Béla Fleck's "Throw Down Your Heart - Part 2"

Béla Fleck is often considered the premier banjo player in the world. “Throw Down Your Heart - Africa Sessions Part 2” includes fourteen new songs recorded during his journey from Nashville to Mali, The Gambia, Tanzania and Uganda. Fleck's goal was to collaborate with incredible African musicians, and look into the origins of the banjo and banjo music. This is also Fleck's second installment of his African musical odyssey and his first experiment with the idea of going direct to the listener online; no record company middleman, a popular concept being used in today's digital music world. For now, his website is the only place you can find and download this fabulous album.

A New York City native, he picked up the banjo at age 15 after being awed by the bluegrass music of Flatt & Scruggs. While still in high school he began experimenting with playing bebop jazz on his banjo, mentored by fellow banjo renegade Tony Trischka. In 1980, he released his first solo album, Crossing the Tracks, with material that ranged from straight ahead bluegrass to Chick Corea’s “Spain.” In 1982, Fleck joined the progressive bluegrass band New Grass Revival, making a name for himself on countless solo and ensemble projects ever since as a virtuoso instrumentalist. In 1989 he formed the genre-busting Flecktones, with members equally talented and adventurous as himself.

Throw Down Your Heart, the third volume in Béla’s renowned Tales From the Acoustic Planet series, is his most ambitious project to date. In on-location collaborations with musicians from Uganda, Tanzania, Senegal, Mali, South Africa and Madagascar, Béla Fleck explores the African origins of the banjo, the prototype of which was brought to American shores by African slaves. Throw Down Your Heart is a companion to the award-winning film of the same name, which Béla and director Sascha Paladino are currently premiering at festivals nationwide. Transcending barriers of language and culture, Fleck finds common ground with musicians ranging from local villagers to international superstars such as the Malian diva Oumou Sangare to create some of the most meaningful music of his career.

The music on the album is as adventurous and varied as anything we’ve come to expect from Béla, ranging from the tradition-based opening track, performed with a group of Kenyan women singers, to the exquisite title track, performed with the Haruna Samake Trio and Bassekou Kouate from Mali. Basseko, who comes from a long line of Griot musicians, is an incredible improvising player who plays the n’goni, the Malian banjo. The music he and Béla make together is gentle and melodic. Equally modern is his duet with South African guitarist Vusi Mahlasela, who is simply known as ‘the voice’ (and what an awesome and expressive voice he has). His music connects South Africa’s Apartheid-scarred past with its promise for a better future.

Nothing can quite prepare the listener for the sound of the giant marimba played by the Muwewesu Xylophone Group in Uganda. Says Béla, “The marimba is reassembled every day, and it seems to be played by a set group of men. Each one plays a certain musical part in the group. I think there are other people who know each of the parts in case someone is unable, or unavailable to play. Also there seemed to be kids who were being taught parts. But a spot in the primary team seemed to be a very coveted spot, and the men who played in this group were very serious and very good. The village did join in – in large numbers, singing and playing flutes and fiddles and percussion instruments. They also danced.” It’s a sound of pure joy.

Another highlight is “Djorolen,” a duet with singer Oumou Sangare, who delivers a vocal that expresses heartbreaking beauty and sadness. “As she points out in this song,” says Béla, “it is often the orphans, those who have lost their parents when they are young, who have the greatest problems in life.”

“D’Gary Jam” is a fascinating amalgam that exemplifies the spirit of the album. Béla explains, “This track started its life in Nashville. We had a great jam one day, which went for 22 minutes straight, the whole take was really cool.

"This was in July, about 7 months before we went to Africa. I decided to bring the track along, and add people to it as we went, and even after the trip, a kind of science project, if you will. After things got added, I took some liberties with people’s parts and did a little audio sculpting.” Along with the great acoustic guitarist D’Gary, the track features, among others, Oumou Sangare, the legendary kora player Toumani Diabate, and Bassekou Kouyate."

As to the origins of the banjo, Béla comments, “When I went to Africa I found instruments and players that gave me a better sense of where the thing started. In Gambia and Mali in particular, I found what I was looking for!” This is especially apparent on the traditional song medley “Ajula/Mbamba,” performed by Béla and The Jatta Family from the Gambia. “The akonting could very well be the original banjo. Everyone around Banjul certainly seems to think so! Huge numbers of slaves came west from this area. We were told that the musicians were allowed to play these instruments on the slave ships, and that many lives were saved due to it.”

