Category Archives: Misc

Dave Matthews Band in 2018: ‘Come Tomorrow’, Tour, and More

It’s now been a decade since saxophonist LeRoi Moore‘s passing. Thinking of that this past weekend has pushed me to finally jot down some thoughts on the band as a whole, and how 2018 has seen DMB fully realize what, in my opinion, it has been inching toward for well over a decade. While LeRoi’s passing didn’t kick-start this evolution, it arguably accelerated it to a degree. And, given that it was such a (tragic) milestone in the band’s history, it’s natural that it played at least some sort of factor, even if not as large as one as may initially seem.

Equally noteworthy, at a minimum, in the band’s evolution was the 2008 tour itself, which of course coincided with Moore’s accident and subsequent death and Jeff Coffin‘s joining the band partway through as a replacement. Even before Moore’s accident, the 2008 tour included:
– Tim Reynolds’s return as a touring member and, though unknown at the time, a full-time member in his own right. (In years past he was an “unofficial sixth member,” along with Peter Griesar from the early 90s and Butch Taylor in the late 90s through 2007.)
– Butch Taylor’s sudden departure on the tour’s eve.
– An explosion of cover songs in rotation in the set list (e.g., “Money,” “Money, That’s What I Want,” “Sledgehammer,” “Burning Down the House,” etc.).
Some Devil songs regularly joining the setlist rotation.
(- Jeff Coffin eventually joining the band partway through the tour after Moore’s accident.)

I won’t re-hash old posts here, but a brief word on each of those points. I’ve written about this before, but Tim Reynolds’s guitar stylings while playing with the full band ’91-’98 are vastly different from ’08-present. (This is entirely separate from his playing with Dave on their acoustic tours, which continued throughout this whole time period, including the early ’00s.) In that first decade, even though he played electric guitar with a mostly acoustic ensemble, his playing fit within the band’s overall sound—part of the texture, often felt instead of heard. Upon his return, however, he cranked up the volume and gave the band a much more explicitly “rock” sound, and his presence couldn’t be mistaken.

Tim’s approach strongly complemented the new cover songs that debuted in 2008, both in style and arrangement: “Money” (Pink Floyd), “Sledgehammer” (Peter Gabriel), “Burning Down the House” (Talking Heads), “Hey Hey My My” (Neil Young), “Money, That’s What I Want” (Berry Gordy & Janie Bradford), “Bitch” (Rolling Stones), and “Thank You” (Sly & The Family Stone; formerly covered by Dave Matthews & Friends but not by DMB). Also noteworthy is that most of these cover songs lack a non-guitar solo (like the original), save “Money.” I write “style and arrangement” because these covers, unlike their most well-known previous covers performed with varying regularity (“All Along the Watchtower,” “The Maker,” “Long Black Veil,” “Angel From Montgomery”), were pretty straightforward. 2008’s then-new covers were less about being new versions of existing songs than they were with creating a fun vibe to add to the party-like atmosphere. Those that remain in 2018—e.g., “Sledgehammer” and “Burning Down the House”—haven’t much changed in arrangement over the last decade.

Of course, there’s a bit of a chicken-and-egg aspect at work here. Did the band’s approach to covers at all influence Tim’s approach to DMB’s catalogue—the prominent lead guitar needed for Pink Floyd then being mapped to Dave Matthews Band? Hard to say, but I’ve always wondered. After all, it’d be a little jarring to hear the DMB of 2007 or 2000 and then, midway through the set, be blasted by “Sledgehammer.” Even though Dave began selectively playing electric guitar live in 2001, “Eh Hee” or “So Right” didn’t provide the same wailing lead guitar as Pink Floyd’s “Money.”

Of course, it could be that Dave took the reins a little more aggressively and decided that that’s the sound he wanted…

In the past, it’s been noted here and there that the band—or at least select band members—had been pushing Dave to take up some more directional leadership within the group. Around the Lillywhite Sessions fallout and Everyday sessions, I got the impression in interviews that the band was going through the motions and rudderless (before Everyday), and that going into the studio for Everyday with Dave having already written much of the music with producer Glenn Ballard and providing charts to the band put some fresh wind under the band’s wings. And again, before LeRoi’s death, supposedly LeRoi told Dave in a moment of candor that he (Matthews) needed to lead the band and take charge.

