Trilok Gurtu's "Massical"

Trilok Gurtu wanders between worlds, although his odyssey never went so smoothly from point A to point B. He didn't just come from India to stay in Europe. His sense of direction is much more complex. He drew circles, spanned nets and created intensely woven networks of influences from various regions and musical epochs. Contemporary terms such as jack of all trades or multitasker are highly unsatisfactory in defining Trilok Gurtu’s depth of spirituality, non-judgmental empathy for different cultures, his unending search for new ways to express himself on the solid foundation of a whole arsenal of traditions. Trilok's long-awaited new album "Massical" will be released at the end of May on the BirdJAM label. Trilok will also perform throughout 2009 to promote the album.

Trilok Gurtu was born in Bombay in 1951 in an extremely musical family. His grandfather was a highly respected sitar player and his mother Shoba Gurtu (who died in 2004) was among the most highly renowned Indian singers. There was practically no way for Trilok not to seek a musical career, although his path to percussion was hardly preordained. Today, Gurtu remembers how “my entire family played harmonic instruments and sang and danced. My brother Ravi and I are the only percussionists, although we're not quite sure how we got there. My mother told me when I was three or four years old that she had a percussionist who always came too late or never came in all. Somewhere along the line, my father said: Trilok drums on the table all the time - get him down. And I had to accompany my mother. That's how I chose my instrument - or the instrument chose me. I learned just as much song as percussion when I accompanied my mother.”

That was a talent that was to be very useful to him later. He extended his arsenal of tablas on congas, bongos and drums and then he started a percussion band with his brother and was influenced by John Coltrane and Jimi Hendrix. In the 70s, he toured Europe and later America with the Indian singer Asha Bhosle, performed with Charlie Mariano and Embryo and joined up with Don Cherry in Sweden whose universal musical spirit was driving the future for him. Starting in 1977, he belonged to the Family of Percussion and worked together with innumerable jazz musicians. Then in the mid-80s, he joined the Ethno-Jazz Pioneers of Oregon following in the footsteps of Collin Walcott who had a fatal accident and gave them a completely new way of looking at things with this powerful spirituality. In 1988, he started his virtually historical work with John McLaughlin that was to continue for four years. Just incidentally, he played with musicians such as Joe Zawinul, Jan Garbarek, Pharoah Sanders, Bill Laswell and Pat Metheny.

Gurtu cut his first solo album Usfreth in 1988 whose visionary spirit is far ahead of his own time to be appropriately honoured by the critics and the general public. He tore down the bastions of jazz and world music together with Ralph Towner, Don Cherry, Shankar and his mother Shoba. The rhythmic and harmonic interweaving already contains all of the ingredients that were to rock the world music a decade later in Drum’n’Bass. Since then, he has persistently added elements of various provenance to his musical cornucopia to develop a form of music that finds hierarchies superfluous and has reached its latest high water mark in the new CD entitled Massical. Gurtu turned the pages back and recalls that “I got a lot of flak for my first record because I was trying out something new. It's a lot easier just to imitate somebody else. I tried to forge a bond between my love for Africa and India, but somewhere along the line I had the feeling I was respecting the music too much. I have to remember to maintain my own self respect. Guess what? My music doesn't exist without me! So, I was a little bit more relaxed about my music and concentrated on what I heard myself. On Massical, I didn't think much about music; I just played.”

That's why the songs on Massical feel like acoustic balm. When you're listening, you forget everything you ever learned about music. You drop all your prejudices and surrender yourself to the flow that seems to drive out the gold of the millennia through the present into the future. Gurtu had to drop some ballast himself to be able to credibly transport that feeling. He is an incredible virtuoso who had a tendency to play too much. But virtuosity only plays second fiddle on Massical and just lets the musical process fall into place. Gurtu says "I'm not just showcasing myself. If the music doesn't call for virtuosity, I don't use it. But, let's not forget that there are pieces that are awfully difficult to play and most musicians would not be able to. That music is virtuoso, even though it sounds simplistic. When the musicians cut their first or second record, they usually put their instrument front and centre. But I want to feature my music. There's a difference there. The groove is much more important than virtuosity.“

Gurtu’s music is universal. Of course, he still has a reputation of being an ambassador for Indian music in Europe, but those categorisations are totally unimportant to him. “I was born in India. That's where my roots are. Because I've always played virtuoso, people always categorise me as jazz. There was no category of world music when I started. I don’t come from any American school and I never pretended to. But Indian music is based on improvisation and the music from Bollywood is very groovy - almost like Afro-Brazilian music. I use this repertoire to translate my thoughts and feelings, but I could just as well be from China. My music is my music everywhere and I'm the way my music sounds."

