Spirit - Peter Buffet's native American epitina

Wednesday, July 28, 2004

Peter Buffet’s, Spirit – the Seventh Fire

Award winning musician Peter Buffett’s “Spirit” presentation is a mix of Bowie-esque multi-media stage extravaganza, Chip Davis’ Fresh Aire, and a Native American version of Riverdance. Staged in a huge (air conditioned) tent with tiered seating, located on the banks of the Missouri River, Spirit tells the story of a young professional Native man that is drawn back to his native roots and culture in a spiritual awakening.

While the story line is cliché Buffett’s use and setting of Native culture adds a beautiful and unique twist to the story. Admittedly I am a neophyte stage critic and am unable to distinguish kitsch from class; however, Buffett’s use of dance, music, film and setting combine to draw the audience into the experience completely. Since the performance includes members of numerous tribes the audience is treated to a wide variety of Native culture costume and dance. The beauty is in the admiration of the culture.

Buffett’s music is a rock-based presentation with a heavy (Native)use of drumming (*). There are times when the entire band participates in mixture of chant and rhythm with spoken word over the top. All in all this is a bountiful experience and I would encourage readers to check out, ‘Spirit – the Seventh Fire.
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It was during Buffett's performance that I connected the heavy use of drums within Native culture and role of former Indigenous Conga player Horse; who was a second percussionist in a four piece band. Like an epiphany, I realized that Horse's role within the band was based upon their cultural experience. Sadly Horse's substance abuse became a full time occupation and he is no longer with the band.

-----------------------------------On a happier note, Mato's third child was born this week. -----------------------------------

Jamie Cullum Twentysomething

Friday, July 16, 2004

Artist: Jamie Cullum
Title: Twentysomething

The only difference between this being a very good album and a great album is time.
Many times the mark of a great album is if it is still being listened to years later. I have no doubt this album will become a long term staple for any true fan of great music.

On all fronts this mildly jazz, pop vocal performance is a brilliant release showing a perfect balance between talent, creative vision, performance, and songwriting.

Another appealing aspect of Cullum’s debut album are his tasteful nods to the foundation of great music with his covers of Cole Porter’s, “I Get A Kick Out Of You’ or his cover of Jimi Hendrix’s, “The Wind Cries Mary” or the cover of, “Lover, You Should’ve Come Over” by the late Jeff Buckley. Clearly Cullum is a fan of music with an in-depth knowledge of popular music’s history. As the President of Homer’s Music Stores I am often dismayed at the lack of knowledge by contemporary musicians have of what came before "their" sound.

At the ’04 South By Southwest Music Festival (SXSW) in Austin, Texas, we had the opportunity to see Cullum perform. It was terrific. I don’t think it’s any leap of faith to say the Cullum is easily the one of the two most exhilarating piano playing performers since Elton John’s string of hits in the mid ‘70’s (the other was Ben Folds).

All in all this kid appears to have a great future in front of him and I encourage you, with every shred of influence I can muster, to check out this wonderful young talent and get on board the Peace Train before it leaves the station!

Smokin' Joe Kubek

Wednesday, July 14, 2004

Artist: Smokin’ Joe Kubek & Bnois King
Title: Show Me the Money

I have been familiar with Kubek’s career for more than a decade now including listening to most of his releases during this period. While his guitar playing has always been above average his albums have been less than inspired. I frequently thought that Kubek’s willingness to give King microphone time was a bad career move. As the human body ages eventually the voice loses its clout. I would lump Bnois King in the group of blues artists who’s voice is not what it used to be; B. B. King, Etta James, Johnny Winter. So my expectations for Kubek’s latest were quite low.
As a live performer Kubek usually leaves ‘it all on stage’ but, like many recording artists, he was unable to translate that onto the Compact Disc. Well listen up blues fans because Smokin’ Joe’s latest, Show Me the Money, is well worth your ear time. Slicker, grittier, and with a recharged sense of melody Kubek’s latest is probably more rock than trad but the heavy blues flavour remains the same.

Historically artists of Kubek’s magnitude have released albums with the intent of selling them off the stage. On his latest Kubek release, if he can muster the marketing, radio airplay, and tour his tail off, Kubek & King deserve to see sales in stores.

In a ‘One to Ten World Where Five is Average’ this is a solid seven and worth your examination. Hear Kubek’s latest and all the new releases every Sunday from Nine to Noon on K89.7 FM, KIWR’s Pacific Street Blues radio program featuring Rick Galusha.

Muddy Waters defined the 20th Century

Tuesday, June 29, 2004

Titles: Hard Again Title: I’m Ready Title: King Bee
Artist: Muddy Waters

When it rains it pours…

Telling someone with even a modest interest in “GREAT” music to check out a Muddy Waters album is like telling a baseball fan the New York Yankees have had some good players. In an honest discussion Muddy Waters was the foundation that defined popular music in the 20th century.

