The Flecktones "Jingle All the Way" to the Fox

Béla Fleck is no doubt, one of the premiere banjo players in the world and has made a name for himself as a virtuoso instrumentalist unbounded by genre. His band The Flecktones - Victor Wooten on electric bass, Jeff Coffin on sax and flute, and Future Man on electric and acoustic percussion - are equally talented and adventurous as Fleck himself.

Last year's holiday CD "Jingle All the Way" is still all of that, with bells on - Christmas music as it's never been heard it before, with unique tonal textures, hot solos and tight ensemble arrangements that make every measure new. The Flecktones last appeared at Yoshi's on Fillmore 2 years ago, promoting this album with several memorable shows. They skipped the West coast last year however, for a memorable tour in Europe, reuniting them with original member, pianist and harmonica legend Howard Levy. Last night, they returned to the Fox Theater in Oakland for another stellar, Christmas-time performance.

Released two tears ago on Rounder, "JATW" marked the band's first recording since their departure from Columbia. Jingle All the Way also reached #1 on the Top Contemporary Jazz chart, the group's first album to do so since 1991, and won the 2009 Grammy Award for Best Pop Instrumental Album. The band's rendition of "Sleigh Ride" was nominated for Best Country Instrumental Performance. It was even performed on the December 28, 2008 edition of Late Night with Conan O'Brien.

Critically, Jingle All the Way is widely praised as a unique and engaging jazz-infused twist on classic holiday songs. Juli Thanki of PopMatters praised Jingle All the Way for its reinvention of "tired songs." She commented, "Fleck and his bandmates keep the improvisational noodling to a minimum, making this an enjoyable album for jazz fans and nonfans alike while still maintaining the integrity of these holiday classics."

Despite his criticism of the album's uncreative title and photography, Allmusic's James Christopher Monger considered Jingle All the Way "anything but predictable." He added that the "notoriously monotonous" holiday music is "filtered through the skewed prism of an outfit capable of just about anything from klezmer, to classical to Tuvan throat singing."

The Flecktones were named The Washington Post Editors' Pick in December 2008. Post writer Geoffrey Himes described the innovative tweaks the Flecktones put on classic tunes and added, "They slow down for 'Silent Night' and prove they are just as capable of coaxing the feeling out of a simple melody as they are at quadrupling the number of notes per measure."

In an interview with Billboard, Fleck described the band's desire to record Christmas songs: "We've always wanted to do an album like this. . . This year we started to do less touring, and we didn't want to tour without some new music. It was a slow, steady project. A lot of the arrangements were worked out on tour."

One of the album's most ambitious tracks, "The Twelve Days of Christmas," builds up to 12 different keys and 12 different time signatures over the course of the tune. Jingle All the Way also features a medley which fuses several Christmas classics and as Fleck described, "five or six are being played together, simultaneously." Indeed, the song includes “We Wish You a Merry Christmas,” “Rudolph the Red Nosed Reindeer,” and “My Favorite Things” and has been performed at Flecktones concerts for years prior to its 2008 studio recording. Guests on the album include Andy Statman, Edgar Meyer, and the Alash Ensemble, who specialize in Tuvan throat singing.

Fleck also described to The Washington Post, who named the band Editors' Pick in December 2008, how the Flecktones wanted to avoid holiday music clichés: "I didn't want to go the route of getting super-famous guests because that could lead to cheese. That suggestion came up: 'Why don't you make a Christmas record with Tony Bennett, Willie Nelson, and Sting with you guys as the backing band?' We're not a backing band. We'd rather go down in obscurity than to be famous for something we're not."

He went on to describe how, while much of the Flecktones' music is complex and not easily digestible to some music fans, "Christmas music is inside everyone's DNA" and that it creates a doorway for them to understand the Flecktones' unique music.

If you missed last night's show, fear not. "Jingle All the Way" is still available online and in stores, so you can still hear these virtuosos ringing in Christmas like no before ever has. It's is the perfect stocking stuffer for those who like their Christmas music fun and challenging at the same time. Merry Christmas, everyone!

