High Sierra Grandstand Stage by Dave Vann |
What does the word "home" mean to you? Maybe it's the place where
you hang your hat, or maybe it's the place where your head hits the pillow.
Perhaps it's the city where you were born, or it could be the city that you've
chosen to live in once you were all grown up. Apollo
Sunshine tells us in their song "Flip!" that after they've been on the other
side of the world, "Home is where the heart is." One definition from dictionary.com
says that home is a dwelling place together with the family or social unit that
occupies it - an environment offering security and happiness. Security and happiness
comes from being around loved ones, and quite possibly, from being surrounded
by friends and all of your favorite bands playing at multiple times for four
days straight. For us here at JamBase, for four glorious days every year, the
High Sierra Music Festival is home.
There was a lot of giddy anticipation leading up to this year's High Sierra.
The organizers presented fans with a killer lineup filled with comforting and
familiar festival veterans in addition to some fresh new faces. High Sierra
favorites The Slip
were welcomed back for their 9th consecutive year while outside-of-the-box newbies
like My Morning Jacket and West
Indian Girl were extremely well-received. Individual virtuosos such as electric
ukulele master Jake Shimabukuro and Nickel Creek's Chris Thile were roaming the
grounds sitting in with any number of bands while some just chose to keep their
show mobile like Mojo and the Vibration Army. We were treated with the presence
of legends like Bela Fleck, Johnny Vidacovich and the reunion of Bay Area greats,
Zero.
Parade by Dave Vann |
The campgrounds were alive with late night jams at Camp Harry, an ice luge
and trampolines at Campa Barbara, and kegs and crab cakes at Camp Happiness,
to name a few. If you were up for it, you could get involved with sunrise kickball
or for the more centered individual, daily yoga. While strolling to the main
stage, you could see colorful parades, mega hula hoop sessions, and African
dance lessons. Delicious food and coffee (as well as late night discos by the
Java GoGo folks) were plentiful, and the port-o-potties were clean all weekend
long. With most bands playing at least two sets and the close proximity between
stages, you were free to take a load off here and there, grab some shade, and
have a cocktail with an old friend (or a new one).
There are many of us that come home to High Sierra each year, so we are giving
you a collective view of the happenings in Quincy. Be sure to check out our
New
Discoveries & Top 3 Moments, too. Enjoy!
- SuperDee
Late Night Fire Dancing by DV |
Mid-day Dance Lesson by DV |
Getting Cozy in My Morning Jacket
 Jim
James by Jon Bahr |
My Morning Jacket's
first H.S. appearance was a huge treat for us JamBasers. With two performances
- a main stage and a late night - they were able to let the festival sink in and
become an important part of this year's landscape. The MMJ late night performance
was the most exquisite high school dance anyone ever imagined. People swayed slowly
beneath snowflakes while the air shimmered with a glow that emerged from within.
As rocktastic as MMJ's main stage set was on Saturday, their late night had an
undeniable magic that was kick-started in a big way by opener Surprise Me Mr. Davis, who stirred our emotions to
the surface. SMMD and MMJ are so bloody sincere, so deeply interested in making
substantive, resonant music, that listening to these sets one was flooded with
memories of first kisses, broken promises, and dreams long tucked away from the
light. Wide vista marvels like "Gideon" and "It Beats For You" unfolded with relaxed
purpose, enveloping the senses in a complete and perfect way. When an intimate
jewel like "Golden" arrived, it slipped immediately past our defenses, making
us feel we truly were driftin' off a thing we'd never done before. The chatter
and noise of the outside world seemed far away while MMJ conjured with beautiful,
graceful hands in the "Arctic Tent," as Jim James came to call the room.
Two Tone Tommy by Dave Vann |
Saturday's main stage was a totally different affair. Perhaps stoked by the Sierra
Mountains and tall green trees rising around them, MMJ unleashed a Technicolor
rock storm. Not every band - perhaps not most bands - can inhabit huge, open-air
spaces with as such authority and bald-faced energy. During the aching pairing
of "Hopefully" and "Just One Thing," I was struck by how MMJ seems to have unlocked
the superstructure of popular song. They understand the basic dynamics of song-craft,
flirting and subverting in equal measures. At one point someone in the crowd brought
in a huge, gently-lighted balloon tethered to a fishing pole. It didn't take long
for James to notice it and jokingly suggest the band had arranged it. There's
a lot of spontaneity to MMJ, where the moment is cherished, respected, and allowed
to steer things in unpredictable ways. When you have the finest rhythm section
in modern rock as a foundation, you can do that. Patrick Hallahan (drums)
and Two Tone Tommy (bass) are the steady pumping heart of this enterprise.
Whatever else happens, one can be assured there'll be an irresistible pulse. Beneath
star-filled skies, Tommy and Hallahan sounded especially majestic - a feeling
the others clearly picked up on as they unfurled the winsome ghosts residing in
these compositions.
- Dennis Cook
Surprise! We Love The Slip and Nathan Moore
The Slip by SuperDee |
The Slip was welcomed
back for their 9th consecutive High Sierra. Their first showing of the weekend
- and the only "just" Slip set - was Saturday late afternoon on the main stage.
(Props to the festival organizers for perfect set scheduling.) The flames of the
love affair between West Coasters and The Slip were fanned as the band flowed
celestially through a sampling of their newer repertoire, while dipping back into
the cool waters of their earlier, more loosely structured compositions like "Wolof,"
which ignited with brass flames when incredible trombonist Josh Roseman
joined them. The Slip are provocateurs tempered by liquid romanticism. You may
hear the same cuts, but no show ever feels like another. Their imaginations are
too restless to allow things to fall into a rut. Combining an insanely brilliant
musicianship with trickster-like playfulness, they were heady, heartful, and happier
than the sun above.
Nathan Moore by Dave Vann |
First came The Slip, and then came Nathan Moore. Put them together and
you have... magic. High Sierra is no stranger to Surprise
Me Mr. Davis, who first performed a glam-style late night show in 2004. At
last year's double daytime set, we were the audience to Nathan's emotional and
gripping story about his experiences with the local authorities on the way to
the festival. The High Sierra audience was ready to see Nathan again to see where
his adventures had taken him now. Turns out he's been back in his hometown working
at the Y. This isn't necessarily the "glamorous" vagabond image that precedes
him, but he has a way of turning even the most mundane experiences into meaningful
life lessons, which he bestowed upon us.