Then there was the sudden departure of Butch Taylor for “personal reasons” right before the 2008 tour’s kickoff. It was never made publicly clear why he backed out, but speculation ran wild on message boards.* I felt like I was in the minority much of the time, but I was and remain a big fan of Butch Taylor’s playing, both with and without DMB. Even though I was gaining Tim Reynolds in 2008, it hurt to lose Butch Taylor. Perhaps Tim’s playing was a way to account for both electric guitar and a lost keyboardist? Who knows.

[*I try to avoid message boards—on DMB and anything else—completely, but this was one of 4 times I dove in to that toxic fever swamp as a reader-only for DMB material. The other three were this year: Boyd’s departure, Boyd’s #MeToo moment, and the 2018 tour kickoff. Every time I left exhausted and needing a shower. Woof. No more.]

[A digression, just to state this for the record: one of my first selfish thoughts upon learning of the possibility of both Tim Reynolds and Butch Taylor touring with DMB in 2008 (before Taylor’s departure) was the genesis and rapid blossoming of my wanting to see what would, for me, be the ultimate cover song that DMB could rip through: Elton John’s “Love Lies Bleeding.” Piano-driven rock with a strong lead guitar line, and the horns could provide some solid wall-of-sound harmonies throughout. My hopeless wishing was renewed this summer with the addition of Buddy Strong, but I’m certainly not holding my breath. (While I’m at it, EJ’s “My Father’s Gun” and “Burn Down the Mission” too, and both would be great with The Lovely Ladies…)]

With a few sporadic and rare exceptions, much of Dave Matthews’s solo album Some Devil wasn’t performed with the full band until 2008. And it didn’t take long for those solo songs to find a natural home in the DMB rotation, particularly “So Damn Lucky” and “Gravedigger.” The former quickly transformed early in the tour—the iterations I saw in Chicago (6/6), Detroit (6/9), and Buffalo (6/17) kept getting respectively longer, inching toward the large live jam it became by mid-summer.

Finally, of course, Jeff Coffin joined the band (becoming a full-time, permanent replacement), filling in for LeRoi Moore. I attended Jeff’s fourth show of that run (Rothbury 7/5/08), and it was wild seeing him up there with the music stand for the horn lines and then ripping during the solos. The latter part is notable in the respect that, before his accident, LeRoi Moore seemed to be playing fewer and/or shorter solos at the beginning of the tour, either splitting those duties even more with trumpeter Rashawn Ross or handing some over to Tim Reynolds. (I was particularly struck by his lack of solo on “#41” on 6/17, but those backing horn lines under Tim’s solo scratched me where I itched.) I knew there was talk throughout the band’s history of Roi’s wanting to eventually develop a full horn section. It took ~15 years to add a second horn, and the workload gradually evened out over the subsequent years, with Rashawn regularly guesting in the latter half of 2005, becoming a full-time touring member in 2006. Perhaps with Tim’s returning to the fold, Roi considered it an opportunity to build up the horn section as an entity? It’s another thought I’ve returned to many times over the years.

Along with Jeff’s solos, though, there’s another aspect that caught my eye. With now three virtuosic soloists (Jeff Coffin, Tim Reynolds, Rashawn Ross) hungry to play and make music with one another, what was violinist Boyd Tinsley to do? Continue with the same old tired and out-of-tune pentatonic scales and lukewarm enthusiasm save his one or two nightly solos? Again, it was around this time that my friend turned to me at the Gorge and remarked, “Where’s Boyd?” Even in 2007, though he was already a musical liability, there was still room sonically for Boyd’s melodies, countermelodies, and solos. In 2008, there was significantly less, with even less each subsequent year.

That was 2008. En route to 2018…

Beyond “new” members, the other original members kept on making music and advancing. Bassist Stefan Lessard particularly comes to mind, having pursued some Berklee College of Music coursework some years back. (I believe he was inspired by Rashawn Ross, an alumnus.) I remember thinking of the Rashawn/Berklee inspiration at night three of The Gorge in 2011 when Stefan opted to play the Prelude from J.S. Bach’s Suite I for unaccompanied cello as the intro to “All Along the Watchtower,” with Jeff and Rashawn watching with particularly rapt attention. That, and Stefan’s penchant for effects and hardware seems to have grown since Tim’s re-joining in ’08.

