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Porter and Vidacovich |
For nearly three years, Johnny Vidacovich and George Porter Jr. have been inviting musicians to team up with them as a trio. Backed by two of New Orleans premiere musicians (I am very hesitant to call them a rhythm section--they are much more than that), the revolving third slot has been filled by a Who's Who of New Orleans, including Eric Traub (Dr. John), Mark Mullins (Mulebone, Harry Connick Jr.), Tony Degradi (Astral Project), John Gros (Papa Grows Funk), Nicholas Payton, Clarence Johnson III (Runnin Pardners), Brian Stoltz (funky Meters), Tab Benoit, and David Torkanowsky (Astral Project), as well as non-New Orleanian Luther Dickinson (North Mississippi Allstars). Most often, and according to Porter most comfortably, the slot has been filled by June Yamagishi (Papa Grows Funk). When Yamagishi joins Porter and Vidacovich, it's not just a trio--it's The Trio
The Trio with Clarence Johnson III |
Recently I saw The Trio at Chelsea's, and I was astounded once again by the musical prowess of these three musicians. The playing ranged from jazz-fusion to thrusting funk to old school New Orleans R&B--all apparently without a flight plan. I was going to write a review of the show, but that turned out to quite a frustrating endeavor. Anyone who has seen The Trio can easily understand. The sets are filled with jams I could only describe by feeling or color (they have no names), Vidacovich's spoken word creations, "Dr. Watson" and "Nature's Rock 'n' Roll," and rounded out with reinterpretations classics like the Meters' "Just Kissed My Baby" and Earl King's "Let the Good Times Roll."
I recently spoke with Porter about the evolution of The Trio and the freedom of true jamming.
"We started out about two and a half years ago at the Funky Butt with Eric Traub. Then we moved to the Old Point Bar, then the Maple Leaf, and now we're playing at Tipitina's Uptown," explains Porter. "We were using mostly horn players, like Mark Mullins, Traub, and Tony Degradi. The first guitarist to play with us was Luther Dickinson, then June Yamagishi." At this point, Porter's tone seems to brighten up and quicken. "It was June who worked really well in the non-song mode and without set-lists--real off the cuff playing." Yamagishi's style is like no other, most likely due to his diverse background. Born in Kyoto, Japan, Yamagishi had a full career as a blues and funk musician before moving to New Orleans five years ago. Having relocated, Yamagishi soon joined the Wild Magnolias, and more recently Papa Grows Funk. His ability to move seamlessly from chicken-scratch funk to perplexing jazz phrasings, in addition to his rock 'n' roll speed and dexterity, have made him one of the city's most appreciated guitarists--a tough feat for New Orleans.
June Yamagishi |
"After a few outings with this lineup, someone suggested that The Trio make a professional recording," recalls Porter. "Debbie Vidacovich, Johnny's wife, saved her tips from the Old Point Bar to finance the recording." The result is We Came to Play, a CD that captures the talent and freedom to explore--to be a true jam band, the concept behind The Trio. "We don't approach it at all," says Porter. "We just get to the gig and play; and two-and-a-half hours later we quit. Even the songs that are on the album are played differently every time. It seems right not to worry about how we played it before. Besides, it would be too much music to try and learn, anyhow."
Johnny Vidacovich |
The ability to roam and the freedom from fear turns up some true gems. Songs like Vidacovich's "Dr. Watson," a poem which he sets to music, can be given a thundering funk treatment or a smooth jazz feel, depending on the mood. Someone sent me a quote as quasi-liner notes to a Trio show that captures Vidacovich's sense of humor and approach to the drums. "When I used to get out of school when I was a little boy, a lot of the guys would go and play ball or something. Instead, a lot of times, I would go home and my grandma would give me some milk and cookies and I'd sit on the sofa and listen to Count Basie records. I had a cool grandma. If I broke a lamp or something, she'd say I was a genius." Vidacovich seems to approach The Trio with the same kind of magical irreverence. Just play, and if it something gets broken, don't worry--call it genius.
George Porter Jr. |
Regarding Vidacovich, Porter comments, "Johnny is very melodic. He's a well-rounded drummer. We came up from the same era. Musicians didn't play just jazz or rock or funk. You had to know how to play it all." By New Orleans standards, Vidacovich is widely regarded as one of the city's best drummers, and quite frankly, by anyone else's he is one of the best in the world. In the course of two sets, Vidacovich flows easily from spacey jazz impressions to African circular drumming to sweaty funk to blues. His ability to actually play the drums--not just keep a beat, but also play melodically--gives Vidacovich a much wider path than most drummers. That space is one of the most important parts of what makes The Trio work so well.
All three of the players enjoy the freedom to explore. "With a larger band, the individual players would have to play less," Porter explains. "A trio, especially with John and June, gives us more room to play off each other. We have more room to stretch out."
When I ask Porter what the appeal of The Trio is, the answer is the same for both the musicians and the fans. "Nobody calls a song or a key. We just play. We're out on that edge and then we establish who we're gonna follow. The fans enjoy the fact that tonight's different from last night." A true jam band attitude indeed.
Words by: Jeffrey P. Dupuis
Images by: Zack Smith
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