Emergency String (X)tet and Rent Romus Comes to Meridian Gallery

This Saturrday night, the Meridian Gallery at 535 Powell will present the CD release show for the Emergency String (X)tet's "Emergency Rental". Recorded one spring evening in San Francisco, Emergency Rental is a collaboration by the ES(X)tet and saxophonist and producer Rent Romus exploring sound in and outside the elements of free improvisation between saxophone and strings, and released on Romus' Edgetone Records label. "For about a year prior I searched up and down looking for the most interesting set of string players I could to create Emergency Rental", says Romus. "I am honored that all seven of the current Emergency Strings choose to work with me on this project."

The Emergency String (X)tet grew out of the ashes of Fred Longberg-Holms Phenomenal String Quartet in Chicago some fifteen years ago. After the dissolution of the Phenomenal Strings, ESX founder Bob Marsh was disconsolate, greatly missing the aural wonders provided by that group. He created the ESX when he believed the lack of improvised string music had reached emergency proportions.

The ensemble is called an (X)tet for two reasons: First, due to the fluctuating number of players at a given performance. Second, because it emphasizes the unknown factor inherent in improvisation. Rent Romus is a saxophonist/multi-instrumentalist, bandleader, music and performing arts producer, and community leader living in the San Francisco Bay Area. He is heavily involved in exploring past the confines of standard music forms of composition and improvisations in a wide variety of musical settings. Emergency Rental marks Romus' 25th album release.


Emergency String (X)tet and Rent Romus
Meridian Gallery, 535 Powell Street
Saturday, December 11, 2010 8:00 PM
Tickets $10 general, $5 students
(415) 398-7229 for more info

Mike Stern Comes to Yoshi's and the Jazz Heritage Center

When I last saw the guitarist Mike Stern at Yoshi's San Francisco, he was performing alongside the incredible drummer Billy Cobham, as well as keyboardist Mark Soskin and bassist Victor Bailey. Cobham's reprise of his "Spectrum" era repertoire thrilled the audience, as did Stern's incendiary solos. Later that week, Cobham would play Yoshi's Oakland with an all-acoustic line up, featuring the brilliant trumpeter Randy Brecker, another longtme Cobham alum. Now Stern and Brecker return to Yoshi's for a weekend of music with drum virtuoso Dennis Chambers and bassist Anthony Jackson. Stern and Brecker will also participate in the Jazz Heritage Center's popular lecture series, "We're Talkin' Jazz" on Sunday.

In a career that spans three decades and a discography that includes more than a dozen eclectic and innovative recordings, six-time GRAMMY nominee Stern has established himself as one of the premier jazz and jazz-fusion guitarists and composers of his generation.

In August 2009, Stern released "Big Neighborhood". Aiding him in this latest chapter in his never-ending quest for the new and better groove is a long list of talented guests: guitarists Steve Vai and Eric Johnson; bassist-vocalists Esperanza Spalding and Richard Bona; jamband godfathers Medeski Martin & Wood; drummers Dave Weckl, Terri Lyne Carrington, Cindy Blackman and Lionel Cordew; bassists Chris Minh Doky and Lincoln Goines, saxophonists Bob Franceschini and Bob Malach, trumpeter Randy Brecker and keyboardist/producer Jim Beard.

Meanwhile, Randy Brecker has been shaping the sound of Jazz, R&B and Rock for more than four decades. His trumpet and flugelhorn performances have graced hundreds of albums by a wide range of artists from James Taylor, Bruce Springsteen and Parliament-Funkadelic to Frank Sinatra, Steely Dan, David Sanborn, Jaco Pastorius, Horace Silver and Frank Zappa.

On Sunday, there will be an intimate pre-concert talk with these two premiere jazz performers. Mr. Stern and Mr. Brecker will be interviewed by jazz educator and blogger, Wesley Watkins, Ph.D., with time for audience Q&A. This talk is free to members of the Jazz Heritage Center and ticket-holders for any of Mr. Stern's performances at Yoshi's, December 3-5.

The Jazz Heritage Center's Media and Education Center is located at 1330 Fillmore at the rear of the lobby, next to Yoshi's box office.

