Tag Archives: leroi moore

MTH-V: DMB’s “Mercy”

Today sees the release of Away from the World, Dave Matthews Band‘s eighth studio album. It’s notable for a variety of reasons, but primarily because:
1. It’s the first studio album to not include material from LeRoi Moore
2. It marks the return of producer Steve Lillywhite (who produced “the big three”: Under the Table and Dreaming, Crash, and Before These Crowded Streets)
3. It’s simply a new DMB studio album!

Regular readers know I’m a DMB fanatic and I’ve written about the group at length before and in three other MTH-V entries (here, here, and here). Simply enjoy the debut single’s video (“Mercy,” which features much many fan contributions) and get your copy ASAP. (My “super deluxe edition” should arrive any minute…)

Social Media: Stifle Yourself II

I briefly discussed my frustration with social media here about eighteen months ago. I can’t remember what specifically moved me to write that, but I clearly recall being annoyed while I typed. (The heat didn’t help; I was living in Houston at the time.) Regardless of what was happening then, one things remains true: the social media (over)saturation has only increased, and I don’t think it’s all been for the better.

Sure, I tweet. And have a Facebook page (now a “lovely” Timeline). And have satisfied the LinkedIn and Google+ requirements. And tumbleweed occasionally brushes past my space. (Yawn.) But for those of you who may be connected to me through those various avenues, you know that I’m not the most voracious user. The networks mentioned above are listed in order of activity. I’ll tweet a few times each week, but 99% of those are related to either blog updates or gigs and recordings. Occasionally I’ll tweet something separate, as I did on Sunday about the Charles Lloyd concert. Same goes for Facebook. The rest are pretty much parked to secure the name and satisfy my minimum requirements of existing and have a “friend”/connection. I’ll accept incoming requests, but rarely am I logged in or doing anything. I think I can safely say that my online presence is an abject failure, considering I never created a Tumblr and only recently joined SoundCloud (again, mainly to park).

In full disclosure, I am pretty active with Twitter and Facebook (aside from personal/private accounts), and do see their value. They’re interactive – allowing me to be more interactive via my site and blog – and are helpful tools for getting short bursts of information out to people. With social media in general, I try to stick to the core: information and interaction.

Since first securing michaelteager.com a number of years ago I intended for my website to serve as the hub. I still do. The main site and MT-Headed are where you can find all you need to know about Michael Teager the musician, teacher, and blogger/writer. All else is just a satellite, nothing more than a TIE Fighter to this Death Star. You won’t find much of anything different on the other sites, and that’s not unintentional.

A few months ago I was listening to Paul F. Tompkins discuss his social media presence on The Long Shot, and my jaw hit the ground when he said he’d like to trade in his main website for separate, equally active presences on Twitter, Facebook, and Tumblr. It just doesn’t compute for me. Similarly, Spin magazine recently went über-hipster by focusing on album review tweets. Lame. Have our attention spans really become that short? Is general readership just that lazy? Or are so many figures and organizations so desperate to be on the “cutting edge” of social media that they’re willing to sacrifice part of their core platform in the process? (I fear it’s a combination of all three, with the latter taking the largest bulk of blame.) If someone’s interested, my hunch is that he or she will click the mouse or tap the screen. Perhaps more than once! If twice is too much, then perhaps a “fan” wasn’t really lost…

Perhaps my biggest complaint about social media in general is that with everyone gunning to get everyone’s attention at all times, there’s too much irrelevant information churned out each and every hour. After all, I’m subscribed to a whole host of outlets for updates on items of interest. However, to retrieve that information, I have to suffer through so much garbage that it’s often more trouble than it’s worth. It’s too Who cares?!? as opposed to Hey, that’s neat! I’m sure I spend at least 90% of my time deciding what not to read rather than what to click through to. (There’s a similar correlation to my nightly comb through my RSS subscriptions, but that’s more heavily curated.)

As mentioned, I do enjoy the interaction. However, not every tweet or update warrants a response from everyone else. Not everything requires a snarky comment (and this is coming from a snarky cynic). And not everyone needs to provide a Hallmark-esque comment for every holiday, award, or death of anyone above a D-list celebrity. Too much piffle leads me to likely ignore the more substantial updates and tweets. (Yes, I publicly grieved – digitally – for LeRoi Moore, George Carlin, and Peter Steele, but they are figures who’ve meant a lot to me over many years, especially the first two.)

If only Archie had lived long enough to tweet…

MTH-V: DMB 1992

I wanted to post this video last week for timing, but decided to wait and see the whole thing first (it’s LONG). Last Monday (02.13.12), Antsmarching.org tweeted this gem to commemorate its twentieth anniversary. It is the earliest circulating (mostly) full-length video of Dave Matthews Band in concert. Watching it over the last week has been a real treat. If you don’t know by now (or if you recently started following this blog), I’m a DMB fanatic. Between owning their entire output and more, seeing them 54 times and counting in concert throughout the country, and being able to fill a small closet with all of the apparel and merchandise I’ve purchased and collected throughout the years, I really should own stock in the band. 🙂

This week’s video is perhaps the most niche of the MTH-V series – serious DMB fans will get the biggest kick out of this. I try to take a generalist approach to most of these, but this is too good to pass by. Although some previous posts – e.g., ICTUS and Trio Mediæval – featured more specialized styles, they were at least clean and relatively produced recordings. This may be DMB, but it’s a 102-minute scratchy VHS transfer of a then-local band. This show took place at Virginia’s Bridgewater College. There’s a neat story about the video and performance, as well as a scan of the show’s poster, by a member of the other band that performed that night here.