Gurtu doesn't have any problems translating the principles and attitudes of Indian, American and European improvisation. On the contrary, he puts his faith in what all of these musical idioms have in common spiritually. “At the onset, you think everything is segmented into classical music, jazz and all those other genres. But, when you approach music in a more spiritual fashion, you notice that the spirit the music is build on is the same everywhere. People just perceive it differently because they think we come from different traditions. Mozart and Bach also improvised. The first piece in my album is called Seven Notes To Heaven and we only have these seven (and with the semitones) we have 12 notes. That's the same in Africa, Europe, India and America, everywhere. If you hit them right, you come closer to God. For instance, there's a tremendous amount of Mozart in the music from Bollywood. Indians don’t know that and they believe it was written by Indian musicians. Even Stravinsky and the other Russian composers have blossomed in Bollywood because a fit so well. If it's good, it doesn't matter where it comes from.”

Needless to say, the song title Seven Notes To Heaven reminds us of Miles Davis. But if you think that this piece of music is supposed to be a tribute to the man with the horn, you're getting ahead of yourself. Trilok Gurtu is among the few musicians in the sphere of jazz who do not say they hail back to Miles Davis. He discovered how important it is to know that less is more even in cultures that existed before jazz. “My mother always told me that concerts take three hours - so play slowly. Jazz is only the most recent form of improvised music. I respect Miles very much - his courage to change music. But, for me, Don Cherry was much more important because his music changed the world. He had a feeling for Afro-Indian music and I think he would like to play the things that are on this album.”

Don Cherry was also a musician who pushed the basic musical concept out of their glass case and made the highest level of music available to everyone by very simple means. That's exactly how Massical, the title of Gurtu’s album should be understood. His premise is that "music has to be there for everybody – it is the masses who have to decide about music and not the classes. The classes always have the money. But you always have to reach the masses. That's why I say music is massical, not classical.“ That statement is his firm conviction without forcing itself upon you and it has a very human texture that permeates the entire album. Massical is much more than a piece of beautiful music. It is a sustainable contribution to democratising our listening habits and overcoming ethnic and social barriers and art that has long since been overdue.

My Five Year Anniversary and the Music of John Moremen

Time sure flies while writing a weekly column for Beyond Chron. Amidst all the hoopla and our side-splitting April Fool's gag, I'd forgotten my own 5th year anniversary as the Arts and Entertainment editor and original webmaster. When my friend Dean Preston first introduced me to Randy Shaw back in 2004, I had no idea what I would be getting myself into. Little did I know that Beyond Chron would become my window into the world of San Francisco politics, housing and community issues, education, film, music and culture. Alongside my fellow columnist and theater critic Buzzin' Lee Hartgrave, we've seen a lot of shows, plays, concerts and films over the years; mostly good, some bad and thankfully, very few ugly. I am nevertheless, extremely grateful for the experience! So before I get all misty-eyed and nostalgic again, I thought I'd revisit the subject of my first ever column for Beyond Chron, the local guitarist, songwriter, drummer and prolific pop-smith, John Moremen.

One of my favorite musicians, Moremen is a man equally versed in the world of pop, jazz and rock. Recently, Moremen released and re-issued three of his best solo efforts on his Popstatic label; 1991's self-titled "John Moremen", "Punch Me In" from 1996, and his 2002 release, "Vertical", featuring bassist and producer Chris Xefos, guitarist Tim Fuson and drummer D.J. Bonebrake of X and Knitters fame. Moremen is no stranger to the world of California pop, either drumming with the Sunnyvale-based Orange Peels, or playing guitar with Roy Loney; and he is equally at home with the roots rock groups of Northern Virginia that spawned him, groups like the Neighbors, Kevin Johnson and the Linemen and Last Train Home. These albums show Moremen at his best, a wonderfully, rollicking world of rock, pop and wit.

"No Time to be Waiting", the title cut from his last album Vertical, is a fantastic introduction to Moremen's style and harkens back to some of his earliest efforts; a driving, tuneful, yet more matured sound. Like a fine wine, you can really appreciate it after hearing the energetic and younger material from his self-titled first album which nevertheless, is one of my personal favorites. Other guest stars like vocalists John Ashfield, Paul Myers and drummer Jeff Potts round out a great album.

On Punch Me In, Moremen is re-joined by Fuson and vocalist Mark Robinson for more pop fun on the XTC-like "Summer Sauce". Originally recorded in 1996, this CD is a must for Moremen fans. Moremen's use of some very clever chord changes and witty lyrics had me boppin' and bobbin' to "Back Inside (Where I Used to Hide)", a playful, jaunty little tune that reminded me of his days with guitarist Peter Gilstrap and their group "The Neighbors", with a dash of They Might Be Giants thrown in.