Mike Stern Band featuring Randy Brecker, Dennis Chambers, Anthony Jackson
Friday December 3, 8PM: $26/ 10PM: $18
Saturday December 4, 8PM/10PM: $26
Sunday December 5, 5PM: $5 kids/$15 adults with kids /$26 general, 7PM: $26

Edo Castro's "Sacred Graffiti"

Edo Castro is one of the Bay Area's most prolific bassists and composers. His previous albums, "Edo" and the critically acclaimed "Phoenix" both on the Passion Star label, saw Castro's love of jazz, textures and his Matheny-like passion for perfection reach new heights. Now comes Castro's most ambitious work to date, "Sacred Graffiti". Castro brings together the members of his "Expandable Trio", guitarist Erik Lindquist and drummer Alex Aspinall, as well as stellar musicians like trumpeter Mark Isham and virtuoso bassist Michael Manring to produce a sonic soundscape that will treat the listener to the breadth and depth of his musical prowess.

Castro is a master of the 7 string bass, looping, and like the legendary Manring, adept with the use of a device called the "Ebow". The Ebow allows a guitarist or bassist to electronically vibrate their strings, producing some of the most beautiful textures you are ever likely to hear. Add Castro's use of a Roland guitar/bass synthesizer and you are in a new aural territory. Some of the best examples of this technique on the album, are the gorgeous and moody "Drifting Across the Night Sky" and the sinewy "When the Stars Fell On You".

Castro hasn't forgotten his jazz roots. "The Gathering", featuring saxophonist Dan Zinn, harkens back to the flavor of his earlier albums and "Bent Blues" features Castro's Expandable Trio group in top form, alongside keyboardist Greg Sankovich. The Matheny-esque guitar work of Lindquist on "Left of Center" is another fine outing by the quartet, with nice brushwork by Aspinall on drums.

Castro also assembled some of the finest musicians around to augment this recording; Michael Manring on "57th Latitude", Percy Jones on "Evidence", David Friesen on "A Travel Lodge Moment", trumpeter Mark Isham's beautiful turn on the title cut, "Sacred Graffiti", and many others, including local percussionist extraordinaire Jonathan Moe.

I might add that Castro has added some "graffiti" in some interesting spots on the album; phone messages, phonograph crackles, thunder, lightning and more. I nearly pulled over while listening to the title cut in my car, when the sound of sirens suddenly crept up. I may have been driving too fast while listening to Isham's trumpet solo!

All's well that ends well however, as Castro's beautiful coda, "A Thread of Blue (Fine)", closes the album. There is something for everyone on this album, new age textures and ambient passages, to thoughtful and uncompromising jazz compositions. Fans of Castro may have wished for an album of all textures, or all original jazz. They may indeed be forthcoming. One thing is clear, there are many, many great ideas in the mind of Edo Castro waiting to come out. In the meantime, we will be content with the canvas of textures he has painted with "Sacred Graffiti".

Castro will have his CD release show Sunday, November 14th from 6-9:30 at Studio 333 in Sausalito. Joining him will be members of the Expandable Trio, as well as saxophonist Dan Zinn and keyboardist Greg Sankovich. Also joining Castro are two other musicians on the album, Chris Stafford and Richard Gee. Opening will be the Michael LaMacchia Trio.

T. Lavitz, 1956-2010

One of my favorite keyboardists passed away suddenly in his sleep last month, the incredible T. Lavitz. I first saw Lavitz many years ago with the famed Dixie Dregs, and later as a founding member of the Grateful Dead-inspired "Jazz is Dead", alongside Alphonso Johnson, Billy Cobham and Jimmy Herring. Lavitz's death at a young age comes as shock to the jazz-rock world. Lavitz began his intensive study of classical and jazz piano at age seven. At the same time, the Beatles invaded America, igniting in Lavitz a lifelong love of rock music.