I’ve documented much of my thoughts many of the band’s developments elsewhere (here and here and here). In short, Tim gradually became a gargantuan sonic presence, Boyd became obviously irrelevant, the horn section evolved and became often a single entity, and the new songs reflected all of these changes. The band that originally went from local Charlottesville phenomenon to commercial juggernaut—the mostly acoustic band with no lead guitar and a sax and fiddle—became a full-on rock band with horns, especially from 2008 to this year. Enter Come Tomorrow, which completed the process.

I won’t write a full review of the album here, but it’s worth at least a surface-level discussion. In short, my thoughts after the first listen were:
– I liked it overall, despite “The Girl Is You.”
– As an album, it’s a bit of an odd entity.
– In context, the transformation was now complete.

I do like the album, and I’ve listened to it a lot this summer. But, to me, even more than Away From the World, Come Tomorrow is almost more of a Dave Matthews solo record than a DMB album. Almost. The identifiable horns are still there, and it helps that it includes some existing songs—including 2006’s “Idea Of You” and “Can’t Stop” and 2015’s “Virginia In The Rain,” “Black and Blue Bird,” “Again and Again” (formerly “Boblaw”—my personal favorite of the album), and “Be Yourself” (now “bkdkdkdd”). Boyd plays on only one track, “Idea Of You,” and it’s likely that his part was recorded years ago. And there’s only one horn solo on the whole album, a few seconds of Coffin’s soprano saxophone on “Black and Blue Bird”—track 10, deep into the album.

I consider it an “odd entity” because not only are some of the songs older, but the album was recorded over a ~12-year+ period and utilized four separate producers (Mark Batson, Rob Cavallo, John Alagia, and Rob Evans). The album’s not as cohesive a unit as others in my opinion, as it goes in many different directions, and the lack of a single producer keeps it from feeling completely unified, at least sonically. That said, it still mostly works, and it’s a rocking good time.

All that said, I like the album (save “The Girl Is You,” which is okay live—it’s the first studio recording I’ve yet to warm to in some respect), and to me it fits in the overall canon. Hell, even LeRoi Moore makes a couple of appearances, having participated in the early sessions for “Can’t Stop” and “Idea of You.” But it’s definitely a statement that this is a band unapologetically plowing ahead with its current iteration, be it DMB 3.0 or 4.0 depending on whom you ask. Whereas 2012’s Away From the World had a veneer of going back to the square one after 2009’s sonic memorial Big Whiskey and the Groogrux King—having Steve Lillywhite produce, including horn and violin solos (Boyd gets the album’s first solo break!), etc.—to me, it still sounded like more of a Dave Matthews solo record than a DMB album. In fact, I could make the case that Come Tomorrow is as big of a statement about the band’s sound, if not bigger, than Everyday was in 2001. (In brief, just because Dave played electric, the sax and violin still carried the melodic weight, among other aspects. It sounded new, but the structure remained the same. Here, however, the structure is explicitly changed.)

[Song selection aside, the album’s personnel dwarfs Before These Crowded Streets and covers a wide berth: both Butch Taylor and Buddy Strong on keys, the Lovely Ladies (Tawatha Agee, Candice Anderson, Sharon Bryant-Gallwey), and a panoply of auxiliary musicians including some notable names, including the one and only Luis Conte on percussion.]

With Come Tomorrow, however, it’s as if Dave made the decision to stand proud and say “this is who we are now, and we’re happy with it.” And, as far as I can tell, the band agrees and is equally enthusiastic. In fact, the best way I can really describe it is that I see 2018’s DMB as meaning Dave Matthews’s Band instead of (the) Dave Matthews Band. While still a group effort, I get the impression that Dave is more comfortable providing some sort of direction than in the past. Something I’ve noticed in interviews this summer is that he regularly refers to “my band.” While not the first time he’s said it, I didn’t notice that as much in the past. (Perhaps he said it often and it didn’t catch my attention.) And that’s not to say it’s meant at all negatively. Not at all. But it’s different from “our band” or “the band.”

On another personnel-related note, he did finally directly address Boyd Tinsley’s departure in a recent interview on iHeartRadio’s Inside the Studio podcast. In short, he admits to firing Tinsley for not pulling his weight, and that it was a long time coming. (And after the subsequent sexual harassment allegations against Tinsley, I doubt Boyd will be returning anytime soon…)

This may seem like a recipe for a real mixed bag on stage: one near-founding member gone, Dave taking control, and the addition of a new touring member (and what I assume to be full-time member) in keyboardist Buddy Strong. But after seeing three shows on this summer’s tour and listening to others in addition to it, I can safely say two things about Dave Matthews Band in 2018:
– This is the BEST the band has sounded live in AT LEAST a decade, if not more.
– It’s obvious that the band members are having a lot of fun playing together this year.