The 2010 Fillmore Jazz Festival

Every summer on July 4th weekend in San Francisco, Fillmore Street is home to the largest free jazz festival on the West Coast: The Fillmore Jazz Festival. The festival annually attracts more than 90,000 people from all over the City, the Bay Area, and beyond. Visitors gather to celebrate and enjoy a musical tradition of live jazz, rhythm and blues, and gospel as well as local culture and fine cuisine in the heart of the city by the bay. This year the Festival celebrates its 26th anniversary by once again blending art and soul from sunup to sundown, from Jackson to Eddy, presenting the music of old favorites as well as new ‘up and comers’ on multiple stages. You can also browse 13 blocks of fine arts and crafts, enjoy gourmet food and beverages, and participate in cooking demos by the Fillmore’s finest chefs.

Art and crafts include photography, painting, woodwork, metalwork, jewelry, pottery, clothing, hats, and children’s toys – over 200 artists and craftsmen. Delicious “street food” includes oysters, calamari, fish & chips, grilled chicken, bbq pork, jambalaya, tri-tip and even food from the new local restaurant, Out the Door. The event will also be pouring fine wine and beer. You can also participate in hourly cooking demos near the Fillmore Center Plaza, featuring chefs from noted local restaurants.

A Brief History

Against the backdrop of World War II, dozens of Fillmore Street Jazz clubs hosted the era's major musical talents, including Ella Fitzgerald, Duke Ellington, Count Basie, and Billie Holliday. Stars such as Joe Louis, Marilyn Monroe, Clint Eastwood and Sammy Davis, Jr. sparkled in the audience. At the legendary Jimbo's, Louis Armstrong went to check out Charlie Parker (the only known time they were under the same roof). Chet Baker snuck out of the Fort Mason barracks to jam all night, and John Handy played Bop City with John Coltrane.

In the 60s, Jazz historian David Rosenbaum ran the Melrose Record shop on Fillmore Street, employing high school student Maya Angelou. Zen Buddhism was first introduced to the West in the Fillmore, which became a creative home to artists including Isaac Stern, The Grateful Dead, Janis Joplin, Mel Blanc and Alan Ginsberg.

Although much changed following the area's redevelopment in the 1970's, the jazz spirit proved tenacious. In the 1980's, a renaissance gave rise to the next generation of the Fillmore District. Merchant associations helped launch the first Fillmore Jazz Festival in 1985, giving new expression to the storied neighborhood. In 1999, the festival came home to the newly revitalized Jazz Preservation District.

Performers who have graced Fillmore Street stages include Dr. Lonnie Smith, Denise Perrier, Lady Memphis, Kim Nalley, Pete Escovedo, Jules Broussard, Big Belly Blues Band, Brenda Boykin and Paula West.

Today, Fillmore Street once again hops with an acknowledging nod to the spirit that once filled the street. Boasting an eclectic mix of over 200 businesses: music clubs, shops and restaurants, it continues to echo the music of its birth, transcending boundaries, embracing diversity, and celebrating personal style.

2010 Fillmore Jazz Festival Entertainment Schedule

Saturday, July 3, 2010

California Street Stage
10:00 - 11:30: Farzad
12:00 - 1:30: Dave Rocha Quintet
2:00 - 3:30: Art Khu
4:00 - 6:00: Marcus Shelby Orchestra

Sutter Street Stage
10:00 - 11:30: Calvin Keys Trio
12:00 - 1:30: The Lost Cats
2:00 - 3:30: Brent Kimbrough Band
4:00 - 6:00: Pamela Joy Quintet

Eddy Street Stage
10:00 - 11:30: Curtis Lawson
12:00 - 1:30: Dynamic Four
2:00 - 3:30: Bobbie Webb
4:00 - 6:00: Native Elements

Jackson Street Entertainment Area
12:30 - 5:00: Bartron Tyler Group

O'Farrell Street Entertainment Area
10:00 - 12:00: The Jazz School Performance
12:00 - 6:00: San Francisco Balboa & Swing Festival

Sunday, July 4, 2010

California Street Stage
10:00 - 11:30: Dave Costa Trio
12:00 - 1:30: Houston Person
2:00 - 3:30: Kim Nalley
4:00 - 6:00: Fil Lorenz Orchestra

Sutter Street Stage
10:00 - 11:30: Russo Alberts Trio
12:00 - 1:30: Lloyd Gregory
2:00 - 3:30: Eric Muhler Jazz Quartet
4:00 - 6:00: Lisa Engelken Band

