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Pastimes : Deadheads -- Ignore unavailable to you. Want to Upgrade?

To: JakeStraw who wrote (25531)	3/13/2001 11:06:57 PM
From: SIer formerly known as Joe B.	Respond to of 49844

Little Feat are one of those BANDS. The very mention of their name causes people of all ages and musical persuasion to eagerly tell you their favourite Feat album. echo.net.au Even jaded old promoters like the Byron Blues Brothers, Peter Noble and Keven Oxford, are excited about Little Feat coming to the Blues Festival. I mentioned this to Paul Barrere, lead guitarist and vocalist of Little Feat and he was quite chuffed. I asked him whether he had heard of the Blues Festival and he said that the cats in Taj Mahal's band raved about it to him. 'They said you gotta do the Blues Festival, it's amazing, and it's such a beautiful spot, the beaches are incredible.' I assured Paul that it was all true. Little Feat are musicians' musicians, they are sought after for collaborative work by some of the finest in the biz. Favourite collaborations of Paul's include Bonnie Raitt, Robert Palmer and of course, Bob Dylan. Asked whether that ever elusive commercial success bothered him, Paul seemed prepared for my rather unoriginal question. 'Yes and no. It would certainly be nice for the bank balance. 'But at the same time, because we've never had a hit, we don't go on stage with people expecting us to perform them. We've been able to continually do what we like and not become stereotyped. 'I know guys in the Doobie Brothers and bands like that who have had the hits and have to keep performing them. 'We can just do what we like when we go on stage, and it makes our music more diverse, because once you've had a hit people expect more of the same sounding style. And I've made a pretty good living out of it.' Little Feat were nominated for a Grammy this year - for best CD liner notes for their CD Box set. I cracked up when Paul told me that, I had no idea it was a category. 'It's okay, though, we lost to Miles Davis, so I feel pretty good. Last time we were nominated we lost to U2. So I don't mind losing to the big guns. If it was the London Philharmonic Orchestra's Bach arrangements I might get a little cheesed.' I asked him whether there was anyone he wouldn't collaborate with if asked (I was leading up to Eminem but he beat me to it). 'I can't think of anyone, you know all that controversy surrounding Eminem is so pointless. He's just a marketing tool, I don't think he's really into gay hate, he's just trying to get publicity.' So would he collaborate with Eminem? 'If he asked, sure why not?' Did he see the duet with him and Elton John? 'No I was on my way to do an acoustic gig with Bill Payne (keyboard) and Fred Tackett (guitar) for a Grammy party. 'We were going on between Taj Mahal and Keb Mo, so I missed the duet. But I'm not killing myself over it.' echo.net.au

To: JakeStraw who wrote (25531)	3/13/2001 11:11:46 PM
From: SIer formerly known as Joe B.	Read Replies (1) \| Respond to of 49844

Tuesday March 13 9:35 PM ET Dead tunes get lively jazz treatment Jazz Is Dead (House of Blues; 1,000 capacity; $15) dailynews.yahoo.com By Phil Gallo HOLLYWOOD (Variety) - More Dead (as in Grateful) than Jazz in its truest sense of the words, this revolving improvisational unit of rock and fusion vets concentrates on the music of the Dead's two most enduring albums, ``Workingman's Dead'' and ``American Beauty.'' As this experiment, which has had some fascinating triumphs, heads into its third album for the Zebra label, its focus suddenly comes into question: Are these tunes meaty enough to stand on their own as instrumental vehicles, and do the musicians have enough of a personal presentation to bring to the music? By limiting itself to the Dead's golden recording period, Jazz Is Dead sets out on a trail of country rock material and the most compact writing of the Dead's career, the bulk of it from Phil Lesh and Jerry Garcia. These are not the sweeping works that filled the Dead albums ``Blues for Allah,'' ``Wake of the Flood'' or ``Terrapin Station'' -- used for Jazz Is Dead launching points -- nor do they have the hint of funkiness that infused numbers such as ``Shakedown Street.'' (For a Grateful Dead jazz project that works top to bottom, check out Joe Gallant and Illuminati's ``Blues for Allah Project'' on Knitting Factory Records.) The interpretive skills of Jeff Pevar, guitarist for CPR with David Crosby, were put to the test Monday as the quartet turned ``Truckin''' into a freeway jam, echoing the flashy fusion jazz of the early 1970s with some slick slide guitar work. Keyboardist T Lavitz of the Dixie Dregs was all over the map, making his most effective runs on the organ. But when songs were done straight -- ``Friend of the Devil'' and ``Cumberland Blues,'' for example -- they felt remarkably incomplete. Centerpiece of the band is bassist Alfonso Johnson, who has been with the band since its inception and has been picking up crucial Dead time playing in the Other Ones, the post-Garcia collection led by the Dead's Bob Weir, Mickey Hart, Bill Kreutzmann and Bruce Hornsby. In that band he fleshed out the jazzy underpinnings of much of the material and, at his best, propelled the jams into steady streams of fascinating solos. Here he compromises his jazz resume (Weather Report) for the sake of the songs at hand. That works in the case of ``Ripple,'' which he also sang, but it runs counter to what should be the central intention of this ``modular band,'' which has at times included drummer Billy Cobham and guitarist Jimmy Herring of the Aquarium Rescue Unit. Presented inhouse. Band: Jeff Pevar, Alfonso Johnson, T Lavitz, Rod Morgenstein. Reviewed March 12, 2001.