Born on April 16, 1956, Lavitz grew up in New Jersey. He started taking piano lessons at the age of seven and was offered a scholarship at the Interlochen Arts Academy in Michigan where he studied before attending the University of Miami's School of Music. By twenty-two, Lavitz was asked to join the "rock, jazz, and everything else" instrumental band, the Dixie Dregs. It was a dream come true, because they were one of his favorite bands, even at that relatively early stage in their career. This first taste of fame happened during the last few days of 1978, lasting until the band split in 1983, by which time Lavitz had been voted "Best New Talent" in Keyboard Magazine's readers poll and the band had garnered four Grammy nominations.

Since then, Lavitz has released eight albums as a leader, consisting mostly of his own compositions. Additionally, Lavitz produced the cult favorite, "Players," which features stellar performances by Jeff Berlin, Steve Smith, and Scott Henderson. Some of the artists featured on Lavitz's other albums include fellow "Dregs" Steve Morse, Jerry Goodman, Rod Morgenstein, Dave LaRue and Mark O'Connor, as well as college alumni Danny Gottlieb and Bruce Hornsby. Other contributions have also been made by Alex Ligertwood, Maria Muldaur, Jeff Richman, Michael McDonald, Paul Barrere, Catfish Hodge, Oteil Burbidge, Dennis Chambers and many more.

In addition to the Dixie Dregs, Lavitz performed around the world with Widespread Panic, Mothers Finest, Jefferson Starship, Billy Cobham, and Bill Bruford. As the list of critically acclaimed recordings grew, Lavitz had said some of his favorite sessions were done with Nils Lofgren, Pat Benatar, The Bluesbusters, Peter Himmelman and perhaps most fondly "...I'll always be a Dreg".

On Valentine's weekend 1992, the Dixie Dregs did a live reunion album for the newly reformed Capricorn Records in Atlanta, Georgia. "Bring 'em Back Alive" and the subsequent "Full Circle" studio disc each garnered Grammy nominations (bringing the total to six), and earning Lavitz the coveted "Jazz Keyboardist of the Year" award in Keyboard Magazine's readers poll.

Lavitz was also a founding member of Jazz is Dead, an instrumental exploration into the music of the Grateful Dead. Lavitz had been joined in this project by Rod Morgenstein, Billy Cobham, Jeff Sipe, Alphonso Johnson, guitarists Jimmy Herring and Jeff Pevar and most recently, bassist Dave Livolsi. The band now boasts three CD's, "Blue Light Rain," "Laughing Water" and "Great Sky River," all of which are available on Zebra/Warner Bros., and a new as yet untitled studio album.

The last week of August 1999, the Dixie Dregs were reunited again for six shows, at which time a new album, "California Screamin'" was recorded at the Roxy in Hollywood, California. They had such a good time together that a commitment was made to hit the road for a new tour early in 2000, and each subsequent year as well. The latest "run" of Dregs dates took place in California, during the first week of Jaunary 2007.

In 1991 Lavitz was invited to join Widespread Panic after playing keyboards on their first album for the revived Capricorn Records label. Lavitz toured with Widespread Panic from April of 1991 through the end of that year, but left the band as the Dixie Dregs reunited and re-signed with Capricorn Records in 1992. The re-formed Dixie Dregs shared a bill with Widespread Panic at two events in February 1992 with Lavitz performing with both bands; these were his final two appearances as the keyboardist for Widespread Panic. The Dixie Dregs recorded 'Bring 'Em Back Alive' during a tour in February. Violinist Allen Sloan, who had become an anesthesiologist, was unable to continue touring and was replaced by former Mahavishnu Orchestra violinist Jerry Goodman.

That year Lavitz won the 'Jazz Keyboardist of the Year' category of Keyboard Magazine's Annual Readers Poll. 'Full Circle', the first Dregs studio album in 12 years, was released in 1994. Another solo album 'Gossip' was recorded before Lavitz joined Jefferson Starship in 1996. Jazz Is Dead was formed at the end of 1997 with Lavitz, Herring, Johnson and Cobham interpreting the Grateful Dead's music in a jazzy, instrumental vein. "Blue Light Rain" was recorded during the first tour in 1998. Cobham was replaced by Rod Morgenstein and Jeff Sipe by the time the second album 'Laughing Water' was released.

The Dixie Dregs did a short tour in late August 1999. The band was joined by original members Andy West and Allen Sloan. Lavitz continued touring with Jazz Is Dead and also whenever possible with the Dixie Dregs.

