the eclectic percussionist of the group, led his own trio, the self-titled "Futureman Project", combining his electronic drumming with jazz hip-hop keyboardist Jeremiah "Street Maestro" Able, and guitarist Robert "Area 51" Provine". Wooten's use of his "Drumitar", (a guitar synthesizer he converted into a drum machine), his "Roy-el", a custom piano sampler, turntables and more, made for quite an interesting blend of jazz, improvisation and hip-hop.

In 2005, Wooten wrote, " I have a year to explore some different directions in music. The first is the concept of what a DJ is. As a musician, I’ve realized that we live in the age of the DJ. As an artist, I’ve realized that I want to create music with the tools of a DJ, i.e. turntables, drum machines, samplers, computers etc. Through the process of implementing these new tools along with instruments that I have created, I seek to implement what being a DJ can mean in the evolution of music. For a period of time being a DJ meant spinning records, to us it means “jockeying”, or manipulating audio that is in a digital format. As far as the term Binary Composer, this refers to the creation of music that sounds “classical”, yet is written solely on “virtual instruments”.

"As a composer it is a privileged time to be alive! The advancements in computer audio are opening creative possibilities that never existed. The binary composer project will explore the marriage of traditional instruments and modern synthesis in both recorded and performed formats."

Wooten added Able, a Nashville native well versed in jazz, R&B and hip-hop to round out his vision. Able was dubbed the "Street Maestro" by Wooten, for "one ear turned to the symphony and the other to the block". Provine joined the combo for a only a few shows, however his ethereal guitar work made an interesting project all the more exciting. Covers of Miles Davis and Curtis Mayfield tunes, even Erykah Badu often filled their set lists. Wooten and Able's rappin' breathed new life into some of these classics, not to mention the virtuosity and deft improvising on display.

With the Flecktones back from hiatus, we may not see this line up again for sometime, although Victor Wooten plans on coming to the Fillmore again soon. Futureman's tour was very brief, and mainly confined to the east coast and Nashville, home of the Flecktones, however, more artists and musicians should be encouraged by this blend of genres, and the ability to converse with a much wider audience.

The Jazz Experience of Charles Unger

Lately, I've found myself fondly recalling some of my favorite saxophonists, from the incomparable Wayne Shorter and his work with Miles Davis, and later with pianist Joe Zawinul, his co-founder in Weather Report; the tender tones of Joe Henderson with Chick Corea; Bennie Maupin's "Chameleon" with Herbie Hancock, to the unmistakable tenor of Stanley Turrentine, whose "Salt Song" features prominently in my iTunes playlist. There are many, many more of course, Bela Fleck's Jeff Coffin, Bill Bruford's Tim Garland, and Washington's own Ron Holloway, to name but a few, however one Bay Area icon has continuously sparked my attention, San Francisco's legendary Charles Unger.

Unger has performed for numerous years at Les Joulin's Jazz Bistro on Ellis, and the Rasselas Jazz Club on Fillmore, to the delight of regulars, tourists, purists and jazz aficionados alike. Surprisingly, more have not experienced this legendary reed player. Unger and his various editions of the "Charles Unger Experience", hope to change all that, with new recordings, shows and a renewed appetite for the sultry tones, humor, and musical explorations he has become known for.

Unger first arrived in San Francisco in 1968, at the impressionable age of eighteen, and during the famed "Summer of Love." Unger stayed a week during that visit, and in 1969, he came back again, this time for a two week stay. According to "In Search of the City" writer Louis Martin, Unger "was hooked". "A year later he moved to San Francisco. He played mostly rock and R & B back then. He can't pinpoint exactly when he started playing jazz but says, "It's always been in the background. It's one of those things you grow up playing in school. In school bands they try to throw in a couple of jazz tunes."

"Rock can be very seductive to young musicians these days, but Unger says it was his mom who kept him interested in jazz. "She loved Stan Getz." Unger is African American, and I began to wonder if his mom liked Charlie Parker and Miles Davis too, but I did not get around to asking. His father was an amateur singer and song writer. "Music was his dream," says Unger. Unger talks loose and relaxed, and his playing, which is lyrical, is like that too. It is eclectic. He can play funky R & B; he can be as lyrical as Coleman Hawkins at times; and when inspired he can rip like the young Charlie Parker..." Now in 2006, Unger remains, more committed to his music than ever.