SMMD serves as The Slip's alter-ego as they take the stage clanging with bells
and whistles, always looking dapper as hell in their Sunday best. With their
hearts clearly displayed on their sleeves, they rocked and rolled us and swept
us off our feet in their late-night pre-MMJ set. Each song is a treasure touching
on all corners of the emotional landscape - bittersweet surrender in "I Hate
Love," good-hearted mischief in "Rubber Ball," and frustration with more worldly
matters in "As Long As There's One of Us Standing." The music is a motivational
tool, encouraging us to be more open and honest - to pursue the stuff that is
most important to you while simultaneously remembering to not take life so damn
seriously.
Brad Barr by Susan J. Weiand |
Now it's sunset time on day three at the Big Meadow stage, and the High Sierra
crowd is bleary and blissful from the hot sun all day, tons of music, and a
couple of late nights under their belts. This is an audience primed for a set
of substance from SMMD. The treasure chest reopened, and more gems were set
free, opening with "The Shouters" sung by a masked Brad Barr. Through
Nathan Moore's ice-blue eyes, you could peer straight into his soul as he told
stories and performed a magic trick dedicated to the recently departed Max Pelta.
Apollo Sunshine's Sam Cohen hopped on stage bare-chested and rocked "19th
Nervous Breakdown" with the band (debuted in the wee hours at the super-late
night set at Camp Harry). For those that haven't yet been charmed by SMMD, don't
worry, your time is sure to come. Love's been looking for you, Sleepyhead.
- SuperDee
Nathan Moore's dedication to Max Pelta by Dave Vann
The Terrific Roar of Apollo Sunshine
Apollo Sunshine by Dave Vann |
Standing in a pool of bright afternoon light next to the Big Meadow stage, I found
myself enraptured with the divine racket that just three human beings can make.
Apollo Sunshine sparkles like a broken mirror on a desert vista
– unfiltered glints of white-hot sun rising from a place of reflection. It's
catchy as hell, too! During their sets on Thursday and Friday, I tried to puzzle
out what their deal is. One minute they're subdued and tender as a whispering
pal, then without warning, you feel the air shake from their terrific roar. You
can hum these tunes (and trust me, you will once you hear them), but there's also
a busted-wide-open scope to many tunes that's honestly cosmic. They're the White
Album-era Beatles with Kurt Cobain's bark, or '70s Alex Chilton on a jammy
holiday. Tunes like "The Egg" and "Lord" tilt things towards primordial creation.
It's upwards to the literal AND figurative heavens their gaze frequently turns,
shouting, "But if the universe ends, Then how does it end? And if it doesn't
end, Well, how is that possible?" Sam Cohen (guitar, vocals), drummer
Jeremy Black, and singer/multi- instrumentalist Jesse Gallagher
proved themselves masters of soft-loud dynamics. Whether committing pedal steel
abuse or plowing bass furrows in the dirt, Apollo Sunshine compelled anyone within
listening range to stop a spell and ponder along with them. Part of what I love
about them is they ask all the right questions but offer very few answers. They
seem to know something, but they withhold just enough to keep us trailing along
behind their rock pilgrimage long into the future.
- Dennis Cook
The Motherland Meets The Dirty South: Toubab Krewe
Toubab Krewe by Dave Vann |
A kora – the 21-stringed African instrument with the gorgeously piercing
bite of an alien harp – isn't something one associates with low-end heavy
funkin' or hard blues explorations, but in the right hands, anything is possible.
Asheville, NC's Toubab
Krewe merges the Motherland with the Dirty South in a gripping swirl of ancient
vibes and contemporary electricity. Their sets on Thursday and Friday evoked,
by turns, King Sunny Ade, John Lee Hooker, Ali Farka Toure, and Shadowy Men on
a Shadowy Planet. There's an unmistakable African foundation to their largely
traditional repertoire, most likely picked up on the band's many trips to West
Africa. They curve the material in a way that allows surf guitar and juke- joint
clatter to shape things. Usually such cross-cultural mélanges end up being
bland messes, but Toubab (a common expression for white travelers in Central or
West Africa) excels at creating new hybrids where different musical threads coil
and caress each other. For just five guys, they work up a hellacious, percussive
feel that often sent gifted electric guitarist Drew Heller into sensual,
captivating tangents. There's real spirit pumping through the veins of this thing.
They provided a fiercely good time that also stirred us in more deeply rooted
ways.
- Dennis Cook
Jake Shimabukuro by Susan J. Weiand |
Rockin' the Ukulele: Jake Shimabukuro
Jake Shimabukuro,
the Jimi Hendrix of ukulele from Hawaii, was busy at High Sierra this year. He
sat in with Bela Fleck main stage, Umphrey's McGee late night, and
hosted his own playshop with guests Joe Craven and Futureman. What
an awesome player and delightful stage presence! Forget what you think you know
about the ukulele from luaus and Don Ho; Jake goes electric and rocks his instrument
like no other, combining rock and roll and jazz elements into his masterful playing.
Like Bela Fleck did for the banjo, Jake makes the ukulele cool!
- Susan J. Weiand
Keepin' It Real with Backyard
Tire Fire
BTF's Ed Anderson by Dave Vann |
On Saturday around high noon, Ed Anderson, the delightfully scruffy leader
of this glorious Chicago rock trio, asked, "Y'all like rock 'n' roll a little
bit?" The tipsy hoots inside the Vaudeville Tent sent him into a Chuck Berry twister
worthy of "C'est La Vie (You Never Can Tell)." That this '50s style boot-shuffler
emerged from the mesmerizing Neil Young & Crazy Horse-esque "Gray Sky Blues"
just illustrated how the whole history of the genre is their rapturous playground.