Eddy Street Stage
10:00 - 11:30: Consonance - (gospel group)
12:00 - 1:30: Eddie Gale
2:00 - 3:30: Manicato
4:00 - 6:00: Bayonics with special guest Big Brooklyn Red

Jackson Street Entertainment Area
12:30 - 5:00: Bartron Tyler Group

O'Farrell Street Entertainment Area
12:00 - 6:00: San Francisco Balboa & Swing Festival

Randy Weston Comes to the Jazz Heritage Center

After contributing six decades of musical direction and genius, Randy Weston remains one of the world's foremost pianists and composers today, a true innovator and visionary. Encompassing the vast rhythmic heritage of Africa, his global creations musically continue to inform and inspire. "Weston has the biggest sound of any jazz pianist since Ellington and Monk, as well as the richest most inventive beat," states jazz critic Stanley Crouch, "but his art is more than projection and time; it's the result of a studious and inspired intelligence... An intelligence that is creating a fresh synthesis of African elements with jazz technique". In partnership with the Museum of the African Diaspora, the Jazz Heritage Center will present a weekend focused on the life and music of jazz legend Randy Weston.

The Jazz Heritage Center will be showing two films about Randy Weston's life and will be featuring him in conversation with legendary jazz radio personality Dr. Herb Wong. On Sunday, June 27th, the Jazz Heritage Center will be featuring a special discussion with Randy Weston discussing his long career in jazz and the role of Africa in his music and life. He will also be discussing his new book, African Rhythms, slated for an October release. Prior to the discussion with Weston, the JHC will be showing, "Randy Weston on the Road," a 45-minute film which showcases Weston's lifetime journey from Brooklyn to Africa.

Randy Weston, born in Brooklyn, New York in 1926, didn't have to travel far to hear the early jazz giants that were to influence him. Though Weston cites Count Basie, Nat King Cole, Art Tatum, and of course, Duke Ellington as his other piano heroes, it was Monk who had the greatest impact. "He was the most original I ever heard," Weston remembers. "He played like they must have played in Egypt 5000 years ago."

Weston’s first recording as a leader came in 1954 on Riverside Records Weston plays Cole Porter - Cole Porter in a modern mood It was in the 50's when Randy Weston played around New York with Cecil Payne and Kenny Dorham that he wrote many of his best loved tunes, "Saucer Eyes," "Pam's Waltz," "Little Niles," and, "Hi-Fly." His greatest hit, "Hi-Fly," Weston (who is 6' 8") says, is a "tale of being my height and looking down at the ground.

Weston has never failed to make the connections between African and American music. His dedication is due in large part to his father, Frank Edward Weston, who told his son that he was, "an African born in America." "He told me I had to learn about myself and about him and about my grandparents," Weston said in an interview, "and the only way to do it was I'd have to go back to the motherland one day."

In the late 60's, Weston left the country. But instead of moving to Europe like so many of his contemporaries, Weston went to Africa. Though he settled in Morocco, he traveled throughout the continent tasting the musical fruits of other nations. One of his most memorable experiences was the 1977 Nigerian festival, which drew artists from 60 cultures. "At the end," Weston says, "we all realized that our music was different but the same, because if you take out the African elements of bossa nova, samba, jazz, blues, you have nothing... To me, it's Mother Africa's way of surviving in the new world."

Kudos to JHC Executive Director Peter Fitzsimmons for continuing to bring these stellar jazz legends to the Fillmore.

Randy Weston at the Jazz Heritage Center
6PM – 7PM Movie: Randy Weston On The Road
7PM – 8PM Interview/Q&A with Randy Weston

JHC Members: Free

Billy Cobham's "Palindrome"

Perhaps the most incredible drummer of our time is the world renown Billy Cobham. With a career spanning 4 decades, Cobham has performed with pianists Horace Silver and George Duke, legendary trumpeter Miles Davis, tenor saxophonist Stanley Turrentine, vibraphonist Milt Holland and jazz guitarist John McLaughlin, to name but a few. Cobham has also performed with the Grateful Dead and their tribute group, "Jazz is Dead", with the famed Peter Gabriel, Level 42 and many, many more. An inductee into the Percussive Arts Society Hall of Fame, Cobham is best known primarily for his jazz-rock drumming. Cobham’s latest release, “Palindrome” on the Multimedia Concepts label, is a return to those roots.