The aforementioned "John Moremen" may yet be my favorite, perhaps because Moremen played virtually the entire album by himself. Tight, energetic as hell, and with a little help from Gilstrap and percussionist Peter Yorkunas, turned what began as a demo, into one of Moremen's finest efforts. "You Seem So Happy", "Too Many Times Around My Head", "Broken Heel", and "Sleeping Now", capture the raw essence of Moremen in 1991, a songwriter at "the end of the beginning".

Since that first column in April of 2004, Moremen is still doing it all. From his drumming with the likes of John Ashfield, Alison Faith Levy, Allen Clapp and The Orange Peels; to his work with experimental power trio High Vulture with bassist Bill Raymond and MX-80's legendary guitarist Bruce Anderson. He's also toured as a guitarist with Eric Brace's Last Train Home, as well as a reunion with the famed, Half Japanese. Lately, Moremen has been in collaboration with fellow songwriter Paul Myers and their new project, "The Paul And John". Five years later, Moremen's versatile song writing and playing continues to make him one of the Bay Area's best musicians.

Bela Fleck & Toumani Diabate Come to Yoshi's

Bela Fleck will bring the results of his recent African adventures to Yoshi's in Oakland this weekend, in performance with the great Malian kora player Toumani Diabate. Fleck's new release Throw Down Your Heart, Tales From the Acoustic Planet, Vol 3: africa sessions, also features other well known African musicians; D'Gary (Madagascar), Vusi Mahlasela (South Africa) and Anania Ngoliga (Tanzania). Fleck went to Uganda, Tanzania, Mali and The Gambia in 2005 to find and collaborate with great acoustic musicans and research the roots of the banjo. The album will be released on Rounder later this year. The award-winning documentary, also titled "Throw Down Your Heart" was directed by Sascha Paladino and will also be released later. Mali's Toumani Diabate is considered by many to be the greatest kora player in the world, and he is certainly the most well known. His many solo albums and collaborations have placed him on top tier of instrumental artists worldwide. His amazing new recording 'The Mande Variations' has been recognized with a Grammy nomination this year.

Toumani Diabaté (born August 10, 1965), is a Malian kora player who has gained international acclaim for his music. He is considered by many to be the world's finest kora player. He is a versatile performer, being equally at home with the traditional music of Mali as well as with cross-cultural collaborations with flamenco, blues, jazz, and other international styles. He comes from a long family tradition of kora players including his father, Sidiki Diabaté, who recorded the first ever kora album in 1970. His cousin Maya Jobarteh is a premiere female Diaspora kora player.

In addition to performing Malian traditional music, Diabaté has also performed and recorded in cross-cultural settings. He has collaborated with flamenco group Ketama, forming a combined group known as Songhai and releasing two recordings: Songhai I and Songhai II. He also released a memorable album with Kulanjan, bridging the gap between African and African American music in collaboration with the American blues musician Taj Mahal. His MALIcool is another, more unusual but nevertheless successful collaboration with the American jazz trombonist Roswell Rudd.

In 1999 Diabaté released the album New Ancient Strings, a collaboration with Ballake Sissoko and in September 2005, he released In the Heart of the Moon, for which he collaborated with Ali Farka Touré. On 25 July 2006 he released his latest album Boulevard de l'Independence, recorded with his Symmetric Orchestra. In the Heart of the Moon and Boulevard de l'Independance were recorded at the Hotel Mande, by Nick Gold of World Circuit Records. He appeared in 2006 at the Roskilde Festival in Denmark, and at the Sziget Festival in Budapest, Hungary.

Just in case you aren't familiar with Béla Fleck, there are some who say he's the premiere banjo player in the world. Others claim that Béla has virtually reinvented the image and the sound of the banjo through a remarkable performing and recording career that has taken him all over the musical map and on a range of solo projects and collaborations. If you are familiar with Béla, you know that he just loves to play the banjo, and put it into unique settings.

Born and raised in New York City, Béla began his musical career playing the guitar. In the early 1960's, while watching the Beverly Hillbillies, the bluegrass sounds of Flatt & Scruggs flowed out of the TV set and into his young brain. Earl Scruggs's banjo style hooked Béla's interest immediately. "It was like sparks going off in my head" he later said.

It wasn't until his grandfather bought him a banjo in September of '73, that it became his full time passion. That week, Béla entered New York City's, High School of Music and Art. He began studies on the French horn but soon switched to the chorus. Since the banjo wasn't an offered elective at Music & Art, Béla sought lessons through outside sources. Erik Darling, Marc Horowitz, and Tony Trischka stepped up and filled the job. Béla joined his first band, "Wicker's Creek" during this period. Living in NYC, Béla was exposed to a wide variety of musical experiences. One of the most impressive was a concert by "Return to Forever" featuring Chick Corea and Stanley Clarke. This concert encouraged further experimenting with bebop and jazz on the banjo, signs of things to come.