Strumming with authority or pounding a hole in an electric piano, Anderson exudes
overwhelming rock righteousness. And he's matched in spirit and chops - albeit
with calmer, less broadly grinned moxie – by Tim Kramp (drums) and
brother Matt Anderson (bass, vocals) every step of the way. Last year's
Bar Room Semantics presented a band with a wonderfully sloppy Faces-style
chug married to the giddy range of NRBQ. Live, quite clearly their natural habitat,
they're a bear-hugging, whiskey- breathed beast with roaming hands. And believe
you me, you'll let 'em get under your skirt once they've taken you down to
"Crack Alley," their deliciously degenerate opener. Starting with a Barry Cowsill
cover (yes, as in the '60s hit-making Cowsill family) just showed they have
impeccable instincts for good tunes and where to place them in a set. "We're about
30 hours from home, and we're feeling pretty comfortable," laughed Anderson. The
hospitable festival crowd had them in a grand mood, and the music cavorted just
right. Watching Anderson strap a kazoo into a harmonica rack with a huge smile,
there was little doubt he's happy to get up on a stage anytime, anywhere. Patterson
Hood (Drive-By Truckers) finally has some serious competition for a rocker
who loves making rib-stickin' music more than life itself. BTF proved equally
skilled at jumping party tunes and heartbreakin' slow burners in an hour that
found many of us sad they weren't on for a couple more.
- Dennis Cook
Gettin' the Band Back Together: Zero
Steve Kimock by Dave Vann |
Mentioning the name Steve Kimock around the musical water-cooler usually
gets a wide range of audiences. You have "The Guy Who Has Never Heard of Him,"
who (by the way) has never heard of JamBase or the Internet in general. The fact
that he is even reading this article is shocking, as well as dangerous to the
space-time continuum. Beside him is the ever-present "Guy Who Thinks He's Just
Alright." He's potentially heard some version of The Other Ones or Phil &
Friends that, for a brief and fortunate moment, sounded pretty decent. Then there
is the "Forever Dedicated Kimock Head," who has heard Steve's work in various
forms (Zero, KVHW, SKB) and will see him no matter what form of monster (or maiden)
he chooses to take shape as. Though there are many more, I am the latter of these
categories. In 1994, an angel from heaven (in the form of a Deadhead named Irv
who worked for the postal service in Miami but always dreamed of working for UPS)
blessed me with a single golden nugget: my first Zero tape. Best. Cole's Law.
Ever. It's been a long road from that point to this year's High Sierra Music Festival,
and needless to say, I was thrilled with seeing a Zero
reunion, though I agree with many that Zero without Bobby Vega on bass or even
Judge Murphy on vocals is Less Than Zero. Does Robert Downey Jr. play the keys
or Chip Roland? Neither attended.
John Morgan Kimock by Dave Vann |
So what was the lineup? From the original band, there was Steve Kimock
on guitars, Greg Anton on drums, "Meester" Martin Fierro on saxophone,
and Liam Hanrahan on bass. From Grateful Dead fame, Donna Jean Godchaux
was on vocals, and Melvin Seals of Jerry Garcia Band was ever-present on
keyboards. Jerry Joseph added more guitar and vocals, and Chrissy [Sister
Soul] Colangelo helped keep things in tune with her fine harmonization. An
added flair is the young prodigy John Morgan Kimock on a second set of
drums. Watch out for this kid. He's more than just "in the pocket."
Jerry Joseph by Dave Vann |
The late night show began with the party classic "Anorexia." The room was in high
spirits, commonplace for ANY location at High Sierra at two in the morning. "Crazy
Fingers" was a nice follower, and this particular version had 20 minutes of exploration
within its vocal bookends. The familiar favorite "Catalina" was great to hear
after all these years, though it was played a bit faster and was just average
overall without Judge. "Sun Sun Sun" has always been a Martin favorite, and although
it was somewhat of a fuzzy moment, I do recall basking in Martin's undeniable
talent. He is truly one of the best improvisational saxophone players alive today.
"Gomorrah," clocking in at over 12 minutes, was patient and flowing with a big
payoff, as was the trend for the entire night. Kimock clearly was in a different
mindset with this band. The Jerry Joseph songs were well-executed rockers that
were of a different flavor than past Zero shows, and they were well-received.
Zero's anthem, "Chance in a Million," was a bit less to salute to, but the Merle's
"Boogie" first set closer had people shakin' their asses like they were serving
breakfast. It's a shame they weren't because the people who left missed a monumental,
utterly stellar 19-minute "Franklin's Tower" that segued into a "Baby, Baby" that
would please even the most critical of Deadheads. Long after all other late night
shows had ended, the band somehow found the energy to fully wind up and release
a ripping "Mercury Blues" that would make you want to sell your hybrid. As the
sun began to rise, I stumbled to bed, fully surprised and impressed by this Zero
reunion.
Donna Jean Godchaux by Susan J. Weiand |
Friday evening's set didn't seem to have the momentum of that morning, but granted,
neither did I. "Tongue n' Groove," an instrumental rooted in Marvin Gaye's "Sexual
Healing," warmed up the crowd slowly and reached a fine summit but may have been
better placed somewhere else in the set. The vocals during "Pits of Thunder" made
me wish the band went instrumental, but Joseph's vocals on "Watching the River
Flow" were quite redeeming. The "Crazy Fingers > Gregg's Eggs" and the "Golden
Road" closer were the diamonds in this rough, and they paved new paths for some,
regardless of how much they lacked Vega to others.
My only complaint is that some people saw part of this set, heard the vocals,
and then moved on to some other music at the festival. Much like the old Zero,
they gave it their best shot, but they didn't like the singing. And the late
night show had a much smaller audience to witness the magic. So I ask myself,
"What is it going to take to convince 'Guy Who Thinks He's Just Alright'?" Does
this band need to just play instrumentals? What is next for Steve Kimock? Will
KVHW ever have a reunion tour? How many licks of those pure tones does it take
to get to the center of a new music fan? In the words of the wise old owl, the
world may never know. Perhaps it's an acquired taste, like Garcia has said about
licorice. Regardless, whatever the future may hold for Steve Kimock, I'll keep
listening carefully to what he's saying, in whatever language.
- Toby Gaine aka DJ Tobiwan
Steve Kimock & Jerry Joseph playshop by Susan J. Weiand
Local Bands Do GREAT: ALO & Tea Leaf Green
Tea Leaf Green by Dave Vann |
We all know that High Sierra can be an amazing place for lesser-known bands to
become more known. Two bands that have been perfect examples of this are California's
own Animal Liberation Orchestra (ALO) and Tea Leaf Green. Both of these bands have used High Sierra in
the past as a platform for exposing themselves to the masses, showcasing their
extreme talent and herding in new fans so that each year there is a perpetually
larger buzz revolving around their performances. They have become bands that are
simply not to be missed during the festival, and 2006 floored all expectations
with both quartets.