As an ensemble, the band sounds great. Not once during any of the shows I attended did I remotely miss Boyd’s playing or any of his musical parts. Beyond that, Buddy Strong fits nicely into the band—always felt, even if not explicitly heard. And Tim Reynolds has dialed back the sonic onslaught. He still shreds when required, but when he’s playing rhythm guitar it’s in the background, which wasn’t always the case in recent years. It’s a nice mix of ’90s Tim and early ’10s Tim.

As a quick example regarding much of what’s mentioned above, take DMB’s cover of Peter Gabriel’s “Sledgehammer,” one version from 2008 and another from this summer (where I was dancing in the audience).

2008’s “Sledgehammer” with overpowering electric guitar and a superfluous Tinsley at Mile High Music Festival:

2018’s “Sledgehammer” at SPAC:

What’s more, the band members are having fun. I’ve heard Dave say as much onstage and in interviews more times this summer than I have in probably the last decade combined. Not that they’ve been dourly going through the motions in years past. But between cutting loose the dead weight (Boyd Tinsley), bringing in some fresh blood with Buddy Strong, and the focus and clarity involved with incorporating the new album’s songs and arrangements into the rotation, it’s a recipe for success that has worked swimmingly this year.

The onstage enthusiasm around Strong is palpable and reminiscent of that around Jeff Coffin’s joining (despite the tragic consequences that caused it), and also that of Rashawn Ross.

As with any change, there are members of the fan community griping about Strong’s addition, Tinsley’s departure, the band’s sound, etc. I have copious thoughts on those complaints, but it’s not worth wasting the time on it here. Suffice it to say that there’s only one direction to go: forward. Miles Davis wasn’t playing “Autumn Leaves” and “Four” in the seventies and eighties; John Coltrane eventually stopped playing “Blue Train”; and Radiohead likely won’t be playing Pablo Honey front-to-back anytime soon. Artists will grow and evolve, for the better or worse. I’m pleased with where things are headed musically with DMB in 2018 and beyond. While Come Tomorrow won’t knock Crash off its pedestal anytime soon, what it signals is certainly reassuring to this longtime fan.

Boyd Tinsley Stepping Away from Dave Matthews Band: A Natural Progression

Boyd Tinsley is stepping back from Dave Matthews Band. The violinist, backing vocalist, and near-founding member and his fiddle are part of the band’s trademark image and (original) sound.

Not much is known, as it was announced by Tinsley himself in a short and somewhat cryptic series of tweets Friday night:

Oddly, as of the time of this posting (midday Saturday, the day after) there’s been no announcement from DMB as a whole or management.*

I certainly have my own ideas, and my own reactions. Selfishly, I’m pleased. Very much so. A quick survey of social media confirms my feeling that I’m in the smallest of minorities among the die-hard fanbase. As I wrote here, Tinsley has been fulfilling an increasingly diminished role onstage—and even on record—for well over a decade. As I wrote in 2014:

Throughout this whole process and for reasons unknown to me (though I do have my theories), violinist Boyd Tinsley has fulfilled an increasingly diminished onstage role. While at The Gorge in 2009 or 2010, a friend even turned to me and asked, “Where’s Boyd?” He used to be a prominent and fiery soloist, but now he gets maybe two solos per show, and what solos he gets have occasionally been shortened (e.g., the end of “Seek Up” on this summer’s tour). On top of that, he’s often buried in the mix. I see him up there, but I rarely hear him during full-band moments. Musically and technically, though, that’s not necessarily a bad thing in my eyes. He’s easily become the band’s weak link over the last decade, as he’s obviously rested on his laurels. Personally, given how he’s played the last several years, I’m not lonely for his playing. And that’s truly a shame, because he has been known to rip it in the past…

In the years since, this has become even more apparent. Aside from one or two minutes-long solos over the course of a three-hour show, Tinsley largely stands off to the side or plays superfluous parts that can rarely be heard in the mix. And that’s not a bad thing, as he’s sounded bad for years. Out of tune and just generally “off.” Even with the vocals. For example, he couldn’t be bothered to nail his few words of rhyme—his only “lead” vocal part of the evening—on “I Did It” during this rendition at The Gorge in 2010:

Woof. I was in the audience and was embarrassed for him. I saw him try again a few days later in Houston. (If I remember correctly, a roadie scrambled out and taped the lyrics to his monitor beforehand.) While he recovered overall, Dave helped him with a cue at the beginning and he still barely finished in time:

Out of sentimental nostalgia, I do find it genuinely sad. One founding member died in 2008, and now another leaves in 2018. It’s certainly not the same unit I fell in love with in ’96. That said, the current band is certainly not the same ensemble musically or aesthetically as it was in 2008 or 1998 or 1994. I’ve gone through that elsewhere and don’t have the time to rehash those reasons now.

In short, though, this is just the next step in the natural evolution of this band. What began as an acoustic-based rock band with saxophone and fiddle and no lead guitar has become an electrified rock band with a defined horn section and occasional auxiliary fiddle. If continuing along that course, it was only a matter of time until the violin was completely jettisoned. With Away From the World being more of a Dave Matthews record than a Dave Matthews Band record, and new songs since having little functional need for a melodic violin lead, this isn’t out of left field.

One of my immediate reactions was that I didn’t purchase enough tickets for this summer. I’m already going to Buffalo, Toronto, and two nights of Saratoga. Now I feel like I should hit Cleveland too. Perhaps I’m being too bullish, but with the band’s weak link gone, I’m confident that the group will sound the best it has in years.

I wonder how this aligns with the impending album that’s due out this year. Is Boyd on it? If so, how much? Apparently he was greatly diminished in the 2018 calendar that was sent out to some weeks back. (I didn’t opt for one, but read about it today.)

The announcement itself and manner in which it was done is shocking, but the departure isn’t. Again, I don’t know the specific reason for Tinsley leaving in early 2018. I thought it’d eventually happen, but was clueless as to how or when. Tinsley’s announcement implied needing a break for health and family reasons, and just needing a break. Of course, if that’s the case, why did he spend all of 2017 touring with and promoting his other band Crystal Garden while DMB took the year off? One thought I had was that Tinsley has been swept up in the #MeToo fiasco. (Pure speculation on my part…I’m not basing that on anything or making an accusation.) Or maybe he was outright fired by the band as a whole. That certainly wouldn’t be unjustified if so. (I’ve often thought during a show, How does everyone else on stage feel about Boyd getting paid the same for doing so little?.)

Anyway, murkiness abounds. I won’t go on and on with the speculations. I’m just here to say that if Tinsley is indeed gone, I—a die-hard fan with over two decades of investment into the band and its music—welcome it. (The tour won’t start for months. Perhaps he’ll come back into the fold beforehand.) The band will sound great. Well, the band already sounds great. But now the weak link is gone. No ho-hum few minutes of out-of-tune pentatonic scales. Just solid, steady jams all around.

I’m sure that this comes off as much more negative overall than it really is. I have many great memories of Tinsley’s playing, and solos and songs that I love to listen to over and over. In fact, Tinsley is one of the reasons that Listener Supported is my favorite live album—fine fiddle solos and melodies, and a solid rendition of “True Reflections.” But that was recorded in 1999, and he’s not been bringing much to the table for years. And if the band is to continue progressing, I don’t see how Tinsley’s involved without some serious time in the woodshed.

Bring on the tour. I’m ready.

 


*UPDATE: Of course, within a half hour of my posting this, the band releases an official statement. However, it does as much to raise questions as it does to answer them:

Red Bats, Future and Past

Here I sit, once again writing about coming out of a musical rut and referencing older recordings from my library

I watched more TV this summer than I have in quite a while. Part of it was my gradually lifting music-making malaise. Though, to be fair, it’s rare that I have “so many” new shows (i.e., more than one) I’m trying to stay current with at once. But over the last few months I juggled all of The Leftovers, the second season of SENSE8 (a crime that it was canceled, even if a fig leaf of a finale film is to come), and the peerless Twin Peaks: The Return. On top of the obligatory Game of Thrones, of course, but, particularly in light of the latest season, it’s a cut below the others–entertaining but not compelling. Whereas I was utterly spellbound by The Leftovers and Twin Peaks: The Return.