In the first part of the new millennium Lavitz took part in several projects. 'Endangered Species', with Herring, Richie Hayward and Kenny Gradney was released in 2001, 'Cosmic Farm', with Rob Wasserman, Craig Erickson and Sipe, was released in 2005 and 'Boston T Party', with Dennis Chambers, Jeff Berlin and Dave Fiuczynski, was released in 2006. In the summer of 2006 he began teaching at the Summer Performance Program at the Berklee College of Music, Boston, MA.

Back in the studio at the start of 2007, the music for "School of the Arts" was composed. "This is some of my best stuff in a looong time" Lavitz says. Released in October of 2007, this is his first for Magnatude (Magna Carta) Records, and boasts an allstar cast which consists of Dave Weckl, John Patitucci, Frank Gambale, Steve Morse and Jerry Goodman. Regarding this lineup, the response from Lavitz is "...honored to have my music played by guys like this!"

We're going to miss you T.

Yusef Lateef Comes to Grace Cathedral

To say that Yusef Lateef has had a remarkable career would be a major understatement. Lateef, who celebrates his 90th birthday this year, was recently honored as a 2010 NEA Jazz Master. On the tenor, flute and oboe he has an inimitable voice, and along with Miles Davis and John Coltrane, he was a trailblazer of modal jazz. Although he had stints with Dizzy Gillespie, Cannonball Adderley and Charles Mingus, Lateef has primarily been a leader throughout his career with over 70 innovative albums to his credit. He was one of the first to emerge from mainstream jazz and explore “world” music, on his landmark 1961 Prestige record Eastern Sounds. And he had a great run of classic releases on the Impulse! label from 1964-66. Rather than use the word “jazz,” Lateef prefers to call his music “autophysiopsychic,” meaning, “that which comes from one’s spiritual, physical and emotional self.” And what better place than Grace Cathedral to continue this journey? Providing subtle support will be Yusef’s frequent collaborator, percussionist Adam Rudolph.

Yusef Lateef is a Grammy Award-winning composer, performer, recording artist, author, visual artist, educator and philosopher who has been a major force on the international musical scene for more than six decades. In recognition of his many contributions to the world of music, he has been named an American Jazz Master for the year 2010 by the National Endowment for the Arts.

Still very much active as a touring and recording artist, Yusef Lateef is universally acknowledged as one of the great living masters and innovators in the African American tradition of autophysiopsychic music — that which comes from one’s spiritual, physical and emotional self.

As a virtuoso on a broad spectrum of reed instruments -- tenor saxophone, flute, oboe, bamboo flute, shanai, shofar, argol, sarewa, and taiwan koto — Lateef has introduced delightful new sounds and blends of tone colors to audiences all over the world, and he has incorporated the sounds of many countries into his own music. As a result, he is considered a pioneer in what is known today as “world music.”

As a composer, Lateef has compiled a catalogue of works not only for the quartets and quintets he has led, but for symphony and chamber orchestras, stage bands, small ensembles, vocalists, choruses and solo pianists. His extended works have been performed by the WDR (Cologne), NDR (Hamburg), Atlanta, Augusta and Detroit Symphony Orchestras, the Symphony of the New World, Eternal Wind, the GO Organic Orchestra, and the New Century Players from California Insitute of the Arts. In 1987 he won a Grammy Award for his recording of “Yusef Lateef’s Little Symphony,” on which he performed all the parts. His latest extended works include a woodwind quintet, his Symphony No.2, and a concerto for piano and orchestra.

As an educator, Lateef has devoted much of his life to exploring the methodology of autophysiopsychic music in various cultures and passing what he has learned on to new generations of students. He is an emeritus Five Colleges professor at the University of Massachusetts in Amherst, MA, from which he was awarded a Ph.D. in Education in 1975. His doctoral dissertation was entitled “An Overview of Western and Islamic Education.” In 2007 he was named University of Massachusetts’ “Artist of the Year.”