Unger's work with the lovely singer Valencia Hawkins at Les Joulin's, his shows and recordings with bassist Atila Medvedski, (who reminded me of Weather Report's Mirolsav Vitous), pianist Eugene Pilner, and drummer Andy Marquetti, are just a sampling of his ample talents. Two of Unger's CDs, the "Unger Pangs" Live at Les Joulin's, and "Aural Persuasion", showcase some of his compositional prowess as well. The moody textures of "Astral Aura" with it's lilting bass lines and percussion provide a lovely backdrop for Unger's melodies, the Turrentine-like flavor and strings of "Riverside" open to a latin passage of a Cuban night, and the take no prisoners vamp of "Night Sounds" blends into the promise of nocturnal adventures, only to be interrupted by a deft string arrangement, and a Sonny Rollins-like/Brooklyn Bridge solo by Unger, conjuring his own solitary walk, perhaps across the Golden Gate.

But these comparisons don't really do justice to Unger's sound, because his tones are unmistakably his own. His ability to humorously blend the sounds of dropped forks and cash registers with his saxophone during shows, and then return to the melodies with subtlety or powerful prestidigitation, has delighted thousands. Unger tells me he's planning on writing more these days, adding some new recording software for his Macintosh, updating his CD catalogue and website, and playing with a variety of new cats. "Jazz isn't about the money for me", he told me. "I'm happy, I'm fortunate really. It's about the music to me. I don't know what I would do if I didn't play." The look of joy on his face, and his trademark hat says it all... Unger lives to play.

From the deserved popularity of a Joshua Redman, the oft forgotten Courtney Pine, the avante-garde jazz of David S. Ware, to even the "happy jazz" music, (as a trumpet playing friend calls it), of a Kenny G, it is comforting to know that in San Francisco, and despite the inequities of the music world, we have another bonafide legend in our midst, an unsung hero of the horn, in the form of Charles Unger. So if you are in the mood for jazz, make your way down to Les Joulin's at 44 Ellis on Wednesday and Friday nights, and "experience" one of San Francisco's best jazz musicians.

Hip-Hop Meets Jazz Head-On with "Just Scratch 2"

Former Subterraneanz rapper and host "LCJ" and True Justice, bring their unique vision of "DJ battles" to the Elbo Room, 647 Valencia in San Francisco, on February 22nd, for "Just Scratch 2". This remarkable format pits DJ and rappers against each other with one proviso: You must rap and scratch with John Coltrane! You heard me, any Coltrane LP, instrumental of your choice, but it must be Coltrane.

I must say, I've never seen anything like this, and it's a novel concept. In the 1990's William Burroughs blended jazz recordings of Miles, Weather Report, and others with his spoken word, and saxophonist Branford Marsalis used the works of Maya Angelou and others over his music with "Buckshot LaFonque", but nothing like this. Judges for this elimination battle will be famed bay Area icon Kevvy Kev of the Drum/ KZSU, Gelo- Jus'Scratch Champion, Pone-Canned Beats Transplants, and Deeandroied-Skratchpad.

The event is being sponsored by Ultrasounz, Bside Records, Norcal DJ MPA, and Skates On Haight. The rules for the event are pretty simple: Participants/Battler must be 18 years or older, to "spectate", you must be 21 and over.

Mandatory Record: Any John Coltrane (Jazz LP), Instrumental your choice but you must scratch w/ John Coltrane (Jazz Vinyl). Eliminations (1) 1 minute round, Top 4 picked to go to the semi final. Semi Final (2) 1 minute rounds, Top 2 picked to advance.

Final: Question and Answer session, Anything goes so just practice. They will have the crowd pick the instrumental to use and they will have bargain bin jazz records to choose from to scratch, pick a sound and go for yours (4 rounds, 20 seconds a piece). "$100 Cash Guaranteed prize and Goodies From Our Sponsors..."