Several months after high school, Béla moved to Boston to play with Jack Tottle's Tasty Licks. While in Boston, Béla continued his jazz explorations, made two albums with Tasty Licks, and his first solo banjo album Crossing the Tracks, on Rounder Records. This is where he first played with future musical partners Sam Bush and Jerry Douglas.

After the break up of Tasty Licks, Béla spent a summer on the streets of Boston playing with bass player, Mark Schatz. Mark and Béla moved to Lexington, KY to form Spectrum, which included Jimmy Gaudreau, Glen Lawson, and Jimmy Mattingly. Spectrum toured until 1981. While in Spectrum, he and Mark traveled to California and Nashville to record his second album Natural Bridge with David Grisman, Mark O'Connor, Ricky Skaggs, Darol Anger, Mike Marshall, and other great players.

In 1981, Béla was invited to join the progressive bluegrass band New Grass Revival, lead by Sam Bush on mandolin, fiddle and vocals. With the addition of California based Pat Flynn on guitar and NGR veteran John Cowan on bass and vocals, New Grass Revival took bluegrass music to new limits, exciting audiences and critics alike. Through the course of five albums, they charted new territory with their blend of bluegrass, rock and country music. The relentless national and international touring by NGR exposed Béla's banjo playing to the bluegrass/acoustic music world.

During the 9 years Béla spent with NGR he continued to record a series of solo albums for Rounder, including the ground breaking 1988 album "Drive". He also collaborated with Sam Bush, Jerry Douglas, Edgar Meyer and Mark O'Connor in an acoustic super group called Strength in Numbers. The MCA release, "The Telluride Sessions", was also considered an evolutionary statement by the acoustic music community.

Towards the end of the New Grass years, Béla and Howard Levy crossed paths at the Winipeg Folk Festival. Next came a phone call from a friend of Béla's, wanting to introduce to him, a new bass player who was in town looking for a gig. Victor Lemonte Wooten played some licks on the phone for Béla and the second connection was made. In 1988 Dick Van Kleek, Artistic Director for the PBS Lonesome Pine Series based in Louisville, Kentucky, offered Béla a solo show.

Béla put several musical sounds together with his banjo, a string quartet, his Macintosh computer and also a more jazz based combo. Howard and Victor signed on for the concert, but the group still lacked a drummer. The search was on for an unusual drummer/percussionist. Victor offered up his brother Roy Wooten, later to become known as FutureMan. Roy was developing the Drumitar (Drum-Guitar), it was then in its' infancy. A midi trigger device, the drumitar allowed FutureMan to play the drums with his fingers triggering various sampled sounds. The first rehearsal held at Béla's Nashville home was hampered by a strong thunderstorm that knocked the electricity out for hours. The four continued on with an acoustic rehearsal and the last slot on the TV show became the first performance of Béla Fleck and the Flecktones.

Next came the self-titled CD, which Béla financed himself. The recording attracted the attention of the folks at Warner Brothers Nashville. It was released in 1990, dubbed a"blu-bop" mix of jazz and bluegrass, and soon became a commercially successful disc. The album was Grammy nominated, and their second recording "Flight of the Cosmic Hippo" followed suit. Howard Levy toured and recorded with the Flecktones till the end of 1992. After several years as a trio and touring with special guests, saxophonist Jeff Coffin joined the Tones. Famed for a non-stop touring schedule, the Flecktones have reached more than 500,000 audience members yearly from 2001 on.

Still releasing albums and touring, the Tones have garnered a strong and faithful following among jazz and new acoustic fans. They have shared the stage with Dave Mathews Band, Sting, Bonnie Raitt and the Grateful Dead, among many others, made several appearances on The Tonight Show back in the Johnny Carson days, as well as Arsenio Hall, and Conan O'Brian. Béla also appeared on Saturday Night Live and David Letterman's show as well.

Although the first Flecktones albums were created live-in-the-studio, the group went on to experiment with overdubs and guest artists on later albums, with contributions from artists as diverse as Chick Corea, Bruce Hornsby, Branford Marsalis, John Medeski, Amy Grant and Dave Matthews. The Flecktones went on tour with Dave Matthews Band in 1996 and 1997, and Fleck is featured on several tracks on DMB's 1998 album "Before these Crowded Streets." In 2003, Béla Fleck & the Flecktones released the landmark three-disc set "Little Worlds" simultaneously with a highlights disc entitled Ten From Little Worlds.

