Posted by flotz on Monday, December 08, 2014 | Live Review

Great show. Seales accompanied by guys that he’s been playing with for years: Chuck Dearborn on bass, Mark Eisler on drums. Caught the first two sets, missed the last one. Really well put together sets, a mix of Seales originals -- largely tunes he’d written for other people (Larry Coryell, etc.) and was now returning to, not having played, the trick of memory/nostalgia, returning to an old place and taking the audience with you. Where were you 25 years ago? Where are you now? Also, some “american standards” like Doobies “Takin It To The Streets” and James Taylor “Fire And Rain” (which he seems to love to play see this review) love that these guys play these tunes, interpret them, honor them. Also, jazz standards, “Prince of Darkness” by Wayne Shorter and also Dave Brubeck’s “In Your Own Sweet Way.”

Band so on it, able to create such dynamism, from the softest to the loudest, with such ease. Seales always fun to watch, charismatic, his enjoyment of playing is infectious. His lines so tasteful, never overplays but doesn’t hesitate to show his hand(s).   Chuck Dearborn killing it on the electric fretless. And Mark Eisler, pushing the beat, playing around the beat, on the beat, groovin, nice. Great venue, choice show.

Posted by flotz on Tuesday, November 04, 2014 | Live Review

Packed show at the Sci-Fi museum theater. Opening trio of professor jazz masters great to see.  The three building these emotive soundscapes, evocative and poignant. Vu’s got the coolest tone and attack and Poor enunciations prolific. Rende providing bass resonance on the bottom and so much weird harmonic foundations. First two tunes were Poor’s, then one by Rende that had the craziest head and then a Vu tune to close it out. The three guys play together so well and sounded so good in that space, filling every crevice, semi psychedelic lighting in the background. Interviewed Cuong Vu four year’s ago on Flotzam btw.

Industrial Revelation a different jam. Some tunes had a real old timey feel, almost 20s, 30s with the straight up beats of D’Vonne Lewis and and the lines Evan Flory-Barnes.  Josh Rawlings with some killer solos, crazy wah wah effects on his organ.   Ahamefule J. Oluo fun to watch, fired up player.  Love how they are just outside forms. You know where you are but then they toy with things.  Get some killer grooves going.

Posted by flotz on Thursday, July 24, 2014 | Live Review

Cool set up on Wednesday nights at The Ship Canal (good fish tacos btw) playing straight ahead bop.  First set was The Cantaloupes although Jay Thomas was off at Port Townsend so it was Chuck Kistler  and Adam Kessler on bass and drums but didn’t catch the trumpet or piano players’ names. Trumpet had amazing tone, so smooth, mellifluous.  Piano player had a Monk vibe, playing some dissonant lines, super fast in many cases, really cool interplay between him and the drummer.

Second set invited other players on stage, kids really, didn’t catch their names, but cool to see them get some stage time. Drummer held it down, got in a sweet solo, guitarist had really nice lines, good vibes all around.

Posted by flotz on Saturday, June 28, 2014 | Live Review

No column inches for Robyn in The Stranger or The Seattle Weekly, but he didn’t need it as the theater was packed with a big crowd, all of them over 40 and most over 50. Standard Seattle situation for Robyn: started out solo, played some new songs from upcoming record produced by Joe Boyd (!), played some old songs like “Only The Stones Remain” then brought out his Seattle cronies progressively: Sean Nelson, Bill Reiflin, Kurt Bloch and played a bunch of tunes from Venus 3 era.   Lots of witty stage banter. Concluded with an encore of covers, Doors tune, “Pretty Woman”, “Only Living Boy In New York” – Sean Nelson invoking Art in both looks and sound – and then they came back out and played unmic’d from the upper stair case in the theater, doing “Cripple Creek” and “Waterloo Sunset”. Fun show.

Posted by flotz on Monday, June 09, 2014 | Live Review

Everything you’d expect from a GBV show: cooler of beer on stage, Pollard doing high kicks, Pollard ranting between songs, guitarist & bassist chain smoking through entire show, long set, a bunch of forgettable new songs to start things off and then a bunch of anthems rendered as desired, legion of acolytes up close singing along.

Opening band was great, awesome showboating drummer, genre hopping tunes, good shit.

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