Percussionist, writer and educator Reid J. Kennedy reviewed Palindrome last January for the Jazz Police. It so closely echoed my own view of this album, that it bears quoting here. Kennedy writes, “The album opens with an updated arrangement of Cobham’s “Moon Germs,” originally released in 1975 on the Total Eclipse record. With its funky bassline, solid pocket, and tight horn lines, this track is a suitable microcosm for a majority of the album. “Moon Germs’” use of guitar and keyboard riffs is another common thread within Cobham’s arrangements. “Two For Juan,” revisited from 1987’s Picture This, opens with a driving theme played over the drummer’s relentless backbeat. The combination of instrumentation and melodic material produce a theme suitable for an action sequence on Miami Vice.

The tune takes a different direction as keyboardist Christophe Cravero and trombonist Marshall Gilkes take turns blowing over an interlude prior to the return of the initial groove and guitar solo. A mountain climb toward the original theme ensues, not complete without some space for Cobham. “Obliquely Speaking” is one of five new compositions on the album, though it bares multiple similarities to “Two For Juan.” The use of steel pan adds a tropical flavor to this track.

By the fourth tune, “Isle of Skye,” the ensemble sound is firmly in place. Listeners know what to expect at this point, and those in search of groove-oriented music with a Latin tinge will not be disappointed. This second new composition on Palindrome offers a few calming moments when the music breathes a relaxing sigh. “A Day’s Grace,” from 1981’s Flight Time, begins softly before giving way to the straight-eight feel that propels the tune. Guitar, keyboard, and violin all receive solo space before the melody returns. Percussionist Marco Lobo adds some tasteful rhythms to the conclusion. Riff-based “Mirage” is reminiscent of the Dave Weckl Band with shades of Dave Holland with Billy Kilson, and even recordings of Michel Camilo. It was originally recorded on the Focused album in 1997.

A close listen to “Cancun Market” reveals the level of intricacy that encompasses many of the melodies Cobham composes. Nearly two minutes of syncopated rhythms comprise the head and give way to a steel pan solo played by Wilbert “Junior” Gill from Cobham’s “Culturemix” band. Guitar and keyboard solos follow thereafter, prior to the head out. “Torpedo Flo” is in six and morphs through a variety of grooves and feels in that time signature.

Trombonist Gilkes returns for a tasteful ride over Cobham’s relaxed, pseudo-samba feel that continues during the keyboard solo, as well. “Alfa Waves,” originally from 1995’s The Traveler, is a samba in three and features the “string” section of the group. Bassist Philippe Chayeb, who is solid throughout the entire album, opens the blowing and is followed by violin and guitar solos. It should be noted that the violin parts are played by keyboardist Cravero. Interestingly, this tune is placed directly after the only other tune in three (or six) on the record. “Saippuakivikauppias,” the palindrome song, concludes the album. The catch here is that, like the title, the tune is the same forward and backward.”

All in all, Palindrome is a softer Cobham album and as Kennedy noted, many of the songs are from Cobham’s thirty year catalogue. I recognized many of the strains from Cobham’s earlier albums, particularly “Total Eclipse”, “Life and Times” and “Inner Conflicts”. For me, Palindrome combines all of the elements of Cobham’s rich musical past, from the ‘70s era of the Brecker Brothers to the Culturemix band of 2003 with Junior Gill.

Kennedy rightly concluded, “Cobham’s Palindrome looks into the past while moving forward with contemporary ideas. There is no denying the drummer’s ability to play in the pocket, and with this release, he has made clear his musical preferences as they stand in 2010.”

SFPopfest Comes to the Hotel Utah

This Saturday afternoon, two of my favorite pop groups, The Orange Peels and the Corner Laughers will descend on the Hotel Utah as part of the four day, SFPopfest 2010. Joining them will be New York's Dream Diary and Sweeden's Leaving Mornington Crescent. The Peels songwriting tandem of Allen Clapp and Jill Pries remain intact, however the ever evolving line-up moves the ridiculously versatile John Moremen from behind the drum kit and back to his first love, lead guitar. Taking over the drum chores is the very capable Gabriel Coan. This could be one of the best Peels line-ups yet. The Corner Laughers are another product of the fabled "Mystery Lawn Studios" in Sunnyvale. The sweet vocals of singer Karla Kane and the rock solid bass of Khoi Huynh have produced some of best pop tunes I've heard in some time. Alongside the rhythm guitar of Angela Stiletto and the "Bonham-like" drumming of Charlie Crabtree, the Laughers blew my mind with their incredibly poignant hit, "Stonewords". Don't take my word for it, a synopsis of all four bands from the SFPopfest website follows.