For battle entry, sponsorship or info: Please contact FMS Worldwide at 707-427-3118, or email fadermasters2@sbcglobal.net. Leave your name, nickname, email and telephone number (cel or res). Also please send a pic of yourself scratchin' (.jpeg or .psd) format. Good luck!

The Subterraneanz Return?!

Well no, not exactly. The members of Subterraneanz have gone their separate ways since their demise a few years back, LCJ is hosting "Just Scratch 2", and "Live Hip Hop", Thursday nights at Berkeley's Ivy Room. Their spinmaster supreme, "Hyp", singer "Gypsy Luv", and "Louis Da Saint", formed the trio "Triple Ave.", keyboardist and Subz co-founder "Nyambezi" continues his exciting solo career, and the incredibly talented bassist Mike Shea somehow finds a way to still perform with all of them. As for the inimitable "Tranque", he has apparently re-surfaced in Brooklyn, New York's Hip-Hop scene.

All of these forces are scheduled to collide, (minus Tranque), at the Ivy Room, March 9th. This will NOT be a Subterraneanz reunion in the strict sense of word; each act will be performing separately, however one can only imagine there will be some "sitting in" that night. We'll keep you posted, but I'm told a certain Drummstick player may also join in the fun!

Earthworks Underground Orchestra

In 1986, British jazz drummer Bill Bruford launched his first Earthworks, a jazz quartet featuring some of England's best young jazz musicans; pianist/trumpeter Django Bates, saxophonist Ian Ballamy, bassist Mick Hutton and later, bassist Tim Harries. At that time, Bruford had introduced electronic drums into the fray, most notably England's popular hexagonal Simmons pads. Bruford's ability to play samples, chords, and melodies from the drums, was a musical first, however, after much acclaim and success, the tempermental nature of the Simmons drums and the growing demand for his now famous young trio, ultimately gave way to new members and an all acoustic drum kit.

Now, 20 years later, Bruford and his latest incarnation of Earthworks celebrates its 20th anniversary with the "Earthworks Underground Orchestra". Bruford and co-leader, saxophonist Tim Garland took fresh arrangements of some of the band’s best loved tunes over to NYC, to work with some of the finest players in the U.S. in a nine-piece configuration. This CD sounds like the perfect anniversary party, and oozes that feeling of fun and excitement as the celebrations got under way.

It is indeed a rare opportunity to find Bruford in such a unique setting. “The last time I did anything on this scale was with the Buddy Rich Orchestra, which I loved” he says. “I like to think I did at least as well with them as Buddy would have done with King Crimson! It’s a privilege for me to have the Earthworks’ book given the Garland treatment. I wasn’t sure I knew entirely what it would sound like with the American guys, but for certain I had the best seat in the house when I finally found out”.

The CD includes Earthworks standards such as “Up North” and “Libreville”, newer material such as “Bajo del Sol” and “Speaking in Wooden Tongues”, and the beautiful ballads “It Needn’t End In Tears” and “Rosa Ballerina”. Several of the band members --trumpeter Alex Sipiagin, alto player Steve Wilson, and of course, saxophonist Garland-- are distinguished jazz leaders in their own right.

Earthworks Underground Orchestra comes with a bonus 2 track CD for the first 3000 individually numbered copies. For those familiar with Bill Bruford’s Earthworks, this is a hugely entertaining way of re-visiting the band’s best loved tunes; for those unfamiliar with the band, or the sound of a large group of the USA’s top players in action.

In a preview of the CD, "All About Jazz" reviewer John Kelman wrote, "Earthworks Underground Orchestra began as a marriage of Garland’s London-based nine-piece Dean Street Underground Orchestra and the Earthworks repertoire after Garland joined the group in 2003. For the December, 2004 Iridium date, Bruford and Garland recruited New York players like saxophonist Steve Wilson, trumpeter Alex Sipiagin and pianist Henry Hey. With Garland’s not insignificant skills as an arranger, the material—a cross-section of Earthworks material old and new—is infused with new life and greater depth.