ALO Late Night by Josh Miller |
The first of the bands to play the festival, ALO found themselves at their Friday
late night event with quite an amount of festivities on their hands. The theme
for this year's show had been decided months in advance, and message boards all
over were flooded with ideas for participation in the first ever ALOlympics. What
it led to was the passing of torches, liberated fans in full-on frenzied Olympic
athlete attire, and some intense funk being thrown in all directions by the masters
of ceremonies. Starting right off with "Gonna Fly Now (Rocky Theme)" and segueing
into "Chilly Chile," it was apparent the crowd was in for a gold medal performance.
"Celery Stalker," "Gardener," and "Hot Tub" were all highlights, and before you
knew it, the extended set had come to a close - but not before cheerleaders and
other ALOlympians were invited on stage for a huge dance party to the Pointer
Sister's cover of "Jump (For Your Love)." The encore was equally impressive, a
musical sandwich of "Sexo y Drogas" and "Time is of the Essence," with a whole
bunch of fun stuff in the middle. By 4:45 AM, everyone in the audience was left
with smiles, truly feeling like winners.
Jon Gutwillig with TLG by Dave Vann |
Tea Leaf Green's late night on Saturday was not as much of a full-on frenzied
theme party, but the ruckus was still brought with ferocity. Opening with "Gasaholic",
it was as if TLG pushed the pedal straight down and never let up. "Panspermic
De-evolution" was enormous, but things started getting ridiculous when Jon
Gutwillig of the Disco
Biscuits sat in for a shredding "Garden 2 ~> Hot Dog." Keeping with the
theme of guests, Tea Leaf next invited guitarist Dan Lebowitz of ALO on
stage for a few tunes, and what resulted was just (I'm sorry to use it because
it's so overused) EPIC. Lebo sat in for the Marshall Tucker Band cover of "Can't
You See" before sitting down on the lap steel for what was, in my opinion, the
greatest "Planet of Green Love" ever. The play between guitarist Josh Clark,
bassist Ben Chambers, and Lebo was just flooring. The song finished, and
the Funk 'N 'Jam house just erupted with screams and hollers. Not stopping there,
Tea Leaf continued through the set with a huge sense of maturity, laying it down
song after song. The set-closer of "Jezebel > Sex in the 70's" was just triumphant.
It was here when I realized what a statement this show was for them. Playing to
this crowd, with the knowing look on their faces of how far they have come, it
was a great moment. The encore of three songs was exhausting, and by the time
"Death Cake" started up, I headed for my tent in dire need of a nap.
Josh Clark & Ben Chambers by Josh Miller |
Sunday afternoon provided an opportunity to see both bands, back-to-back on the
Grandstand Stage. Both showcases were outstanding, with each band doing exactly
what they do best: playing live music extremely well. So many fun things happened
during both of these sets. There were nine (9!) trampolines on the grass for fans
to jump on as the music proceeded, musical guests for both sets (George Porter
for TLG, Joe Craven for ALO), the annual appearance of Renault
for ALO, and a huge group sing-along of "With a Little Help From My Friends"
at the end of ALO's set, with Trevor Garrod singing lead and the other members
of TLG floating around on the stage. All in all, High Sierra 2006 was as TLG guitarist
Josh Clark put it, "the best one ever" for both of these bands. Who else can't
wait for next year?
- Tanner Wyer
Badass Banjo: Bela Fleck & The Flecktones
Bela Fleck by Dave Vann |
What can you say about Bela
Fleck? The guy is a legend in the newgrass world and single-handedly made
the banjo a cool instrument back in the 90's. The Flecktones are a class act all
the way, with bass virtuoso Victor Wooten, Jeff Coffin on reeds/
woodwinds, and the eclectic Futureman on percussion. The band moves seamlessly
from jazz to Americana to pop and back again. Winners of numerous Grammys and
other music awards, their main stage set welcomed ukulele wizard Jake Shimabukuro
to the stage for a duel between he and Fleck, which seemingly delighted the players
as well as the audience. The Flecktones played a mix of new songs from their latest
CD, The Hidden Land, and a few old favorites. A must see at High Sierra
anytime.
- Susan J. Weiand
Quincy Loves New Orleans
Rebirth Brass Band by SuperDee |
Throughout the weekend, there was a strong presence of that NOLA vibe. You know
the one... That melodic drumbeat, the blasts of brass, the feeling of revelry,
and the bitter sweetness that comes with rebirth after destruction. Costume parades
marched throughout the pathways, photos from the Crescent City were on display,
and the Vaudeville Tent was decorated in dedication to the Bayou. To see the Rebirth Brass Band in their pre-late night set next
to a giant alligator installation on the stage was something to behold. The great
thing about brass instruments is that sound really carries, so during their mid-day
Big Meadow set, folks could be getting their Bayou boogie on as they strolled
through the grounds. Even the babies were dancing for this one.
Robert Walter by Jon Bahr |
Another great NOLA treat was Robert
Walter's Super Heavy Organ, which featured Robert on Hammond B3, James
Singleton on bass, Skerik on sax, and Johnny Vidacovich on
drums. Stanton Moore joined the group for a few numbers during their Vaudeville
Tent set. It still boggles my mind how when Stanton plays a drum solo, you can
hear the song's melody. More big names from NOLA, George Porter, Russell
Batiste, and Brian Stoltz (PBS),
threw down the power funk on the Big Meadow stage. And even though they are technically
a West Coast band, that cajun vibe could still be felt during The
Greyboy Allstars' set to close the Grandstand Stage on Sunday night.
Henry Butler by SuperDee |
The absolute gem from The Big Easy was The Rhythm Council, which came early
in the weekend on Thursday afternoon at the main stage. The great thing about
High Sierra is you get to see bands that never existed before and maybe never
will again. The Rhythm Council was Robb Kidd on drums, Kirk Joseph
on tuba, Papa Mali on guitar, and the legendary Henry Butler on
keys. I happened to be standing with a young woman who had never heard of Henry
Butler before. I smiled as the set began and told her she was in for a treat.