I know. Four shows, big whoop. In this era of Peak TV, there’s so much content to choose from and absorb. However, concerning TV, I’ve always been more the type to get really into a show and just watch and re-watch my favorites as opposed to watch many different shows. Depth versus breadth of intake. If I don’t like a show, I’ll quickly abandon it. If I do like it, I’ll give it my full attention and likely see it again. If I love it, look out. I’ll watch to the point of memorization and go quickly down the rabbit hole. If a show has a mythology, like Fringe or Twin Peaks, then clear my schedule.

Furthermore, part of me is hesitant to glom onto a new show (new for me, even if not new itself), as I feel somewhat cursed in my tastes. In the last ten years, there’ve been two new shows that I started watching while they were actually new and was immediately attached to, John From Cincinnati and Sense8. The former was critically panned and swiftly canceled. The latter received mixed reviews and was abruptly ended despite the last episode’s mid-mission cliffhanger. I admit that, even if a show is uneven, I give more weight to and prefer to watch something that takes a chance and is different, even if it may crash and burn in the process. (Hence my quibbling with The Force Awakens, and my rolling my eyes why I saw that Abrams will return for Episode IX…yikes) For example, some of the performances on John From Cincinnati are downright abysmal. Yet JFC contains some of my favorite characters, performances, and moments in any show. (Ed O’Neill’s Bill Jacks and Dayton Callie’s Steady Freddy are absolute gold.)

Anyway, before I get too off track…

(I could write an entry or three on John From Cincinnati…that may come yet…but for now I’ll just enjoy being one of the few dozen folks who visit what old message boards remain. If you happen to be a fan that found this post vis the occasional search, feel free to drop a line…)

Twin Peaks: The Return also deserves its own entry at some point. What an enchanting score and sound design (and I do love ambient sounds…), both in and out of The Roadhouse–arguably more so outside of it, in my opinion. There’s been enough laudatory criticism recently, so I won’t go there. Such a triumph by David Lynch. (But I will note that when re-watching Twin Peaks: Fire Walk With Me after seeing The Return, it’s a revelation–almost like seeing it again for the first time.) Instead, I wanted to note a funny little indirect connection between another of Lynch’s works and my recent resurgence of musical productivity. In this case, it’s 1997’s Lost Highway, shades of which can be seen in The Return.

I do love the original Twin Peaks, though I came to it late much later. I recall coming across snippets in the past and it being in the ether when I was young (I was six when it debuted), but I didn’t fully dive into it and its prequel film until several years back. David Lynch, however, was certainly on my radar in my adolescence. I saw Lost Highway in early 1998, and I went in mostly blind. I knew that it was supposed to have a good soundtrack and be a little different, both of which were understatements. Lost Highway was the first film I saw that left me utterly baffled at the end. Not yet fifteen, I liked it but couldn’t really articulate why. It was years before I saw it again and I remained bewildered by it, but I was just as spellbound as the first time.

I got the soundtrack around the time of that first viewing. Nearly twenty years later, I still regularly listen to it. (Fittingly, it’s a good driving album.) One piece, a selection from Angelo Badalamenti’s original score, in particular often stuck out above the rest, both then and now, especially in light of my recent trifecta of productive practice, heavy listening, and wallowing in The Return. That is Badalamenti‘s “Red Bats With Teeth.” It’s probably a throwaway piece for many, considering the soundtrack features Trent Reznor (with and without Nine Inch Nails), David Bowie, Marilyn Manson, Smashing Pumpkins, Rammstein, and more. Reznor produced the soundtrack, and it’s worth noting that 1997’s Lost Highway shares some similarities, in terms of overall sound, with 1999’s The Fragile, my favorite Nine Inch Nails album.

Considering my fondness for the the album and the fact that it’d be years before seeing another David Lynch work, it’d be accurate to say that Angelo Badalamenti was seared into my consciousness long before his filmmaking colleague.

lost highway

Initially “Red Bats with Teeth,” a jazz tune, stuck out to me because it featured the saxophone, and it was around 1998 that I started developing a strong interest in the horn. (Bill Pullman’s character, the protagonist for the film’s first half, is a saxophonist and “plays” this in an early scene. The tenor saxophone part was played by Bob Sheppard.) I was listening to a little jazz by this time, but it was pretty sporadic. Pretty much all of it was straight ahead though. “Red Bats…” was one of my first tastes of something even approaching atonal or avant-garde, with the use of extended techniques and noise toward the end of the piece. In just under three minutes, the band goes from a smoky and laid back quasi-West Coast cool vibe to screeching over a frenzied groove. It sounded odd to me at first, but something about it drew me in. A young me recognized that it was intentional even if it sounded foreign. (A couple years later I threw myself down the jazz rabbit hole, but at that time it was still largely new.) The only thing I could really square it with was LeRoi Moore‘s playing on some early live DMB recordings, as he would occasionally get noise-y in the early years. But because one was jazz and the horn was the focus (“Bats”), and the other was rock and the horn was but just one element (DMB), they were different enough to be in separate categories for me.