THE ORANGE PEELS (Bay Area)
"I have always had a special liking for The Orange Peels and I believe that after checking out their new record 2020 you will quickly become a fan too. It has been four years since the band released their last record but 2020 shows that they have not lost one step as their blended style of Brit rock and California power pop is in complete full form. As the title suggests, 2020 deals with perceptions. Being released on the precipice of a new decade, the album is as much about looking back on 10 years gone awry as it is about looking forward to the promises of the future. The Orange Peels do this with quick sharp guitars, soaring melodies and strong rhythms that drive each track and will keep your feet tapping all the way through." http://www.theorangepeels.com/

THE CORNER LAUGHERS (Bay Area)
"Anyone in need of a catchy indie-pop sugar rush frothing with humorous, whip-smart lyrics could do a lot worse than check out the Corner Laughers. Ultraviolet Garden finds the Bay Area quartet, while not exactly wigging out like rock gods, picking up the pace and adding deft power-pop touches to its mixture of ukulele-led sunshine folk-pop and girl-group harmonies and handclaps from its 2006 debut Tomb of the Leopards. Helped out by the Orange Peel’s Allen Clapp in the producer’s chair and Charlie Crabtree, permanent “bad-ass” drummer since 2007, Karla Kane (lead singer/ukulele), Angela Silletto (guitar/backing vocals), and multi-instrumentalist Khoi Huynh regale us with melodic story-songs of fickle lovers (“For the Sake of the Cat”, “Dark Horse”), ghostly catacombs (“Dead Sicilians”), the extinction of an unconfirmed species of giant bird (“Thunderbird”), and an epic lullaby about earth’s total destruction (“Space Echo”). With these 13 cuts jauntily breezing by in an economical 39 minutes, Ultraviolet Garden feels like a place that Camera Obscura, They Might Be Giants, and Kirsty McColl might have strolled through at some stage. It’s simply wonderful. http://www.cornerlaughers.com/

DREAM DIARY (New York City)
"I first heard Dream Diary this past Fall and loved the two Brighter-esque songs they had up on MySpace at that time. Fast forward to now — those still seem to be the only songs they've got in circulation and I still haven't caught wind of any planned releases. As the previous Brighter name-drop may have suggested, the Brooklyn group play twinklingly classic indiepop from the heart! I feel like they should have had something released on Holiday Records by now — seems like the perfect home for them!" http://www.skatterbrain.org/

LEAVING MORNINGTON CRESCENT (Sweden)
"Elisabeth & Stefan form the duo Leaving Mornington Crescent from Malmö, Sweden. I’m pretty sure that’s them kissing in the photo above. They have a 3″ split cd available on Cloudberry. Their new record is on the Peruvian indie pop label Susy Records. It’s once again a 3″ cdr but this time there are 6 new songs. Buy it now from Susy – it’s a limited edition consisting of 100 numbered copies. From the sound of “Seventeen” the band ventured into new territory. Unlike the sunny 60’s inspired indie pop of “April Song” from the Cloudberry split cd, “Seventeen” is a rather heavy, shoegaze number with buzzing and churning guitars and a solid backbeat. Still the vocals retain the cheeriness of “April Song” with a chorus of “I’m seventeen on the inside, the only difference is…”.." http://www.swedesplease.net/

“SFPopfest”
w/ The Orange Peels, The Corner Laughers, Dream Diary and Leaving Mornington Crescent
Saturday, May 29, 2:30 p.m.
$6 advance/door
All Ages
Tickets: http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=1711105&pl=utah

The 2007 Bath International Music Festival

Today, I'll be attending the 2007 edition of England's famed 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, will be 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.

I saw Bruford's first 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 now 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. Now, on a beautifully played 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.

The "Left of the Dial" reviewer Glenn Astarita, notes 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," 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.

Bruford met 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.

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."

Still, on more introspective pieces including the title track, the anthem-like "Inhaling Shade," and an abstract, yet faithful reading of Monk's "Round Midnight," 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.

Every Step a Dance, Every Word a Song may not be as great a step forward for Borstlap, already a well-established European jazz figure, but it 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.

Next week I'll be in Paris, reporting on the French Open, and Roger Federer's quest for the only Grand Slam tennis title that has eluded him. Standing in his way will be the current champion and arch rival, Rafael Nadal...