As the music played on, there was no resisting that infectious beat, and when
Mr. Butler graced the crowd with a few beautiful piano solos, her eyes lit up
and she excused herself to get a closer look. Butler is a true virtuoso, and I
thank the High Sierra folks for bringing him to Quincy this year.
- SuperDee
Stanton Moore & Charlie Hunter in Garage A Trois by Dave
Vann
Attacking Mallets: Hairy Apes BMX
Mike Dillon by Dave Vann |
A manic vibraphone blur, Mike Dillon looked vaguely possessed on Friday
night. Inside the oh-so-humid Vaudeville Tent, beneath a lysergic visual storm
projected directly above the band, the Hairy Apes BMX took us with macho
force, shoving our faces into their mad mud pie of high-end jazz chops, junk-in-the-trunk
beats, and devil-may-care sonic terrorism. Brian Coogan (synths), JJ
"Jungle" Richards (bass, vocals), and John Speice (drums) ably aided
Dillon, everyone engaged in a wide-eyed game of musical chicken. Truly a Butt-Movin'
Experience (that's the meaning of BMX), the set erased the line between clean,
sprightly melodies and disorienting ear shrapnel. In their schema, pretty can
be ugly and vice-versa. And no damn guitars! One of the Apes stated agendas is
"to destroy the music world's string dependency as if it were staging an intervention
for a junkie." Never once did I long for guitar pyrotechnics while mallets attacked
the marimba and aqua boogie keys wrestled strangers to the ground. The vocals
had the tickling force of camp songs delivered by a particularly inspired stream-of-consciousness
camp counselor who'd once won freestyle competitions. For sheer imagination, musical
muscle, and buoyant energy, there are few better than the Hairy Apes, who reminded
us with skull-ringing authority.
- Dennis Cook
A fine feathered friend by Dave Vann
Umphrey's McGee: Back with Maturity, Flaunting Velocity
Brendan Bayliss by Susan J. Weiand |
The last time Umphrey's McGee was at High Sierra, it was 2003. They
were a younger band then, with a lot of speculation surrounding their blossoming
musical persona. Their return in 2006 was one that brought less in terms of speculation
and more in terms of realized intent. The musicianship is astounding, the sound
is pristinely crisp, and the once fun-time party band with lots of technical changes
and a few choice covers has evolved into a full-on rock show extravaganza. Of
course, they're still keeping the fun-time party aspect and the "Oh my god, the fret board
is going to erupt into flames" thoughts right in tow with them.
Their late night set on Thursday evening was a heavy yet proper way to start
the festival. It just didn't let up. Newly released anthem "Believe the
Lie" got the crowd amped up, while the "Nothing Too Fancy > Making
Flippy Floppy > Utopian Fir > Nothing Too Fancy," featuring out-of-this-world ukulele player Jake
Shimabukuro, was of piercing velocity
and flat-out awesomeness. The "sit in" became the theme of the night
after that, with Keller Williams, Alan Hertz, Eric Levy,
and former Particle guitarist Charlie Hitchcock all taking the stage
and proceeding the make sure that everyone in the High Sierra Music Hall was
going to be in dire need of some recovery if they were going to make it through
the next three days of the festival.
Jake Cinninger & Ryan Stasik by Dave Vann |
Friday night found UM on the main stage, set to close out the festival with
a night time set under the Quincy moon. From the get go with "Kabump"
and the sheer power of crowd favorite "All In Time," this was a show
that was executed with a great mix of all things Umph. A perfect mixture of
new songs and old songs, with a lot of huge jams and tight precision mixed in
between. To encore the two-hour set, they came out and played "Words"
off of the new release Safety in Numbers, showcasing their provocative
lyrics and songwriting ability. Umphrey's McGee alone didn't make High Sierra
one of the best festivals this summer, but it sure would have been incomplete
without them.
- Tanner Wyer
Enchanted By The Mother Hips
Tim Bluhm by SuperDee |
San Francisco's Mother
Hips are a better band than most will ever be. With alarming consistency,
they knock out resonantly satisfying performances that showcase their gun-slinger
musical skills and huge, superb back catalog. When one reads gushing like this,
it's easy to take it with a grain of salt. I encourage you not to do that with
the Mother Hips. They really are that good, and they proved it at two very different
shows at High Sierra. Thursday's late night opening slot before Umphrey's McGee
was exploratory and psychedelic in the best sense and a surprising change from
the tightly coiled feel of most of their work. Primary songwriter-guitarist-singers
(there's a mouthful) Tim Bluhm and Greg Loiacono are sensual cats
willing to explore earthy terrain in their lyrics. That vibe spilled over into
Thursday's jams, which also recalled their looser sound in the late '90s.
The next day they rained down positive vibrations on the Big Meadow, drawing gentle strength from the wind and
open skies. The Hips craft songs that are sing-along perfect yet never make you feel like an idiot for singing along.
Pop music has a tendency, especially these days, to thrive on dumb expressions and easy imagery. That's never the
case with these guys.
The Mother Hips by Dave Vann |
Grounded in the superlative rhythm team of Paul Hoaglin (bass) and John
Hofer (drums), they offered up tune after tune that should have been massive
summer singles. Like most times, I walked away from these sets feeling more than
thinking, enchanted by the grace of their empathetic harmonies, the impassioned
kick drum that started "Time Sick Son of a Grizzly Bear," the swaying guitar lines
of "Del Mar Station," and the way they still seem capable of surprising each other
every gig. Song for song, lick for lick, the Mother Hips were as good as anything
offered at this year's festival.
- Dennis Cook
Drew Emmit by Susan J. Weiand
Hootin' It Up with Grace Potter and the Nocturnals
Grace Potter by Susan J. Weiand |
Grace Potter is one
sexy mama. She had the boys drooling over her, and not only is she attractive,
she has big talent to back it up. With a voice reminiscent of a young Bonnie Raitt,
Grace plays both guitar and Hammond B3 and fronts her very capable band, The Nocturnals.
This was her second appearance at High Sierra, and she seems more confident and
poised on stage. While singing tunes from her latest CD Nothing But The Water,
she had the crowd eating out of her pretty hands. Hailing from Vermont, 22-year-old
Grace belts out bluesy rock, soul, and gospel funk. This is one lady on her way
up!