Garland’s sleight of hand makes the orchestra feel even larger than it is. “Libreville,” from 1980s Earthworks, is reinvented as a kind of odd-metered calypso, with flutes, muted trumpets and trombone morphing the original melody into rich counterpoint. Another 1980s tune, “Up North,” deconstructs the simple I-IV-V theme, Garland passing it around from horn to horn. Rather than reproducing the strong backbeat of the original recording’s solo section, Bruford plays it lighter and introduces an Afro-Cuban vibe, with Wilson and trombonist Rock Ciccarone delivering the kind of strong solos that define the entire set, leading into a kind of structured free-for-all at the song’s end.

Garland’s more complex and stylistically varied writing will be no surprise to those familiar with If the Sea Replied (Sirocco, 2005). Despite the episodic nature of “Speaking in Wooden Tongues,” it never lacks focus; Bruford’s open-minded interplay is a highlight during Wilson’s modal solo. Bruford’s evolution as a writer is also clear. Garland’s tour-de-force arrangement of Bruford's “The Wooden Man Sings, and the Stone Woman Dances” hints at greater freedom, deeper harmonic understanding, and Bruford at his most swinging.

Bruford continues to reinforce a clear line from art rocker to authentic jazzer. But his recent work, specifically his collaborations with Garland, demonstrates an accelerated development. Complex yet accessible scores, broad textures, and unassailable grooves make Earthworks Underground Orchestra an album that deserves to gain Bruford and Garland a firmer foothold with North American jazz audiences."

Kelman's observations are dead on, as usual. One thing omitted in these observations, is that since "September 11th", European and American musicians ability to tour have been severely hampered. Time consuming visa applications and costs, have affected not only jazz musicians, but the world of rock and even opera. The fantastic recordings of these European musicians, may be the only opportunity many of us get to hear them, short of traveling abroad. I may have to take that a trip to Europe this summer!

The Wilbur Rehmann Quartet: "Big Sky Jazz"

I recently had the pleasure of playing with one of Montana's legendary saxophonists, Wilbur Rehmann, during one of his frequent visits to the Bay Area. Known for his keen ear and smooth tones, Rehmann is the leader of the "Wilbur Rehmann Quartet", and the man behind "Montana Jazz". "Rehmann and his Quartet," wrote Mike Clark of the Great Yellowstone Coalition, "have brought to us a sense of joy, wonder and solitude with their original jazz interpretations, which explore the interior landscapes of the American West and the meaning of wilderness". Rehmann's "Going Down the Gulch" is but one of many fine examples of that style, and embodies a true "Big Sky Jazz" sound.

Rehmann grew up listening to the last of the traveling big bands in the late forty's and early fifties. and as a teenager, got interested in bebop and wanted to know not only why they played like that, but how. Now he knows, and he plays it on the alto, soprano and tenor saxophones. Watching and listening to him play is definitely a joy.

Rounding out Rehmann's quartet is guitarist "Blackie" Nelson, one of the most creative and inventive musicians around. Nelson is also one of the sweetest sounding guitarists in Montana, and apparently knows more songs and music than any one person ought to. In 1954 he and his wife Isabel drove to Bozeman to hear Charlie Parker who personified the cutting edge sound of his day, and that's exactly what Nelson is today.

Bassist Ken Nelson does it all, and he does it well. Acoustic and electric bass, piano and synthesizer, organ and guitar and, of course, dobro. He has a tremendous sense of time and rhythm but it is his harmonic explorations that continue to amaze and enthrall. Drummer and percussionist Dennis Unsworth plays his full kit with exquisite sensitivity and grace His quick wit and melodic sense come through whether it's taking a full-fledged solo flight or when he's simply trading fours with the rest of the group.

The group's two albums, "Back Home Jazz" (1996), and Mann Gulch Suite, (1999) have an underlying message unique to jazz, (or any other genre to be fair); protecting the environment. Rehmann's concern for a clean and healthful environment, and his desire for everyone to be made aware of the effects of pollution and global warming, are clearly a motivating, if not inspiration force in his music, and a passion shared by many of Rehmann's friends and colleagues, including the legendary saxophonist Sonny Rollins.