Any world-class musician born with the names Béla (for Bartok), Anton (for Dvorak) and Léos (for Janacek) would seem destined to play classical music. Already a powerfully creative force in bluegrass, jazz, pop, rock and world beat, Béla at last made the classical connection with "Perpetual Motion", his critically acclaimed 2001 Sony Classical recording that went on to win a pair of Grammys, including Best Classical Crossover Album, in the 44th annual Grammy Awards.

Collaborating with Fleck on "Perpetual Motion" was his long time friend and colleague Edgar Meyer, a bassist whose virtuosity defies labels and also an acclaimed composer. In the wake of that album's release, Fleck & Meyer came up with the idea of a banjo/bass duo, which they developed and refined during a concert tour of the US. Live recordings from that tour are the basis for their latest Sony Classical recording "Music For Two" which also includes a bonus DVD featuring a documentary film by Sascha Paladino (Fleck's brother) that captures the duo's collaboration and crafting of repertoire while on tour. Béla and Edgar also co-wrote and performed a double concerto for banjo, bass and the Nashville Symphony, which debuted in November 2003.

The recipients of Multiple Grammy Awards going back to 1998, Béla Fleck & the Flecktones picked up the Best Contemporary Jazz Performance, Instrumental Grammy in 2000 for "Outbound", a typically wide-ranging project, with guest artists that include guitarist Adrian Belew and singers Jon Anderson and Shawn Colvin, built around Fleck's concept of "the banjo being weird."

Flecks' total Grammy count is 8 Grammys won, and 20 nominations. He has been nominated in more different categories than anyone in Grammy history.


Bela Fleck & Toumani Diabate
Mar 19-Mar 22, 2009
Yoshi's Oakland
Friday 8pm SOLD OUT & 10pm Shows $35

Saturday 8pm SOLD OUT & 10pm Shows $35

Sunday 2pm SOLD OUT & 7pm show $35

E."Doc" Smith's "Live" with Edo Castro

Spawned by the extraordinary Northern California bassist Michael Manring, the "Bass Solo Night" concert series has quickly become a stomping ground for some of the San Francisco Bay area's best musicians. It's a movable feast of talented bassists and features a rotating pool of extremely creative and innovative players. I'd had been asked to perform at one of those shows alongside the bassist and fellow Flecktone fan, Ariane Cap. Ironically, it was during this show at Oakland's Rooz Cafe that led to my first encounter with the bassist Edo Castro. Like Manring before him, Castro was another master of the "E-Bow". His 7 string bass playing was simply gorgeous and his ability to build loops and solo live was equally astounding. Needless to say, I was surprised when Castro graciously asked me to join him for a "gratuitous funk" tune. The result was a truly magical experience and a unique new musical friendship was born. We'll be celebrating our collaborations with a CD Release Party at Rasselas Jazz Club on Tuesday, March 17th. Joining me and Edo for this special St. Patrick's Day show is the extraordinary "improv-o-linist", Kippy Marks, one of the Bay Area's best known electric violinists. Marks will add his own blend of "irish" flavored electric jazz, textures and virtuosity.

Having played for 20 years in jazz, fusion, pop and folk bands as a serious student of drums, I'd developed a love of digital drumming that compelled me to design and build an instrument that would give me maximum flexibility as a writer, drummer, and performer. The Drummstick, a percussion controller with 16 finger-pads mounted on a 2 x 6 piece of wood, is worn like a guitar and used exclusively to achieve my primary musical goal in life— "to make spirits dance". Following the success of this creation, I soon found himself performing with members of groups like Gong, Bela Fleck and the Flecktones, and many others. In 2007, the Zendrum company built a new, custom model for me, both wireless and extremely versatile.

Edo Castro was initially a self-taught bassist, but later attended the American Conservatory of Music in Chicago. “ My Teachers were not only schooling me, they’d recommend me for gigs," Castro marveled. During his stay in Chicago he played with some of the finest young bloods of the music scene at that time, Jim Trumpeter, Fareed Haque, Mark Walker and Hassan Khan. Of course there were the jazz icons, Miles Davis Guitarist Pete Cosey and drummer Roy Haynes that Edo was fortunate enough to play with. Castro recalls," After playing a set with Roy Haynes, there was a bunch of us standing around talking to him and out of the blue Roy handed me his card and said, ‘Man when you’re ready, come to New York and give me a call. That was the greatest stamp of approval in front of all my peers.’ I’ve yet to get to New York and collect on that call.”