These days, of course, I hear it in its various contexts. And it’s certainly Badalamentian–almost as if The Black Lodge had a jazz night.

I won’t get hyperbolic and say that “Red Bats” itself led me down the path to eventually purchasing Evan Parker recordings. The line isn’t so direct. But it did open a door for me, and when I really think about it now, it was my patient zero in a way, at least when it comes to a very particular sort of saxophone vocabulary. But even with that loaded sentimental history, I still enjoy just throwing it on for a good jam. Especially these days, now that I’m starting to get back into a groove, and with Lynch again in the air.

Those Red Room inhabitants are right to ask: “Is it future, or is it past?”

Is this thing on?

It certainly has been a while.

Though this site is never far from my mind–and often near the very front of it–I just needed some time away from the toiling at the keyboard. In normal times, what actually gets posted here represents a small percentage of the myriad drafts and notions and fits and starts. But, as with most things over the last many months, I’ve put things on hold. Some out of my own desire to do so, and some for reasons beyond my control.

When we made the family decision last year to move to Buffalo, I saw it as an opportunity to wipe the slate mostly clean. I figured that clearing out my schedule and routine would help me to de-stress some by shedding the years of accumulated obligations and busy-ness. It worked out, in ways both good and bad, but here I am a year later feeling ready to lay the foundation and start anew. We finally closed on a house here in April, and we’re settled into the new location and routine.

I thought I’d at least write more here in the interim, but I suppose the world survived without my completing those half-finished drafts of concert reviews (Liebman at Toronto’s The Rex and the Canadian Opera Company’s Götterdämmerung at Toronto’s Four Season Center, on successive weekends in February, Dave Matthews & Tim Reynolds at SPAC), passionate meditations on you know what, an ode to the now-closed Record Theatre, a celebration of the twentieth anniversary of my first Tool concert (07.26.97…an important and formative date), and a rumination on “the long 1996”–a pivotal year of music for an adolescent me. Yada yada.

The summer came and went unremarkably, mostly filled with work and getting the house and property in order. Not returning to Austria, coupled with my not teaching during this upcoming year, has seemingly put me off the academic grid with less of a sense of time. The first few months of 2017 were focused on closing on and moving into our house. And since then it’s been a whole lotta parenting and nesting.

For a while, ambivalent practicing was the best I could do. Thankfully, though, over the last couple months I’ve been able to settle into a good routine, enjoying what could arguably be some of my more productive practice sessions since my son’s birth.

More notable is that despite the valleys and eventual peak of my own music-making, I’ve been listening a lot, much more than in the few preceding years. I’d been taking in a lot of music, but it seemed to be in spurts, and overall pretty passive, and I’d go long spells without getting too excited about anything new. This year my ears are hungrier than ever. Part of it is related to my actively reducing both my daily news consumption–which had been at junkie-status for a decade–as well as my podcast intake. But also I’ve had just a genuine desire to dig back in. It’s been great for my mind and soul, even if my wallet has taken a hit. The renewed urgency around listening is no doubt related to my increased desire to play for the sake of playing (as opposed to maintenance).

Hopefully I can find the time to get back into some sort of rhythm here also. I mean, I do intend to actually proceed beyond a half-draft and publish a review of Chicago Lyric Opera‘s Die Walküre in a couple months…

Further Down the ‘River of Fundament’

Here we are. December 2016, nearly 2017. It’s been almost two-and-a-half years since I saw Matthew Barney’s River of Fundament exhibition at Munich’s Haus der Kunst. Ten months have passed since I saw the film at Cleveland’s Museum of Contemporary Art. In that time, I’ve read and listened to quite a bit on the topic — including finishing Norman Mailer’s Ancient Evenings, and Okwui Enwezor’s Matthew Barney: River of Fundament (Haus der Kunst’s official exhibition catalogue), and devouring what relevant interviews with Mailer and Barney I can find — and have dug farther into Barney specifically, including material on The Cremaster Cycle. Needless to say, I remain under utterly fascinated by River of Fundament. Not only that, but my appreciation continues to grow deeper.

