Posted by flotzam
Thursday, February 23, 2017 |
Flotzam just became an investor/coop member of Resonate, a very cool Web 3.0 way of thinking about music distribution. As they say, Resonate is bringing democracy to music streaming. We are a cooperative of artists, labels, fans, and developers, and we own the platform together.
Posted by flotzam
Wednesday, February 22, 2017 |
Played all country, signature Scofield style. Such a distinct voice. Nobody sounds like him. The way he plays a head, his attack, his articulation. And so many ideas. Was playing an Ibanez through a Fender super reverb clean, and tone was Sco tone. Coming off winning a Grammy he's gotta be stoked. Started with "Mr Fool" which set tenor for the night: familiar melody that slowly fell away into interpretation and then returned. Second tune "Mama Tried" by Merle Haggard. Then, "Jolene" by Dolly Parton of course, imbued with the soul of the song and a killer bass solo. Then, "Bartender Blues" which he played with a capo, don't see that on a jazz guitar very often. Then two Hank Williams tunes, "So Lonesome I Could Die" and "You Win Again" with the usual descent/ascent into jazz madness. Then a really sweet version of Shania Twain's "You're Still The One." Then "The Gambler" a rollickin version as well as a tune from Hee Haw by Buck Owens. Crazy tasteful organ solos on both. Ended with Wild Wood Flower. Accompanying Scofield was Vicente Archer (bass), Larry Goldings (organ/piano) and Bill Stewart (drums).
Walked in as Cataldo had just started their set. Superb and solid song writing with a clear sense of melody. Songs were wistful but not cloying. Occasionally they started to rock, building to a crescendo from quietude. Some of the newer material got more complex (in a good way) in terms of song structure. All the material was underpinned with a confidence in the melody.
And the between-song banter was spot on as Eric Anderson, the lead singer, owned the stage with aplomb, the cadence of his voice rising and falling like a radio personality. When someone shouted for Iron Maiden, Eric shot back, "Well, that's not going to happen, but there will be plenty of tender folk rock." And there was some other comment about being a "true bespectacled Seattle liberal." His self deprecation was delivered with total confidence. He also asked the audience if anyone had any questions, in the Northwest tradition of Calvin Johnson/David Bazan/etc. (Is that a NW thing?)
Rebecca Gates came on next, starting out solo, her voice lush and sumptuous, filling (and quieting) the bar. Then, her new band, The Consortium, joined her and went into a song off The Ruby Series, I think "Lure and Cast." Then a bunch of new material, more straight up rock'n'roll as opposed to the jazz-inflected Ruby Series tunes, always with that signature Rebecca Gates punch. She did one Spinanes song from Arches and Aisles. Can't say enough about the drummer, who was perfectly complimentary on every tune, never overplaying but so completely proficient and rhythmically complex. Every now and then he let loose, unleashing mad fills. Love hearing jazz drummers play in these kinds of non-jazz contexts. They ended with a cover of "Are You Experienced." Oh and she gave a shout out to the Celtics. Great to see her back with a band and a forthcoming record.
Caught a cool show at The Josephine. Place was almost completely dark as a cat and dog wandered through the space.
I walked in on Wally Shoup/Dave Abramson -- Wally Shoup on sax whose melodic sensibility was wise. Abramson was awesomely complimentary. They were amazing and their non amplified sound filled The Josephine with an older sound.
Next was super ambient keyboard thing, I think it was Matt Shoemaker. It started with fuzzed out AM radio and then turned spectral and interior. Managed to snag a comfy armchair during the set and zoned out as synth harmony enveloped the space.
Then came freaked out sax performance by Simon through about 8 different pedals. Most compositions started out with one line or riff without effects. Then, looping would start, digital delay, distortion, etc. as the sound was freaked out and ultimately overdriven into a scary sonic tunnel as the performer played into the amp. Included was spooky version of "Summertime".
Final act was Mood Organ. Very noisy and not very melodic.
Shoe gazing is back, or maybe it never left. C'est La Mort and LSD and the Search For God had guitars that shimmered and blazed, while basslines held it all together. Put the vocals through layers of reverb and the sound is complete. Hypatia Lake were more riff-centric with occasional explorations into noise.
What's up with all the dollar bills on the ceiling of The Comet?
Which poster wins the dueling poster battle?