Kippy Marks has been delighting audiences with his inspirational compositions and lively performances for over 2 decades. Raised in El Paso, Texas, Marks began his musical acclaim with performances with the El Paso youth symphony orchestra and also the Coronado T-bird Orchestra which was awarded a first-place recognition by winning the international Youth & Music Festival coveted Award in Vienna, Austria during his tenure. "During December's fifth night of Kwaanza at the African Cultural Center" says Smith, "I caught a glimpse of one of the most extraordinary electric jazz violinists I have seen in quite some time, the self proclaimed "Improv-o-linist", Kippy Marks. Marks delighted the crowd with his one man show of loops, samples and remarkable prestidigitations... I'm really excited to have him for this CD release show."

My pairing with Castro has often been compared to acid-jazz "jam band" of the Benevento/Russo Duo; intensely powerful, yet poignant music. This live album features the music of my earlier Drummstick 2, K2, Robert Anbian and the Unidentified Flying Quartet CDs, and culled from performances recorded at the Sheba Lounge in San Francisco and Mill Valley's 142 Throckmorton Theatre.

E.Doctor Smith Live with Edo Castro CD Release Party
with special guest, violinist Kippy Marks
Tuesday, March 17th, Rasselas Jazz Club
1534 Fillmore Street, San Francisco
8 pm-12 am

Bill Bruford Revisited

Bill Bruford's 2002 appearance at Yoshi's Oakland, was sadly his last in the Bay Area. A recent posting on his website noted, "After 41 years of moving the percussive pulse in music and raising people's pulses in general, Bill Bruford has announced his retirement from public performance, effective from January 1st 2009." I am happy to report that Bruford's health is fine and I count myself fortunate to have seen one of his last live performances in Bath, England in 2007. That performance was recorded live and the subject of a previous column reprinted here. Bruford continues to remain quite active however and in March he plans to release his second, eagerly awaited book, "The Autobiography: Yes, King Crimson, Earthworks and More", followed by an album with the piano sextet, Piano Circus".

Last May, I attended the 2007 edition of the Bath International Music Festival. In addition to being one of England's most beautiful and architectural cities, Bath attracts some of the greatest musicians from around the globe; Mavis Staples & Jazz Jamaica, the electronica of Arthurs & Bown and People Like Us; the folk stylings of Martin Hayes and Dennis Cahill; and the genre crossing Iain Ballamy & Stian Carstensen. My personal favorites however, were the jazz duo of drummer Bill Bruford and pianist Michiel Borstlap.

After a high profile and illustrious career as the rock drummer of his generation (with Yes, Genesis and King Crimson), Bruford carved out an equally successful name as a jazz drummer through his jazz-rock ensemble Earthworks. Borstlap is a brilliant pianist, capable of creating solos of dazzling complexity, but also able to employ space and subtlety. Together they adopt a witty, conversational style: the table talk may turn as much to Liszt Scherzos as to jazz standards and free spirited improvisation. Now comes a recording of that performance in Bath and Norway, the aptly named "In Two Minds".

'In Two Minds' is the second CD to come from this pairing of fine musicians, and will no doubt be hugely anticipated by the large and dedicated fan base built up by these two artists in addition to their own separate respective fan bases who have witnessed them in concert since the duo's first formal collaboration back in 2002. Recorded in 2007, 'In Two Minds' features eleven intimate and conversational tracks of new, original material, and a stand-out reading of the Miles Davis classic 'All Blues'. Released on the Summerfold imprint, the Bruford-Borstlap Duo will again be playing selected live dates in the run up to the release of this album, including their London debut at the London Jazz Festival on 24th November 2007.

I saw Bruford's first piano-drum duo with the Swiss keyboardist Patrick Moraz in 1982, at New York City's now defunct Bottom Line, and later in 1983, at D.C.'s also defunct Bayou. Bruford and Moraz had released two albums, the acoustic "Music for Piano and Drums", and the electronic "Flags". Consequently, these recordings and others have been reissued on Bruford's new record labels: Summerfold and Winterfold. With their first CD, "Every Step A Dance, Every Word A Song", and a DVD titled "In Concert In Holland", Bruford teamed up with Dutch keyboard master Michiel Borstlap, in duets culled from their 2003-2004 European tour. Although the duo's efforts are rooted in jazz, there are hints of the progressive-rock/New Age flavor of "Flags", where Borstlap employs synthesizer for choruses and textures, and Bruford's well known polyrhythmic beats and syncopations that propel this beautiful musical journey.

Bruford met first Dutch pianist Michiel Borstlap in 2002, and they began playing duo shows that were less about the confines of structure and more about what Bruford terms "performance-based" music, music of the moment where spontaneity and interaction were the predominant factors. Gratefully, the duo returns with "In Two Minds", a live recording of their summer 2007 tour of Norway and England.