I don’t intend to dive too far deep into the weeds, but I’d like to add some thoughts to the initial review.

It took a while for me to finish Mailer’s Ancient Evenings. Work and parenting leave time for little else, and it’s difficult to find long stretches of time to fit in chunks of substantial reading. Though, I am glad I read it as I did in relation to seeing the film. I read the first portion of the book — until the beginning of the Night of the Pig — before heading to Cleveland, and it helped to have Mailer’s re-telling of the myth of Isis and Osiris (and Set and Nepthys) fresh in my mind in addition to the characters and context of Mailer’s original tale. For the rest of the novel, it was great to have River of Fundament as a reference, as there were many subtleties that stuck out to me that otherwise wouldn’t have. I made notes throughout the book and won’t catalogue them all in this post, but here are a couple of examples:

1. “Some life like none I had known before began to tremble in the metal.”
“The magic is in the metal itself.”
– p. 204 (Mailer, Norman. Ancient Evenings. New York: Random House, 2014.)

These are two quotes of many that reference metallurgy and its surrounding mysticism — a core facet of Barney’s entire cycle (film, sculptures, engravings, and more). Norman and Menenhetet seek higher power through reincarnation, and this is expressed in parallel through Barney’s ritualistic destruction and rebirth of the three automobiles. Along with this, however, is the hierarchy of metals that is referenced by Barney — lead and zinc giving way to copper and brass in an attempt to achieve gold.

rouge battery(Matthew Barney’s “Rouge Battery” at Haus der Kunst; photo by me)

2. “Before our eyes the river began to fester.” – p. 270
“I have made them see Thy Majesty as a crocodile, The Lord of Fear in the water…” – p. 303

These quotes evoke the imagery of Horus’s birth as depicted in River of Fundament. Before the deceased Trans Am crests the water, the river does indeed fester. (Furthermore, Mailer references froth or frothing at various points in the novel, which is also a visual and vocal device employed by both Barney and Bepler.) A dying Isis gives birth to Horus inside the Trans Am whilst a crocodile calmly lies below her feet and newborn.

birth of horus(River of Fundament production still, “Birth of Horus”)

nepthys(River of Fundament production still, Nepthys)

And that’s to say nothing of the myriad references to orchids, pigs, bulls (evoking Barney’s Guardian of the Veil, the cycle’s antecedent), gold leaf, and much more. Thinking back to River of Fundament, a number of other questions arise: Was Mailer’s Honey-Ball portrayed as one of Barney’s Ptah-nem-hotep’s little queens, specifically the one who serenades Norman I? Was Hathfertiti I’s tuneful and catchy “Ballad of the Bullfighter” inspired by Honey-Ball’s “sweet and innocent song” that, in its own way (but different from the film), gives way to “[crying] out”? (p. 476) And many more…

Some instances reference specific imagery; others are more abstract evocations. Nonetheless, I came across many such connections while reading Mailer’s tome. Despite the host of negative reviews, many, but not all, of which were a consequence of uninformed or lazy criticism (I guess program notes are optional these days), I’ve found Barney and Bepler’s work to be a richer experience than I had initially thought. (It was quite positive to begin with.)

Visuals and text aside, memories of the music regularly play in my mind’s ear. There are the few samples hidden throughout the official website, and snippets in the various trailers and interviews, but nothing too complete. After all, it’s operatic, and there are no real neatly-isolated arias. (Even if there were, I don’t think a Greatest Hits would be released, much to my personal chagrin.)

My growing interest feels like a nascent “project” of some sort. I don’t quite know what that may be, but the “work” slowly continues when I have the time. Perhaps I’ll log more here as I go.

More importantly, though, I feel it’s necessary to note some of these “findings” (subjective though they may arguably be in part). The mostly negative reaction to both Ancient Evenings and River of Fundament have led to scant information being available save a few diamonds in that rough. I may not change minds or alter the course of either’s reception, but I can certainly do my part to justify what I consider to be an important artistic achievement by Barney and Bepler.

(All River of Fundament-related posts are here.)