Rehmann's delightful "Nica's Dream", is another fine example of his spacious, airy sound of "Big Sky" jazz, free to roam and soar, swoop and swing. Rehmann plans on expanding his group to quintet for an upcoming event, with the addition of percussionist Jeremy Slead. There are also plans for a Bay Area show in 2006, featuring Rehmann and some fine local jazz musicians. Meantime, visit Rehmann's informative site at montanajazz.com, and learn that, yes, you really can swing in Montana.

Cas Lucas Comes to Jupiter This Wednesday

Plus Winston Montgomery's "Momma's Tattoo"

Bay Area favorite, guitarist Cas Lucas returns from a busy trip up north, to perform at Jupiter in Berkeley, this Wednesday night, in an unplugged duet with long time partner Stephen Inglis. Lucas has been quite busy following the release of his critically acclaimed "Giving It Back" CD, and his work with the East Bay's legendary Palm Wine Boys. In addition to finishing up his, as yet unnamed new CD, Lucas plans a Spring tour of Colorado, Utah, Nevada, the Pacific Northwest and Southern California. Indeed, Lucas also plans for an "African Highlife-Jam Band" group, and featuring some surprising local musicians. From his early work with the renown Yusef Lateef, to his more recent outings with the Palm Wine Boys, Lucas clearly hopes to be breaking some new ground with his new CD, and his newfound African-Highlife influences.

Recorded in 2004 with Inglis, "Giving It Back", Lucas' fifth album, is both a joyful acoustic romp, with songs like "Feelin'" and "Reflection", to the introspective, mature, and worldly writing of "Stop and Think", and the beautiful, yet melancholy "Home", each demonstrating the remarkable ear Lucas that has become known for. There is also a very fine chemistry and interplay that exists between Lucas and Inglis, who by the way is quite an incredible talent in his own right.

It has been said that Lucas' "honest, humble approach to songwriting is free of ego, and that makes each of his songs applicable to the full spectrum of human emotions. From empathy to anger, from heartache to joy, Cas Lucas is a musician who has been truthful to himself in his interpretation of society around him. His style is completely his own, and has a universally appealing flair - not too poppy, not to bluesy, not too folky…just right."

I'm eagerly awaitng his latest efforts, which promises to be even more energetic and brilliantly played. Likened to Dave Matthews, John Mayer, the late Michael Hedges, and other similarly talented guitarist/singers, Lucas truly has his own unmistakebly unique sound. Don't miss a chance to see this amazing rising star.

Cas Lucas unplugged duet with Stephen Inglis
Jupiter, 181 Shattuck, Berkeley (Downtown)
8-11 pm, no cover, all ages
http://www.jupiterbeer.com
(1 minute walk from bart, west bay-ers)
http://caslucas.com

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Winston Montgomery



Long time local singer-songwriter Winston Montgomery has finished his long awaited CD, plans a "Podcast" of his latest effort and perhaps, after a long absence, a live rendition of his folky-political musings. Ably backed by some talented young Bay Area musicians, Montgomery's latest effort is reminiscent of some of the works of his contemporaries; the late Phil Ohcs, Pete Seeger, John Prine, Richie Havens and Tom Waits. Mongtgomery offers a new take, with some old school flavor to topics ranging from the war in Iraq, "Fallujah Skies", to his wonderful homage of the Sixties with "Momma's Tattoo". Listening to tunes like "The Ballad of Danville Nanny" and "The Sun is on the Rise," really took me back to the good ol' days of the anti-war demos and the front porch hoedowns of the 1970s. Ah yes, those thrilling days of yesteryear, "Tricky Dick" Nixon, Watergate, Cesar Chavez, the war in Vietnam, "Hippie Hill"... Somehow Bush and Iraq just don't feel the same, however Montgomery's music reminds you with his voice and a guitar, that the fight never really ends, and that the struggle goes on and on. A sampling of Montgomery's music can be heard at http://wmontgomerysongs.com

Oregon's "Prime"