If there is any question, allow me to erase it now, Muddy Waters, more than Elvis or Chuck Berry or ANYONE ELSE birthed the sound of rock n’ roll. Oh yeah, Elvis made it sexy and Chuck gave it lyrics but Muddy birthed it and nurtured it. When the Beatles rolled off the boat in the early ‘60’s all the great blues artists and many of the (white) rock artists got rudely shoved aside. When Johnny Winter got signed in the late ‘60’s he was rumoured to have been the first “rock” solo artist to have received a million dollar recording contract. Go figure! Anyway, within a decade Winter was at the recording helm breathing new life into the great Muddy Waters recording career.

In 1977 Johnny and Muddy would release the critically acclaimed album, Hard Again. It was on this album that Waters would re-record his older hits using a ‘modern’ recording studio with one of his great bands including; Pinetop Perkins (piano), James Cotton (harp), Willie ‘Big Eyes’ Smith (drums), ‘Steady Rollin’ Bob Margolin (guitar) and Charles Calmese (bass). I can remember the buzz on this album being so strong that, as a high school senior, going in to purchase the brand new (and only) Sex Pistols album AND the Hard Again…which harkens me back to the time when it was the music that mattered!

So now, much to my own joy, Muddy’s ‘Blue Sky Trilogy’ have all been remastered and reissued; Hard Again (’77), I’m Ready (’78), King Bee (’81). No music collection is complete without a worthy sampling of Muddy Waters and no true music fan’s knowledge is rounded unless they have developed a full appreciation for the greatness of Muddy Waters. Any of these three discs are worth the time and investment although I recommend beginning with Hard Again.

Hadden Sayers belongs in your home

Hadden Sayers belongs in your home

Friday, June 11, 2004

Artist: Hadden Sayers
Title: 12 Bars and the Naked Truth

When Hadden Sayers rolls back into Omaha on June 23rd to play Murphy’s Lounge (96th & L Streets) he’ll be promoting one of the year’s strongest independently distributed adult rock albums; 12 Bars and the Naked Truth.

Like so many significant “adult rock” artists (READ: fans are 35+), Sayers hails from the great state of Texas. On this, his fifth album, Sayers brings a ultra mature sound, distinctive from many of the Texas artists and very clearly not under the auspices of the late Stevie Ray Vaughan. After his last album’s (Supersonic) edgy rock sound, Sayers has moved to a complete focus on the song and done it well. At a time when two good songs on an album has become a standard, Sayers has the skills to string together a full length album of well above average songs (a rarity in today’s ‘thanks to technology we can make albums much, much longer than really necessary’ recording industry.)

Do it for the passion. For me, today, what so many mature rock bands lack is commitment to passion: a willingness to lean into the storm and risk a bit of who they are, their control, in exchange for a well crafted song, a well performed song.

‘12 Bars & the Naked Truth’ finds Sayers singing on day-to-day live issues that many of his listeners will be able to relate to; that living in the moment is important to happiness (These are the Good Old Days) and dealing with folks you may rather not have had to deal with (Mister Know-It-All) “Why would you compromise when you’re so wise?” "You better pray for rain, you don't know rain like I do."

Sayers sexy baritone vocals set off well against his tasteful guitar licks and rhythm section that plods along solidly. What’s it sound like? Straight ahead Tom Petty coming from Texas rather than Florida.

In a possibly unconscious nod to great songwriters, like Ray Davies (Kinks) before him, Sayers sings of a Sunday afternoon but in this case the focus is on love gone awry. On the song ‘Complicated’ Sayers lays out the average male mental gymnastics of dealing with the so-called more delicate sex. “I’m easy, so easy, you can read my mind with just one look into my eyes. I’m not brilliant or amazing; wear my heart on my sleeve but that’s the kind of thing you’re looking for… but you’re so complicated it’s blows my mind. You’re so sophisticated I wonder why? I’m forgiveful, and forgetful...”

A consummate self marketer, Sayers delivers a complete entertainment package to his fans; exceptional songwriting, very strong live performances, high quality packaging & imaging, an informative website that is replete with options to interact with the pop star including downloads and merchandise. During the month of June Homer’s, along with other tastemakers in Omaha, is determined to foist this well deserving artist into your rock-n-roll orbit.

So don’t take my word for it, stop at your local Homer’s Store & check out ’12 Bars’ on a listening station or go to www.HaddenSayers.com and listen for yourself. Sayers SHOULD be a part of your album collection’s future. You’ll love the passion.

Blues makes a comeback to Omaha

Monday, June 07, 2004

Omaha's vibrant blues scene can be attributed to two primary factors; Larry Boemer’s Zoo Bar and a small group of fans in Omaha in the mid ‘90’s.

In 1971 Homer’s Music Stores, Alligator Records, and the Zoo Bar were all born. Larry Boemer’s willingness to forego wealth in order to preserve the blues art form is the stuff legends are made of. Boemer’s Zoo Bar planted the seeds for Omaha's love of the blues. While Larry has moved to Arkansas his family still plays a role in the Zoo Bars operation.