The "Left of the Dial" reviewer Glenn Astarita once noted that "Borstlap primarily uses a grand piano as his instrument of choice via a potpourri of swing vamps, and sublime moments, while Bruford's shading exercises, add color and additional warmth. Highlights include segments where the duo expands themes and unexpectedly switch gears as they often instill a polytonal outlook during jazz standards such as Monk's "Bemsha Swing," for example.

The piece titled "Swansong" from their first CD, is a compelling opus that defines the artists' overriding sense of musical intimacy coupled with power and tenacity. Here, Borstlap executes slashing crescendos amid Art Tatum-like chord voicings, as the unit melds quaint balladry with bluesy passages. The fun factor continues with Bruford's drumming onslaught, which serves as a prelude of sorts, to Borstlap's shrewd use of a synth chorale voicing to finalize the piece. Simply stated, it's about synergy and singular techniques rooted with elements of joy and precision.

Canadian Music reviewer John Kelman wrote that "while Bruford and Borstlap are still more concerned with form than, say, Italian pianist Enrico Pieranunzi-whose recent album with Paul Motian, Doorways , is another beast entirely-the reciprocation between the two jumps out from the first notes of the more structured "The 16 Kingdoms of the 5 Barbarians." Bruford's liner notes allude to the fact that the performance space impacts the nature of the musical dialogue-smaller rooms having "the intimacy of a dinner table conversation between old friends," while larger venues "naturally become a bit more muscular and assertive."

Some of my favorite pieces from the new CD include the log drum driven "Conference of Bees," "The Art of Conversation" and another abstract, yet faithful reading of the classic Miles Davis tune "All Blues". Bruford may gently assert the forward motion, but he's also become a masterful colourist. And while Borstlap's supplementing of his piano with electronic keyboards sometimes gives the duo a broader complexion, the subtleties of their exchange are never overshadowed by sheer demonstrativeness. There were other fine moments from the Bath show not found on the CD, like the hilariously titled "Sharp Objects in Search of Shade" and I'll never forget Borstlap's playful bit of Gershwin at the end of the concert, however the selections chosen for " In Two Minds" are very fine indeed.

"In Two Minds" is yet another step forward for Borstlap, already a well-established European jazz figure, and truly represents one more advance in the pursuit of a more instinctive and natural approach for Bruford, an artist who has, for all intents and purposes, left his rock roots completely behind him. I absolutely loved it.This CD and others from Bruford's ever growing catalogue can be found on his website: http://www.billbruford.com.

Kippy Marks Comes to Rasselas

I've seen some incredible jazz violinists in my day, Stephane Grapelli, Jerry Goodman of the Mahavishnu Orchestra, Steve Kindler, the incredible Jean Luc Ponty, Eddie Jobson, the disgustingly talented Al Shankar and most recently Tracy Silverman. During last month's fifth night of Kwaanza at the African Cultural Center, I caught a glimpse of one of the most extraordinary electric jazz violinists I have seen in quite some time, the self proclaimed "Improv-o-linist", Kippy Marks. Marks delighted the crowd with his one man show of loops, samples and remarkable prestidigitations. Kippy comes to Rasselas next Tuesday night, with a full band for his latest CD release of "To the Mountain Top". You don't want to miss this.

Kippy Marks has been delighting audiences with his inspirational compositions and lively performances for over 2 decades. Raised in El Paso, Texas, the Artist began his musical acclaim with performances with the El Paso youth symphony orchestra and also the Coronado T-bird Orchestra which was awarded a first-place recognition by winning the international Youth & Music Festival coveted Award in Vienna, Austria during his tenure.

Kippy began to refine his artistry by performing as a distinguished member of the Denver youth Symphony Orchestra and with the Billings Symphony Orchestra before turning his attention to the art of composition and improvisation. With his unforgetable compositions, which draw from Classical, Jazz, Blues, Dance and even Middle-Eastern and Eastern-European traditions which has brought Kippy global recognition which includes the Los Angeles, San Diego, San Francisco and Bay area communities.

Upon relocating to the San Francisco/Bay area, the Artist hopes to achieve continued high visibility with the community and hopes performing for such distinguished audiences as the San Diego Chamber of Commerce, San Diego City Council, and the Insights World Conference Leadership Forums will segue into many years of inspiring-creative-experiences within and around the San Francisco/Bay Area. Kippy's innovative stylings have been featured at the Hotel Del Coronado and Westgate Hotel, and have shared life within community festivals such as San Diego Pride and Cityfest festival.

Kippy was proud to be affilliated with such companies as Schwarzkopf International, Coffeebean and Tealeaf Coffeehouses and with groups such as the Concious Youth Media Crew, Intel, Salano Stroll and many charitable organizations in San Francisco and in the Bay area. Kippy believes in giving back to the community and has contributed his talents to charity and youth-outreach organizations such as Ordinary Miracles the Metropolitan Community Church, Market Street First Adventist Church, Unity Palo Alto, Nurses Association of America and the Boys and Girls Club of America just to name a few.