As an author, Lateef has published two novellas, “A Night in the Garden of Love” and “Another Avenue;” two collections of short stories, “Spheres” and “Rain Shapes;” and his autobiography, “The Gentle Giant,” written in collaboration with Herb Boyd. In recent years he has also exhibited his paintings at various art galleries.

Lateef was born William Emanuel Huddleston on October 9, 1920 in Chattanooga, Tennessee, and moved with his family to Detroit in 1925. In Detroit’s fertile musical environment, Yusef soon established long-standing friendships with such masters of American music as Milt Jackson, Tommy Flanagan, Barry Harris, Paul Chambers, Donald Byrd, the Jones brothers (Hank, Thad and Elvin), Curtis Fuller, Kenny Burrell, Lucky Thompson and Matthew Rucker. He was already proficient on tenor saxophone while in high school, and at the age of 18 began touring professionally with swing bands led by Hartley Toots, Hot Lips Page, Roy Eldridge, Herbie Fields and eventually Lucky Millender. In 1949 he was invited to join the Dizzy Gillespie Orchestra.

In 1950 he returned to Detroit, where he began to study composition and flute at Wayne State University, receiving his early training in flute from Larry Teal. He also converted to Islam in the Ahmadiyya movement and took the name Yusef Lateef. From 1955–1959 he led a quintet including Curtis Fuller, Hugh Lawson, Louis Hayes and Ernie Farrell. In 1958 he began studying oboe with Ronald Odemark of the Detroit Symphony Orchestra.

Returning to New York in 1960, Lateef undertook further studies in flute with Harold Jones and John Wummer at the Manhattan School of Music, from which he received his Bachelor’s Degree in Music in 1969 and his Master’s Degree in Music Education in 1970. Later, as a member of the school’s theory department in 1971, he taught courses in autophysiopsychic music. From 1972–1976, he was an associate professor of music at the Borough of Manhattan Community College.

Yusef first began recording under his own name in 1956 for Savoy Records, and has since made more than 100 recordings as a leader for the Savoy, Prestige, Contemporary, Impulse, Atlantic and YAL labels. His early recordings of such songs as “Love Theme from Spartacus” and “Morning” continue to receive extensive airplay even today. He also toured and recorded with the ensembles of Charles Mingus, Cannonball Adderley, Miles Davis, Dizzy Gillespie and Babatunde Olatunji in the 1960s.

As an instrumentalist with his own ensemble, Lateef has performed extensively in concert halls and at colleges and music festivals throughout the United States, Europe, the Middle East, Russia, Japan and Africa, often conducting master classes and symposia in conjunction with his performances. Dating from the release of the double CD “Influence” with the Belmondo Brothers in 2005, his engagements at international music festivals have increased significantly. Over the years his touring ensembles have included such master musicians as Barry Harris, Kenny Barron, Hugh Lawson, Albert Heath, Roy Brooks, Ernie Farrell, Cecil McBee, Bob Cunningham, Adam Rudolph, Charles Moore, Ralph Jones and Frederico Ramos as well as the Lionel and Stéphane Belmondo.

Lateef’s first major work for large orchestra was his Blues Suite, also known as “Suite 16,” premiered in 1969 by the Augusta, GA Symphony Orchestra, performed in 1970 with his hometown Detroit Symphony Orchestra at the Meadowbrook Music Festival, and recorded by the WDR Orchestra in Cologne. In 1974 the NDR Radio Orchestra of Hamburg commissioned him to compose and perform the tone poem “Lalit,” and he later premiered and recorded his Symphony No.1 (Tahira) with the same orchestra.

From August 1981 until August 1985, Lateef was a senior research Fellow at the Center for Nigerian Cultural Studies at Ahmadu Bello University in Zaria, Nigeria, where he did research into the Fulani flute. Sarewa is the generic name for the Fulani flute.

In 1992 Lateef formed his own label, YAL Records, to record and distribute his works and those of other artists including the Eternal Wind Quintet. One of his first recordings on the label, co-composed with percussionist Adam Rudolph, was “The World at Peace,” an extended suite requiring 12 musicians including Eternal Wind, which has received repeated performances throughout the United States.