As I mentioned, this was brought to my attention by Antsmarching.org, the biggest fan-site for DMB. While I have many strong philosophical disagreements with the various orthodoxies espoused by the site’s moderators, the site itself is an undeniably wonderful source of information. Want to know how many times “Best of What’s Around” has been performed, in what cities, at which point in each concert, and how rare a live performance is in comparison with others in the catalogue? Just look it up. (I love all of the hard data; I just wish they’d give the op-eds a rest. But that’s another post for another day. I’m still happy to have been a member for well over a decade now.)

Some notes on this video since it’s such a lengthy one – I’ll point out some highlights for those without the time/interest to watch the whole thing or freely browse. While some of these might be old hat to other die-hard Ants, it’s still worth mentioning here, as 1) it’s nice to have video evidence of the things heard on many tapes, and 2) this is likely new for many regular readers:
• Love this.
• It is GREAT to have such a nice video documentation of a lot of early LeRoi Moore. While the more hardline jazz influence is evident in a couple places, you already start to hear the direction he eventually went (that of a rock/pop musician as opposed to a “jazz saxophonist”). His solos on “Best of What’s Around,” “Recently,” and “Jimi Thing” are especially choice.
• Speaking of which, that “Jimi” outro is hip…maybe they should bring it back… 🙂
• The video lasts for almost 80 minutes, with the final 22 being audio-only.
• The band at this time included original keyboardist Peter Greisar. The duo performance of “So Much to Say” by Dave and Peter is a nice early glimpse into the song.
•  For those who enjoyed the mid-2000s “Louie Louie” interpolations at the end of “Warehouse,” here’s an early incarnation.
•  Hearing the juxtaposition of a much-slower “Best of What’s Around” and brisk “Satellite” is an odd switch. Although I think the latter is more due to nerves. (If only they would have played “After Her” instead…)
• Even though the band is still quite young (not two years old), it’s evident they’re already a unit. Keep in mind that their first performance was in March or April of 1991, less than one year prior. Armed with a catalogue of mostly original material (with a few tasteful covers thrown in for good measure), they musically give each other space and keep the audience on energized and engaged throughout. No wonder they’ve been the highest-grossing live act in recent pop history. Even though the tempo gets weird in a number of songs, Carter does his best to keep the band’s nerves in check back there.
• Again, great video evidence to illustrate the anecdotes of fans occasionally thinking Boyd Tinsley was Dave Matthews, as Boyd was initially more comfortable with between-song banter and crowd work than Dave.
• Speaking of which, Boyd gets two vocal numbers: “Angel From Montgomery” and “True Reflections.” They’re both quite rare in live performance nowadays, but luckily I’ve seen them both. “Angel From Montgomery” is especially elusive.
• Interesting introductory banter about the band and their material by Dave, then one of my favorites: “The Song That Jane Likes.” Enough said. 🙂

NOTE: Embedding functionality for this particular video has understandably been disabled, but you may view the whole thing here.

MTH-V: Jeff Coffin w. DMB compilation

I mentioned in the Marcus Miller post from two weeks ago that Jeff Coffin liked music that moved him via his heart, head, rear end, or all three. For over a decade Coffin has been not only one of my favorite saxophonists, but one of my favorite musicians. Without getting too sentimental here, his playing consistently cuts to my core. It’s deep, complex, “out,” and yet maintains an overall “pop” sensibility that ties it all together. Sure, he can be wailing on extensions or multiphonics, but if he’s doing that then he’s backing it up with a solid rhythmic foundation that’ll keep most people tapping their toes regardless.

Briefly, in case you’re saying, “Who’s Jeff Coffin?”: A UNT grad, he originally gained recognition after joining Béla Fleck & The Flecktones in 1997. Since then he’s also released a number of (unfortunately) little-known yet amazing solo albums (I have them all). In 2008, he joined the Dave Matthews Band to replace LeRoi Moore after his sudden injury and eventual death that summer. (Being a DMB fanatic, imagine my guilt of always wanting to see Coffin sit in with DMB, only to have it actualized via Roi’s departure and passing…)

This week’s video is a compilation of Jeff’s solos from Dave Matthews Band’s performance at Rothbury 2008. He had sat in as a guest with DMB sporadically since 1998, but this was his fourth show as the full-time/only saxophonist after joining the band with a day’s notice. The video was snagged from a live feed that was broadcast during the festival, and it’s a great compilation featuring his solos on the following songs, in order: “Seek Up,” “Grey Street,” “#41,” “Jimi Thing,” and a small clip of “Anyone Seen The Bridge?” (with the Strauss interpolation). It’s also a great compilation because I of course attended the show, and remember it like it was yesterday. 🙂

A little treat, here’s a video I was lucky to stumble upon a few years ago of Jeff sitting in with DMB on “Two Step” in April 2002. This had long been one of my favorite solos I acquired from the taping community, so imagine my surprise when the video eventually surfaced! Throughout the song, Béla and all of the Flecktones sit in, but this clip is Coffin’s solo only. (I recommend watching the whole thing if you have time.) In under three minutes, he covers all the musical bases. (And imagine my frustration that this occurred on 04.21.02 – I saw them on 04.23.02 and 04.26.02. Oh well, the shows were still great. :))