- Susan J. Weiand
Taking My Chances with The David Jacobs-Strain Trio
 "Somebody
tell me, please, about the soul of a man," growled David Jacobs-Strain. His baby face hides a grizzled old soul
that emerges in a thick, commanding voice into which he's finally growing. Jacobs-Strain
has been a regular on the blues circuit since he was 11 years old, but he's
really come into his own on recent albums produced by the great Kenny Passarelli.
2004's Ocean or a Teardrop revealed a complex artist determined to venture
outside traditional blues boundaries. At two sets on the Big Meadow that bookended
the festival, he built on the new flavors revealed on Ocean, combining
spirited picking with a nicely restless imagination. Joined by hand-percussionist
Jarrod Kaplan and bassist Will Lydgate, he cherry-picked blues
standards, his own records, and compelling new material. The initial lure for
many may be Jacobs-Strain's dizzying acoustic guitar playing. The National Steel
guitar has rarely sounded as loud and proud in other hands, but he continually
pitched things to his band mates, sharing the spotlight when it would be very
easy not to. There's a likable humility to Jacobs-Strain. His intellectually-charged
lyrics bring a fresh snap to blues forms, inspiring a small rush on the merch
table when he played the title tune from Ocean, a tale of broken promises
and tired soldiers that ends with the line, "There's no oil, no love, When
the war is done." He nailed Robert Johnson's "Come On In My Kitchen," one
of the litmus tests of the blues.
Subtle but always moving forward, the trio was relaxed, confident, and engaged.
Perhaps the highlight of both sets was Thursday's "Take My Chances," an original
that Jacobs-Strain introduced as being "about the cash economy in Western Oregon."
This clear-eyed weed rumination culminates in the memorable "The world has
always grown sativa, Always had and always will. Some for love and some for
money, Better still to touch the earth." David Jacobs-Strain could have
chosen the easier path of traditional blues recreation. Instead, he's determined
to move the thick blue line behind him a few miles forward.
- Dennis Cook
Jacob Fred Jazz Odyssey by Dave Vann
Catchin' Up With JFJO
High Sierra sometimes feels like summer camp squished into four days. You see
friends that you maybe only see a few times a year, catch up on each other's
lives, and create something new and old at the same time. The Jacob Fred Jazz Odyssey
is a High Sierra staple, and we've watched them grow up as a band and as individuals.
The band members have all had a very eventful year playing with a wide range
of musical acts - Brian Haas put out a solo album and played with the
maniacs of the Dead Kenny G's, Reed Mathis toured with the Steve Kimock
Band and the Greyboy Allstars, and Jason Smart did a run with Robert
Walter's 20th Congress. It was great to see these guys come back together as
JFJO and communicate musically about what they've been doing all year. Reed
and Jason were hitting the groove hard together. We were treated with a JamBase
favorite, "Vernal Equinox," as well as a Bjork cover. Such a pleasure to see
these guys rock out with such proficiency.
- SuperDee
Utter Chaos with The Disco Biscuits
The Disco Biscuits by Dave Vann |
The Disco Biscuits
and the wee hours just go so well together. They are quite possibly the pioneers
of creating a formula for mayhem at that hour. First, take a bunch of songs that
already have great complexity, then mix 'em all up, invert them, and put them
in a sandwich and you have a set of music specifically designed to screw with
the minds of the audience. It takes a crew of smart band members full of mischief
to achieve this. On this night, they unleashed a furious sequence between two
of their biggest anthems - straight from the setlist, it went something like this
"I-Man> Helicopters> I-Man> Helicopters> I-Man> Helicopters>
I-Man> Helicopters> I-Man." Those of you who are Biscuits fans are no doubt
shaking your heads in disbelief. This is how I felt in the sweaty Funk-n-Jam House
- one big confusing and chaotic ruckus that somehow worked perfectly. They followed
this up with "The Overture" - symphonic and civilized - and had the entire crowd
wrapped around their pinky fingers. Honorable mention must be made to their Big
Meadow set, which featured a great cover of The Who's "Pinball Wizard" and a personal
favorite of mine, "The Munchkin Invasion." They come from the city! They come
from the jungle! They come to High Sierra!
- SuperDee
The Disco Biscuits by Dave Vann
|
NEW DISCOVERIES
Special props to these bands that were unexpected yet pleasant
surprises at HSMF 06.
Mia Dyson
Chris Berry &
Panjea
Toubab Krewe
West Indian Girl
Steel Train
Backyard Tire
Fire
Brother
The Brakes
Brett Dennen
Magicgravy
Sneakin' Out
Shady Deal
The New Up
Tom Freund Trio
The Old Nationals
Future Rock
The New Mastersounds
|
TOP 3 LISTS:
JamBasers and Friends and Musicians recall their favorite
moments from HSMF 06
Dave Margulies (High Sierra Music Festival):
Top 3 Covers:
1. ALO doing "With A Little Help From My Friends" and inviting
about 40 members of the Campa Barbara crew and others on stage to sing
back up.
2. RAILROAD EARTH doing The Band's "Arcadian Driftwood"
and "Ophelia"
3. TEA LEAF GREEN doing Marshall Tucker Band's "Can't
You See" (with ALO's Dan Lebowitz)
Top 3 Moments:
1. The look on George Porter Jr.'s face during his "trio sessions" playshop
with Johnny Vidacovich which featured a revolving third musician jumping
in for one song, when ukulele virtuoso Jake Shimabukuro jumped up to take
the stage unbeknown to Porter and then the smile on his face when he and
Jake locked in with one another moments later.
2. The sounds of Peter Apfelbaum's New York Hieroglyphic
Orchestra.
3. The New Orleans talk/celebration at the Shanti Shalom
Peace Pavillion with Rebirth Brass Band and Chris Chandler/David Roe.
Deanne "SuperDee" Herman (JamBase)
1. Dan Lebowitz's "incendiary" guitar solo in
the Guitarmaggedon playshop. Mega chills.
2. Patrick Hallahan (MMJ) sitting in with The White Thighs
at Camp Harry.
3. Kai Margulies, age 2, sitting in with Surprise Me Mr.
Davis.