I first enjoyed the original Oregon, during an "ECM Festival", at Washington, D.C.'s Kennedy Center for the Performing Arts. Alongside Gary Burton, a young Pat Matheny, Eberhard Weber, John Abercrombie and Jack Dejohnette, Oregon truly shined. Thirty five years, and dozens of recordings later, the incredible jazz quartet Oregon will be releasing their latest effort, the eagerly awaited "Prime". Led by three of their original members, guitarist and keyboardist Ralph Towner, Bolinas-based Paul McCandless on reeds, and bassist Glenn Moore, Oregon's "Prime" follows the success of their Grammy winning "Oregon in Moscow" and "Live at Yoshi's". Oregon has continued, rather admirably following the tragic death of original percussionist Colin Walcott during their 1984 European tour. Walcott had ironically suggested that the great Indian percussionist Trilok Gurtu could make a fine addition to the group, and after his death, Gurtu joined Oregon for three albums, "Ecotopia", "45th Parallel" and "Always, Never and Forever". With the departure of Gurtu to John McLaughlin's band, Oregon added percussionist Mark Walker, first heard on their 1997 release, "Northwest Passage", and to date, the longest-standing addition since Walcott.

"Prime", is due to be released January 23rd. "All About Jazz" reviewer John Kelman, writing about it's imminent arrival, said that "Given most marriages don’t last 35 years, the fact that three of perennially genre-busting group Oregon’s four founding members have remained together so long—and there’s little doubt that if Colin Walcott had not tragically died in a car accident in ’84, he’d still be around too—is truly remarkable. Sure, there are a few old warhorse rock and roll bands like the Rolling Stones who’ve been around longer. But given the mercurial and significantly less-recompensable nature of jazz, guitarist/pianist Ralph Towner, woodwind multi-instrumentalist Paul McCandless, and bassist Glen Moore’s ability to continue to evolve and find new things to say makes them a definite anomaly in the jazz landscape."

"Their latest release also features more recent recruit Mark Walker, who, having been with the group since ‘97’s Northwest Passage, is Oregon's longest-standing percussionist since Walcott’s untimely passing. Prime demonstrates just how they’ve taken influences from a variety of spaces over the years—jazz, folk, classical, ethnic music of India and Brazil, and more—and integrated them in ways that eliminate delineation, developing a unique language imitated but never copied. Their strongest album in years, Prime also reconnects the group with recording engineer Jan Erik Kongshaug and Rainbow Studio in Oslo, Norway. This is the first time they’ve recorded there since their short tenure with the ECM label in the mid-‘80s, and the result is an album whose sonic excellence matches its exceptional writing and performances.

As always, Towner provides the lion’s share of the writing. It's as much about his unique way of voicing as specific melodic and rhythmic concerns, and it remains instantly recognizable but never predictable. In its pastoral folksiness, “If” bears some resemblance to earlier pieces like “Green and Golden,” but its odd meter and deceptively difficult changes provide characteristic yet fresh grist for Towner and McCandless’ advanced improvisational acumen, which remains uncannily lyrical in the face of harmonic adversity.

And while some have accused Oregon of becoming softer and less edgy over the years, Towner’s three-part “Monterey Suite,” some of his best writing in recent years, lays waste to that suggestion. While lacking the sharp angularity of some of his earlier work, the complex nature of the first part, “Dark,” still comes from a shadowy place similar to “Distant Hills,” even as Walker’s kit work gives it less idiosyncratic but more dynamically-building forward motion. The second movement, “Tammurriata,” vividly proves that Towner’s creative sense of counterpoint is still intact.

As always, a number of brief free pieces act almost as way stations along the disc’s greater narrative arc, and it has the same inherent sense of purpose that has always differentiated Oregon's spontaneous improvisations, which are more about texture and ambience than mere notes and pulses.

Moore contributes two pieces, most notably a reprise of “Pepe Linque” from ‘85’s Crossing which, with Walker’s shuffle beat and Towner’s blues/gospel piano, is the closest Oregon has ever come to boogie. Proof that, with Prime, despite the kind of familiarity that can only come from so many years together, Oregon still has more than a few tricks up its sleeve."

I will always have long time friend and WPFW's "G Strings" host Tom Cole, to thank for my continued love of Oregon. The recent recordings of Towner on Bill Bruford's "If Summer Had It's Ghosts" with Eddie Gomez, and McCandless' work on several Bela Fleck and the Flecktones albums, notably "Live at the Quick", has made me hungry for this newest effort. Based on what I have heard so far, I too, am truly "primed".