In 1993 the WDR Orchestra producer Ulrich Kurtz commissioned Lateef’s most ambitious work to date, The African American Epic Suite, a four-movement work for quintet and orchestra representing 400 years of slavery and disfranchisement of African Americans in America. David de Villiers conducted the premiere performance and recording with the WDR Orchestra. The suite has also been performed by the Atlanta Symphony Orchestra under Yoel Levi as a centerpiece of the National Black Arts Festival in 1998 and by the Detroit Symphony Orchestra under Thomas Wilkins in 2001.

Through his publishing company, Fana Music, Lateef has contributed extensively to the lexicon of performance and improvisational methodology with such works as “Yusef Lateef’s Flute Book of the Blues,” “A Repository of Melodic Scales and Patterns,” and “123 Duets for Treble Clef Instruments.” Fana has also published numerous works for chamber ensembles, stage bands, duos and wind ensemble or symphony orchestra.

Special note: "Grace Cathedral’s soaring vault produces a natural, seven-second reverberation. This effect, different from typical concert hall acoustics, will be an integral component of this performance. Yusef Lateef’s appearance does in no way imply that he endorses the name or names of any producer of alcoholic substances or pork products."

Yusef Lateef with Adam Rudolph
Friday, October 22, 8:00 PM at Grace Cathedral

Gary Husband's "Dirty & Beautiful, Volume 1"

Over the course of a remarkable, still-unfolding career, Gary Husband has defined himself as the ultimate musician’s musician: a fiery, perceptive presence who elevates every scenario – from the tightly arranged to pure, open-ended improvisation. Whether focusing on his intricate, propulsive drumming or unleashing his nimble, harmonically astute keyboard abilities, Husband never fails to make his presence felt, while always remaining sympathetic to his fellow musicians and to the composition at hand. His vast range of experience allows him to balance the technical and the intuitive with rare grace, earning him the opportunity to perform and record alongside such maverick, inventive talents as John McLaughlin, Jeff Beck, Allan Holdsworth, Jack Bruce, Mike Stern, Robin Trower, Billy Cobham, Gary Moore, Level 42, Andy Summers, and many, many more.

In addition to his prolific career as a sideman, the British-born Husband has recorded seven of his own albums, featuring his multi-instrumental, compositional, and bandleading skills in an array of contexts. He is now poised to release his most ambitious project yet, the two-volume Dirty & Beautiful, volume one of which is to be made available by Abstract Logix on November 16, 2010, with volume two to follow in Spring of 2011. A visionary exercise years in the making, recorded in studios around the world, Dirty & Beautiful Volume One is a riveting showcase for the many gleaming facets of Husband’s musical imagination, featuring an enviable cast of supporting musicians, among them John McLaughlin, Allan Holdsworth, Robin Trower, Steve Hackett (Genesis), Jerry Goodman (Mahavishnu Orchestra), Jimmy Herring (Widespread Panic, the Dead, Allman Brothers Band), Jan Hammer (Mahavishnu Orchestra and Miami Vice TV series soundtrack), Mark King (Level 42), and more.

“I feel this album to be rich, full of extremes, and passionate,” Husband reflects. “It’s not at all my first album, but it feels a little like a debut album, in that it heralds a return to my jazz/rock roots.” The album’s title hints at the unique co-existence that defines his music: for all its sophistication, technique, and facility, there is an underlying grit and intensity that somehow only enhances the luminous beauty at the core of these performances. “If I think about what it actually is to play – what the feeling is in what I chase – there’s a quest for a profound beauty there, certainly. But it can’t really be whole, to me, without the grunge, and the dirt. Like picking a fresh raspberry in the woods and eating it.”

From brief, meditative keyboard soundscapes like “Afterglow” and “Swell” to intense, full-bore fusion workouts, Dirty & Beautiful includes newly-written and older Husband compositions alongside material from Holdsworth, guitarist Steve Topping, and formative classics by Jan Hammer and Miles Davis. Throughout, Husband performs all the drums and – save for a guest spot by Hammer on the opening “Leave ‘Em On” – all the album’s keyboards. “The duality between drums and keyboards is like second nature to me,” he explains. “I’ve always been involved with the two instruments to the same degree. It’s never been one over the other, and what I do with both tools makes up my complete realm of expression. If I’m playing drums along with a previously recorded track on keyboards or vice versa there’s an instinctive sort of inner trust I detect, follow and settle with very quickly. I know it probably sounds like a pretty crazy method, but it all seems to figure out in the way that I feel it and approach it in a very natural way.”