Andrew Warren (JamBase)
1. Surprise Me, Mr. Davis! opening for My Morning Jacket
Late night: If there ever was a band that hardly plays together yet commands
so much respect from their audience it is Mr. Davis. From the first notes
of the Music Hall set to the late night impromptu set at the JamBase tent,
right on through their Big Meadow Stage show, Davis showed the fans why
they are the future of music.
2. West Indian Girl: For being relative new comers for
most of the festivals attendees, the Girl caused a huge buzz by the end
of their Vaudville Tent show. Part Cali pop, part 60's Topanga brilliance,
West Indian Girl have staked out a piece of the pie this past weekend.
3. Magic Gravy at Camp Harry: By Sunday night the festival
had already prooved to be more than anyone could have dreamed. That said,
members of ALO and the Motet set up shop at the JamBase Camp and layed
down 2 hours of almost non-stop grooves that drew in over 200 passers
by. Some of the sweetest sounds of the fest were found coming from the
guitar of ALO's Dan Leibowitz after midnight on the Fest's last day.
Reed Mathis (JFJO):
1. Mojitos with fresh mint leaves at the JamBase camp,
which led directly into a very blissed-out Suprise Me Mr. Davis at the
Big Meadow stage, for which I sacrificed my shades, which was shortly
followed by a very blissed-out My Morning Jacket on the main stage. Kind
of one 90-minute headlong moment.
2. Getting to play bass with Kai Eckhardt (whose playing
I used to transcribe and learn off records as a teenage aspirer) as part
of the Everyone Orchestra. He said that after I'd left the stage he missed
getting to play with me! Quite a thing to hear from someone you've looked
up to.
3. Sitting sidestage with Jason Smart while we bugged
out watching Zak Najor play the drums with the Greyboy Allstars. Najor
is unbelievable...a true example of what it means to play with nothing
holding you back. Sitting in with Greyboy was fun, but just watching Zak
play was the real treat.
Andy Gadiel (JamBase):
1. Worlds colliding as Jon Gutwillig (The Disco Biscuits)
joined Josh Clark (Tea Leaf Green) for a rocking guitarmageddon and again
for TLG's late night set.
2. Grace Potter's soulful Sunday Vaudeville performance
3. Steel Train's first High Sierra!
Skerik:
1. George Porter Jr. and Johnny Vidacovich workshop duo
set with guests. I hope I can play like those two when I grow up!
Marc Ross (Rock
the Earth):
1. Rock the Earth Cocktail Party and fundraiser put on
by the Happy Brigade and featuring almost all of Railroad Earth, Nat and
Eric from Hot Buttered Rum, Scott Law and others.
2. ALO's Main Stage set on Sun. was crazy. Stoked by the
SB Phreeks, this set was highlighted by a rousing rendition of "With
a Little Help from My Friends," featuring members of Tea Leaf Green,
the Everyone Orchestra, family members, hoopers and many, many others.
Very reminiscent of the JamCruise—Brain Damaged Eggmen version of
"Hey Jude."
3. Joe Craven – he was EVERYWHERE and has to get
the MVP for most sit-ins at a festival ever.
Tanner Wyer (JamBase):
1. Surprise Me Mr. Davis, Sunset Set, Big Meadow Stage:
Some of the most inspiring music I've ever heard in my life. As far as
I'm concerned, they have raised the bar in terms of how songs should be
written and performed. I've never been witness to such emotion, honesty,
and integrity. You can really tell that they are so proud to be playing
this music about life; and I felt honored to be witnessing it. Get into
it. Love has been looking for you.
2. Umphrey's McGee, "Words" Encore from Grandstand
on 6/30: UM owned both their late night and their headliner show, but
it was during this encore that SuperDee and I had 'Oh Shit' faces
on. I finally got to hear this song live, and it did not disappoint.
3. Tie between My Morning Jacket performing "Gideon"
and Guadalajara Joe performing "Google".
MMJ – so good to have the art rock at HSMF. This song is just so
proper. Guadalajara Joe – This man needs a Troubadour Session in
a major way next year. Nothing like an early morning kickball game, and
a
performance by Guadalajara Joe.
Jon Bahr (ASCAP):
1. Camp Harry - It started as our camp and turned into
one of the hottest venues in Quincy, complete with Stage Managers holding
it all together. With members of The Slip, Surprise Me Mr. Davis, Apollo
Sunshine, Hairy Apes BMX, My Morning Jacket, Jacob Fred Jazz Odyssey,
The White Thighs, the Dean Weinberg 7, ALO, the Motet and more, playing
in various configurations - Camp Harry arrived.
2. My Morning Jacket - High Sierra usually lacks the type
of rock that MMJ brought to the festival. From ballads to blistering rockers,
it was a major treat to have the band in the Sierras. Hopefully we can
get them back.
3. Surprise Me Mr. Davis - Having gone nearly 8 months
since their last show, this High Sierra fav give it their all over the
course of 3 sets (2 planned and one spur-of-the-moment magical Camp Harry
sunrise set). Everyone fell in love with Mr. Davis all over again. Hopefully
we won't have to wait 8 months for another show.
Susan J. Weiand (JamBase Photographer):
1. Jake Shimabukuro, the Jimi Hendrix of ukulele from
Hawaii, sitting in with Bela Fleck main stage, Umphrey's late night and
his playshop with Joe Craven and Futureman. What an awesome player and
delightful stage presence!
2. Everyone Orchestra main stage Sunday: everyone from
Jamie Janover and Jared Kaplan to Kai Eckhardt and his son Danillo, to
Charlie Hitchcock and the Hot Buttered Rum guys plus a horn section with
John Whoolilurie, Matt Butler's improv big band project is always a delight
and this was a particularly strong ensemble. Also late night Sunday.
3. Umphrey's McGee main stage- probably the finest and
most solid set I have every experienced from this band. They just blew
me and rest of the audience away. On to bigger venues and more recognition
for these talented guys from Chitown.
Honorable mention: Jerry Joseph with Zero late night
Patty Kaufman (JamBase):
1. Disco Biscuits killing it late night
2. Discovering two new favorite bands in Grace Potter and Steel Train
3. My personal soundtrack for the weekend- Mojo and the Vibration Army
(they always seemed to be trailing behind me)
4. Camp Harry late night
5. Getting to chill w/ so many musicians in the campgrounds
Josh Miller (JamBase Photographer):
1. ALO gets some help from their friends on an afternoon
main stage during the Beatles song "With A Little Help From My Friends."