Much like Lincoln, through the ‘70’s, ‘80’s and into the ‘90’s Omaha's blues scene centered on a strong venue called the Howard Street Tavern. When landowner Mark Mercer turned warehouses into condos the original Howard Street Tavern was closed reportedly because of threats of noise/nuisance lawsuits by condo owners. (In a bizarre twist, the current resident of the old Howard Street Tavern paid back the community with a series of free blues-rock concerts this summer: it must have been karma.)

While the closure appeared to be a death keel it was actually a life preserver as a handful of seemingly independent activities came together; the Omaha Blues Society was b born under the leadership of President Greg Lindberg, local Blues writer BJ Hutchtemann began a weekly column, Terry O'Halloran (Murphy's Lounge) made a commitment to a weekly blues show called Six Bells Blues, the recording industry changed dramatically, and my radio program PS Blues moved from a low wattage late Monday night two hour show to a three hour Sunday morning program on a non-commercial 100,000 watt radio station giving the market two powerful blues radio programs; the other being Mike Jacob's Monday program on KIOS 91.5 fm.

With so many Omaha kids spending their college years in Lincoln, a love of the blues born in the Zoo Bar migrated back to Omaha and, since there is a larger population base, there were (are) numerous live venues for blues & roots in Omaha including; The 18th Amendment vis-a-vie Murphy's Lounge, The Music Box, The MACdome, Maggie McCalls, & of course McKenna’s. With a larger choice of venues there were bound to be more bands. This Zoo Bar/ college education basis coupled with Omaha's preexisting love of hard Midwestern rock (REO Speedwagon, BTO, Rush), and the absence of a bona fide African-American presence within the scene (either as performers or fans) has left a clear predilection of what we call “the blues” here in Omaha.
As the home recording industry changed local bands found recording albums an affordable option. And record they did. At Homer’s we made an early decision to carry all the local music we could get our hands on: it was a commitment that carried over to the radio program which, until election laws kicked in, PS Blues usually included two to three local cuts a week.
The first manifestation of this synthesis coming together was, for me, that Omaha became a launching pad for four kids off a South Dakota reservation, in a band called Indigenous, to become a national act and eventually get signed to an international label. Should he choose to, Lincoln's Kris Lager will benefit from Omaha's lust for blues rock and could be the next act to kick the dirt off his boots and head for the big city.

While he was alive Stevie Ray Vaughan single handily lifted the blues back into the national consciousness. Vaughn's ability to roust FM radio out of its post 1978 doldrums created a wave that younger blues act rode for ten years after his tragic death. When computer downloading began to scalp the music industry labels quickly began to cut back artist rosters and boutique labels; thus marketing dollars to build awareness for bands that sold under 750,000 albums disappeared along with, eventually, many of the bands. At the same time aggressive drinking and driving laws kicked in making it difficult for blues band to tour and for blues venues to make ends meet. Except for festivals, at the turn of the Century, the state of the blues was dismal.
While other free local events may have preceded them, Jeff & Sheri Davis’ five ‘Playing With Fire’ concert series has raised a new level of excitement in Omaha's blues scene. (SEE previous column 'Free Concerts') This summers free concert listings includes a five star Summer Arts Festival line-up (Dirty Dozen Brass Band, Blind Boys of Alabama, Corey Harris) and a free 25th Anniversary show by Greg Lindberg’s Absolutely Fresh Seafood which includes Chubby Carrier. Sadly this years Indigenous Jam will not take place but seven free concerts more than makes up for its absence.

Lastly, the success of Omaha's blues scene rests upon its fans. If music buffs vote with their dollars, the blues will continue to get voted into office in Our Town!

Thee Shams are no flim-flam!

Thursday, May 27, 2004

Artist: Thee Shams
Title: Please Yourself
Label: Fat Possum

This is the perfect "rock" record for a blues fan. If you're like me, as you got older your lack of interest in popular rock music grew with each birthday: there are still plenty of rock records you throw on but most of them were recorded before 1980. Thee Shams present THAT kind of blues fan with the perfect rock record.

Thee Shams, hailing form the Ohio Valley, have successfully captured the 'sound' of Sixties garage rock bands like, ? & the Mysterians (who performed 96 Tears). This album lives in a sonic cross between the Rolling Stones and the New York Dolls; or between Aerosmith and another fabulous Fat Possum label band The Black Keys. It's all that and a whole lot more.
The fact is this album has little to do with the blues other than copping the sound as so many great rock bands have before them. The second track, "If You Gotta Go" was written by Bob Dylan and later covered by Canadian Sue Foley. Like many rock bands (The Kinks, Oasis, BTO, Indigenous, Everly Brothers, The Black Crowes) Thee Shams are a four piece band centered around brothers - in this case Zachery and Andrew Gabbard. There must be something in the genes but this is an excellent record that I cannot quit playing. The fourth track, "Love Me All the Time" is a ballad consisting of a simplistic arrangement that so the words & tune are not cluttered by over production: BRILLIANT!

Well if the music does the talking this album speaks volumes about how cool rock could be if only commercial radio would let it!