Of late, Husband has been most visible as a member (on both keys and occasional drums) of John McLaughlin’s current performing/recording ensemble the 4th Dimension and through his longstanding work with various groups lead by Allan Holdsworth. Both guitarists – each an iconic figure who have had an immense influence on nearly every element of contemporary hybrid musics – contribute to Dirty & Beautiful, marking the first time they have appeared on the same project. McLaughlin’s extraordinary solo on “Dreams in Blue” is exploratory and organic, moving from more expansive quiet statements to raging, brisk passages underpinned by Husband’s furious, skittering drums. Husband follows McLaughlin’s statement with a hushed acoustic piano solo that builds to a dizzying peak, allowing brief spotlights for guitar and bass to lead back into the restatement of the theme. Holdsworth contributes guitar to his own composition “Leave ‘Em On,” a longtime staple of his trio’s live sets that has remained unrecorded until now. A subtle, deceptively gentle performance, Holdsworth is heard at his most evocative and probing, hanging long sustained notes over Husband’s active percussion, Jan Hammer’s glimmering keyboards, and the solid foundation of bassist Jimmy Johnson.

Holdsworth, Johnson, and Husband reconvene as a trio to perform Husband’s haunting, disorienting “Boulevard Baloneyo,” fittingly, as the song is based on their misadventures while on tour. “It depicts one of the journeys we did that I sort of deliberately ‘surrealised,’” says Husband, laughing, “in tune with this constantly overtired disposition and frazzled state of mind we were all experiencing, brought about by jet lag and a rather exhausting tour schedule. Allan and Jimmy were marvellous on it, and I was really delighted with what we got. None of it is altered, edited or features any overdubs of any kind. With the exception of the front synth melody, the opening and closing GPS machine announcements, it’s all just exactly as it happened on the day, live, in the studio.”

Despite its kaleidoscopic range of styles, textures, and grooves – not to mention the various globe-spanning locales in which it was recorded – this first instalment of Dirty & Beautiful is powerfully coherent, thanks to both the consistent quality of its contributors and to Husband’s careful curatorial instinct. “As with any album I make,” he explains, “I concerned myself directly with the overall curve of the record – the journey it presents, how it travels from track to track, and the overall coherency. But, as I strongly hoped for since the beginning, and in spite of the fact there are a lot of artists from very different realms here, there is a definite, very particular kind of coherency going on through the several different lineups just doing what we do together – everything and everyone towards the same cause. The whole thing plays as I’d hoped – as one message, with everyone concerned conveying the same level of commitment, energy and heart from track to track through their performances. After all, the artists involved here are all so great, a lot of factors kind of end up taking care of themselves anyway!”

From Robin Trower’s churning, wailing post-Hendrix guitar on the brief visit to Miles Davis’s “Yesternow”, to Steve Hackett’s stirring interpretation of the wistful “Moon Song” through to Mark King’s slithering bass on the refracted second-line funk of the closing “Alverstone Jam,” Dirty & Beautiful Volume One is an explosive, evocative celebration of the of the mutual respect between Husband and his collaborators, and instantly heightens the anticipation for the second volume. “It’s predominantly a record just about playing the kind of material I feel like playing right now with people, friends, and musical colleagues that I feel like playing with,” Husband concludes. “In a big way, it also documents my perpetual activity as a touring musician. This album is what my diary frequently looks like and it portrays very much the fulfilment I experience playing with all of these various people on a pretty consistent basis, in the many and various musical worlds and situations that I do or have done. It’s got my stamp on it, but we all speak and tune in to basically the same common language. Friendship binds it. Respect and harmony are also elements that bind it. There is the fact that I know most of these gentlemen extremely well and feel a deeply special closeness and bond with them as individuals and musicians. That binds it in an ultimate way for me.”