Kippy's Latest

"Improv-o-linist" Kippy Marks does it again with the third vol. of the trilogy TR-2 "Tranquillium". This project grabs the listener and brings them to the final place of Musical Peace with a fusion of jazz rhythms that intices the ear and body to truely feel the artist passion and devotion to the gift of music. "U", the title of the cd represents the artist's gratitude to everyone who has shared in the sprit of the creration of music. Kippy has released nine albums through Kima Exclusive Entertainment. With this recent album Kippy will undoubtedly recieve rave reviews and even greater local recognition and opportunities to share his gift for music and expression.

Kippy Marks
Rassalas Jazz Club, 1534 Fillmore
Tuesday, February 3rd
Doors open at 6:30 pm and the show begins at 7:30 pm.
There is a $20 cover which includes a copy of his CD.

The Coryell, Auger, Sample Trio Comes to Healdsburg

I'm often intrigued by the offspring of great musicians. The sons and daughters of Thelonius Monk, John Coltrane, Dave Brubeck and Pete Escevedo respectively, are among the best and have done their parents proud. The tradition continues with sons of three of my all-time favorites; the incredible guitarist Larry Coryell and his group "Eleventh House" were astounding in their day; organist Brian Auger and his "Oblivion Express" blew my mind on several occasions and Joe Sample's "Jazz Crusaders" redefined themselves and jazz for decades. Now comes the "Coryell, Auger, Sample Trio" to the Healdsburg Palette Art Cafe, taking up where their fathers left off. These inherently talented musicians combine their jazz roots with a funky blues. If you're game for a little weekend up north, take in some fine art and these fine young musicians.

In July of 2007 while doing a gig with Julian's father Larry Coryell, Karma and Julian were introduced minutes before walking onstage together. It was quite a special evening and a strong connection was made. After the show they spoke about doing something together and Nick's name was brought up. In early August they all got together for the first time and wrote an album in four hours. After a day of getting sounds CAST! went into Julian's studio in Venice and spent 3 days cutting the album. The strategy was simple: Play down the list, get lunch, do it again. No headphones were used in the making of the record. Just three guys in a room playing. "We basically recorded a live album in the studio. We gave ourselves an opportunity which is so rare in today's clinical approach to recording, we just played."

Julian Coryell has been playing and recording music since childhood with everyone from his father (legendary jazz guitarist Larry Coryell) to Carole King, Jewel and Aimee Mann. An Alumnus of the Berklee College of Music, he's also performed with Dave Brubeck, Herbie Hancock and Billy Cobham. He's produced legendary singer/songwriter Leonard Cohen, and recently played to sold out crowds at the world famous Budokan in Tokyo with Japanese rock star Kazuyah Yoshii. Julian's most recent musical passion is CAST, an eclectic jazz trio with drummer Karma Auger and bassist Nick Sample. Says Julian, "CAST is my opportunity to take what my father has given me and run with it". CAST has recently completed their first full length CD and will tour extensively in '08.

Karma Auger's musical education began close to the beginning of his life. His earliest memories are of his father, legendary jazz keyboardist Brian Auger playing electric piano at the house in London. At age 2 Karma was already threading the tape on his father's reel to reel and plugging in headphones to listen to dad's new masters. At age 3 he began playing piano which he still plays today but it wasn't until age 20 that he found his true passion; Drums. Since age 21, Karma has been touring and/or engineering/producing tracks for his father and a huge list of world class artists including Eric Burdon (The Animals), Robby Krieger (The Doors) and Billy Cobham to name a few. His understanding of the business rounds out his musical education which Karma owes greatly to his father. " My father has given me a priceless education and I am lucky enough to work with him today."

Nicklas Sample began his musical education as a young child watching his father, jazz legend Joe Sample. Born and raised in Los Angeles, Nicklas has gained over 20 years experience in the music business learning all creative and business aspects of the industry first-hand. Nicklas immersed himself in the LA scene as a professional bass player, playing both electric and upright with the local talent such as Nikka Costa, Zoo Story, Daniel Cage, Jakob Dylan, Duke Daniels and Alison Sudol of “A Fine Frenzy” (whom he has also co-written songs with). He is also the bass player and member of “The Crusaders” and the “Joe Sample Trio”. Forty years of experience in the music business is an unprecedented amount of information to gain in just the few years Nicklas has been working with his father. “Joe Sample is the best teacher I could ever have”, “I’m learning from the best”.

Coryell Auger Sample Trio
Palette Art Cafe
Healdsburg, CA
Friday, January 23, 7:00 – 10:00