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Fareed Haque Group with Groovin Ground | February 23, 2003 | Quixote’s,
Denver, CO
 This
was their theory. In the aftermath of the Great White concert tragedy in Rhode
Island, some people might be reluctant to go see live music in small
clubs. On this night, the local NBC affiliate station had sent a reporter and
camera crew to do a story on how that event may have affected people. As 9 pm
rolled around and few souls had arrived at Quixote's,
I almost believed them. A more plausible theory was that it was a frigid, snowy
Sunday night and that most sane people stay home in such elements. Of course,
this was Quixote’s and like the namesake character, I don’t count
myself completely sane, so here I was.
Opening band, Groovin Ground,
on their first Colorado visit ever, must have thought our town to be inhospitable.
In addition to the low initial turnout, this seven-piece band was asked to share
a small side stage in Quixote’s recently expanded space.
 Weathering
these elements, the Austin-based band sucked it up and dove right into its first
set. Groovin Ground is a favorite in its hometown of Austin, Texas and they’re
embarking on their first of, hopefully, many tours through the southwest and
the Rocky Mountain region. The guys are also looking forward to playing the
SXSW festival this spring,
where they’ll share the bill with bands like Soulive and Maktub. In addition
to a tight and fluid rhythm section, the band's saxophone and keyboard add complex
layers of sound that remind one of Phish or a jazz-fusion band. They also share
Phish’s penchant for long, wandering jams.
 Groovin
Ground has evolved its stage show beyond mere pyrotechnics in favor of a state
of the art projection show that spews mesmerizing colored graphics, some of
these being affected by vibrations on the stage. Many of their songs were clever,
complex constructs that were complimented by their light show. On rare occasions,
I found the jams to meander a bit and the vocals didn’t always enhance
their sound. As the band ended its first set with songs like “Free the
Airwaves” and “Eyes of Argos,” I felt like they were starting
to find their groove. I definitely wanted to hear them with a larger audience
to feed from. At the completion of the headliner’s sets, they picked up
their pace and began delivering higher energy songs that evidenced their improving
musicianship. These guys are definitely worth checking out as their tour roars
through Colorado’s ski towns and around the southwest. I am confident
this group will benefit from playing outside familiar venues in less than optimal
conditions.
 Before
the Fareed Haque Group took Quixote’s
main stage, DJ Cappo began playing
grooves to keep the growing crowd engaged. I had seen Fareed’s alter-ego
band, Garaj Mahal, in this same venue
last year and was blown away by their playing so I had high expectations for
this project. They didn’t disappoint and in fact set the bar even higher.
FHG is unlike any other band due to its eclectic combination of instruments.
Kalyan Pathak, the tabla player, along with a trance-minded DJ, and an
amazingly tight rhythm section provide a unique canvas upon which Fareed can
explore with his guitars or custom guitar-sitars.
 Kalyan
sits at the front of the stage allowing the audience to fully experience rhythms
that contribute to the deeply spiritual nature of FHG songs. Kalyan, along with
a rhythm section of drummer Dan Leali, bassist John Paul (who
co-wrote several FHG tunes) and DJ Cappo, interweave with melodies laid down
by keyboardist Dan Nimmer and Fareed.
Fareed switched between electric guitar and his sitar-guitar for most of the
evening. Each instrument affords him a different palette of sounds. With his
electric, he can showcase his jazz-influenced repertoire. His sitar guitar is
a true hybrid sound that allows him to play Indian influenced melodies while
mixing in funk and other eclectic sounds. He delivers these excursions like
a master. Each song is distinct and the band sounds cohesive.
 Fareed
was gracious enough take a moment to transcribe his set list for me at the break.
The first set included “Fade into ‘Bolivion” followed by “Gulab
Jammin’,” “Cofi Hi” led into a version of CSNY’s
“Everybody I Love You.” The band fluidly delved into “D.F.A.,”
“Boogaloo Shrimp,” “Sassi Lassi,” and ended with “B.R.D.”
To give sense for the diversity of styles within this set, I heard what could
have been a heavy metal epic segue effortlessly into a jazzy Steely Dan-like
composition.
 The
DJ contribution the FHG’s sound shouldn’t be overlooked. With many
bands on the scene incorporating DJs with mixed results, I was interested in
hearing how DJ Cappo would fit in. I was pleasantly surprised. I’ve heard
bands struggle to take advantage of what a DJ can bring to the table (pun intended).
Some DJs just play beats as background to the band without being given opportunity
to interject complimentary samples or sound manipulation. Cappo is given a voice
in the overall sound and he often introduced unique instrumentals that further
added to the eclectic sounds.
While Garaj Mahal has grown into more widely known band with a more all-out
party jam experience, FHG caters to those who appreciate a more experimental
sound and energy that exposes its listeners to a different set of cultural musical
perspectives. Garaj Mahal is set to release a live 3 CD set this March. I can
only hope that FHG might do the same.
Words: Haig Assadourian
Photos: Tony Stack
JamBase | Denver
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