Tracy Silverman's "Eclectica"

Not just another funk/world/rock/jazz/classical ensemble, Eclectica is a virtuoso groove event. This genre-defying band features the 5 time Grammy Award–winning drumming of Roy "Futureman" Wooten, of Bela Fleck and the Flecktones and electric violin virtuoso Tracy Silverman, heralded by the BBC as “the greatest living exponent of the electric violin.” Bass legend Steve Forrest, (replacing Kyle Whalum), rounds out the ensemble. Eclectica weaves sound-pieces together with a groove that is alive from the first note to the last encore, with sing-along choruses and creative jams that can lead in any direction. With 3-part vocals and inspired synchronicity, Eclectica is a celebration and a concert on the same stage.

Jim Beal Jr., writer for the San Antonio Express-News interviewed the band during a festival last year, and was able to get some fantastic insight into the creation of this unique trio. Beal writes, "When it comes to naming bands, truth in advertising does not always figure into the decision. For Nashville-based Eclectica, the name is on the mark. "What comes out of us is kind of funky rock, jazz and classical," said violinist Tracy Silverman. "There are elements of all those things in the music, which is why we call the band Eclectica."

Eclectica began with Silverman, Wooten and bassist Kyle Whalum (currently on the road with James Otto) and recorded their debut CD, "Streaming Video Soul" (Gutbucket Records). Forrest is Eclectica's current bassist, replacing Whalum for their recent tours. There are some great tunes on this album, including my personal favorite "Nawlins". There is an amazing live video of Eclectica performing this song with an orchestra that must be seen to be believed.

"I think people have open minds and ears when it comes to music," Silverman said. "I think people would rather hear more than one style of music. And, we don't want to get bored. We like to jump around. We have eclectic backgrounds. The music business tends to be very restrictive for artists. If you have a hit, you get labeled as that for the rest of your career. It's good for marketers, but not for artists."

Beal continued with a bio of the band, "Eclectica is not about to get labeled, at least not easily. Silverman grew up in New York. He started playing violin at 4. By the time he was 8, he was in the Juilliard School pre-college. He started winning competitions at 12 and graduated from Juilliard at 20. In 1994, he moved to the San Francisco Bay Area and joined the Turtle Island String Quartet. In the early 2000, Silverman started collaborating with contemporary classical composer John Adams, who composed the electric violin concerto "The Dharma at Big Sur" for the violinist.

Wooten is an inventor, composer and percussionist. With the Flecktones, he performs with a customized electric guitar-synthesizer, "The Synthaxe" which he renamed, the "Drumitar". Wooten also fronts the orchestral "Black Mozart Ensemble". With Eclectica, Wooten plays acoustic drums. Bassist Forrest, from Nashville by way of Memphis, is a first-call musician who has worked with Tony Joe White, Lucinda Williams and Emmylou Harris as well as with jazz bands and the Wooten Brothers and Friends group."

"Me and Roy bumped into each other a few times. He asked me to play on some of his projects. He's always doing something interesting," Silverman said. "I had this vision of a band with me, Roy and a keyboard player. It evolved into Eclectica. We decided to make a record and see if anybody would book us." Recording for Eclectica is not much different from playing live. "We recorded live, like we were jamming, to try to maintain that feeling," Silverman said. "I think we did well in the studio because we like to give ourselves some freedom. Live, we approach the music more like jazz players. We leave things open-ended. That makes every night different."

Something else that's different is Silverman's violin. It's a six-string instrument made by luthier Danny Ferrington. "It's tuned in fifths and has two lower strings," Silverman said. "It actually changes everything. I can play chords. And I developed a technique I call 'strum bowing.' I also use a strap and play the violin kind of like a guitar." With Eclectica, vocals also figure in, but not necessarily vocals in the traditional sense. "My original intent was for vocals to be about 50 percent of the time," he said. "It's primarily an instrumental band, but I think solely instrumental bands can be kind of boring. The vocals give us a little different texture..."

Eclectica hasn't appeared much on the west coast, confining their performances to Nashville and the east. I'd keep an eye out for this lovely trio; Silverman is amazing on electric violin, both Whalum and Forrest bring the funk and it's a real treat to hear and see Futureman on a tiny acoustic kit, tastily using wooden brushes and crisp cymbal work. More drummers should take his softer, yet confident approach. Meantime, pick up a copy of "Streaming Video Soul", a fine blend of jam-band-meets-Hendrix from three musical virtuosos.