Approximately 50 - 75 "friends" came out on stage to lock arm
and arm, swaying to ALO's positive vibe.
2. Toubab Krewe's electric set on top of an RV caught
passing festival goers by surprise with their American/West African fusion
groove.
3. Nathan Moore of Surprise Me Mr. Davis pays tribute
to fallen angel Maxwell Pelta on the Big Meadow stage. Moore showed the
audience pictures of a young Pelta after producing them from an empty
Raisin Bran box.
Matt Hogan (SCI
Fidelity):
1. Umphrey's McGee – Grandstand Stage, Friday Night
This was just a huge rock show, and people were getting down HARD throughout
the set, including during killer versions of some of my personal favorites
– "All in Time", "Higgins", "JaJunk", "Great American", "Much Obliged",
and a crazy set-closing "Miss Tinkles". The encore of "Words" was by far
the best version of this song I've ever witnessed and brought the evening
to a poignant close.
2. Surprise Me Mr. Davis – Camp Harry, Saturday Sunrise
The JamBase team really outdid themselves this year, and Camp Harry was
THE place to be for good times, great people, and insane impromptu jam
sessions. In addition to a welcoming living-room-type atmosphere, kiddie
pool & gas-powered blender for mixing up frozen beverages (all within
earshot of the Big Meadow Stage), CH provided an in-house backline of
instruments for any passing musicians to make good use of. Throughout
the weekend, members of the Slip, Apollo Sunshine, My Morning Jacket,
West Indian Girl, the Motet, ALO and more could be found here cutting
loose, and providing countless unforgettable musical moments. My personal
highlight came on Friday Night/Saturday Morning when Surprise Me Mr. Davis
put on a ridiculous sunrise set for any lucky folks within earshot. Their
rendition of "19th Nervous Breakdown" by the Stones seemed to be egging
on the sun with its chorus of "Here it comes … here it comes …
here it comes …" and sent many happy campers off into the new dawn.
Bigger and Better in '06!
3. Sunrise Kickball
For sheer comedy, this definitely wins the award for the highest, off-the-charts
hilarity of the weekend. I participated only as a spectator, but on both
Saturday and Sunday morning, the early-morning crazies were out in force
for these high-intensity, semi-organized, pure-debauchery kickball matches.
Words can't really do it justice, (and if you were there, you already
know), so I'll leave it at that … but my MVP award goes to "Granny"
for his Sunday morning all-star performance. Classic!
Honorable Mentions: Tea Leaf Green, The New Mastersounds,
My Morning Jacket, West Indian Girl, Grace Potter & the Nocturnals,
the Disco Biscuits, Railroad Earth, Apollo Sunshine, Steel Train, The
Old Nationals, The A-Team and Robe-a-thon '06, "Hogan's
Alley" in Shady Grove, the Fun Zone, the swimming pool, everyone
on the High Sierra staff and production crew, and of course, all you crazy
freaks … Feeesssssttivvaaaaaaaaaaaalllll!!!
Ted Kartzman (Rhapsody):
1. My Morning Jacket late nite - The entire set rocked,
and having a crew of serious MMJ lovers surrounding on all sides, the
energy was kept focused. I could hardly leave to refill my Jameson or
relieve the bladder! Besides Brad and Andrew Barr throwing magic red energy
balls through Jim's brain during "Golden" also at the encore,
Jim thanked us for coming to their show at the "Arctic Tent"
and we yelled "Anytime, Jim!" Then they played "Anytime"
- I thought that was sweet! "Things I could say to myself - I could
never say to anyone else....But what Madonna said really helped - She
said: "Boy, you better learn to express yourself!"
2. Surprise Me Mr. Davis - there's always a moment when Nathan and The
Slip meet up. Whether that moment is a magic trick where a bright red
ball of energy jumps out of your ear or harmonizing on a woman whose smile
is like the Mayflower, this band brings the emotion. It feels like BAM
are so comfortable and happy being the backing band to a magician turned
towel guy at the Y.
3. Toubab Krewe - combining the best of Asheville and Africa, I have loved
this record since it came out earlier this year. I was totally blown away
by their live show. They can jam like a southern rock band but have three
more dimensions to them, part African, part Caribbean and part gypsy/dub/reggae.
The show is really creative, you can't help but shake the bones to music
from cultures you may have not yet experienced!
Steve Adams (ALO):
1. Surprise Me Mr. Davis / Big Meadow Set - Drummer Andrew
holding Dave and Tina Margulies's baby Kai over the drums, sticks in hand,
jamming out a march together. Brad in a beaked mask most of the set. Rockin'
"Nineteenth Nervous Breakdown" cover. Always love hearing The
Slip with Nathan Moore!
2. George Porter, Jr. - Great Big Meadow set with PBS (Porter, Batiste
& Stoltz). Caught the tail end of a playshop with Johnny Vidacovich.
Heard he made quite a presence all over. My favorite was the sit-in with
Tea Leaf Green on the Grand Stand. So cool hearing George and Ben C. trade
bass leads on TLG's "Georgie P" which I think is a nod to the
man himsefl! No doubt a living legend!
3. Zach Gill (ALO) and Tim Bluhm (The Mother Hips) / Troubador Session
- Loved hearing them solo and then back each other up, Tim on guitar and
Zach on wurly. Zach's closer "Watch 'Em Grow" got everyone playing
along and kept those mid-festival-weekend-spirits high.
Scott Samuelson (Camp Harry Capt):
1. SSMD > MMJ Late Night! A special night of music
from some legendary musicians in the Snow Cave. Of note: the answered
request for Holly Would and the "magical" Golden!
2. Jake Shimabukuro Ukulele Playshop One of those uniquely
magical High Sierra Moments. Jake stopped after one of the best jams of
the afternoon to remark how blessed he felt to be up there with Futureman
and Joe Craven. I think everyone in the room was feeling the exact same
way. Thanks Jake!
3. Son Volt Mainstage A perfect blend of pretty country
and dirty rock being laid down as the sun was setting on yet another gorgeous
day at High Sierra.
"Like the man said, rode hard and put away wet
Throw away the bad news, and put it to rest
If learning is living, and the truth is a state of mind
You'll find it's better at the end of the line."
4. Honorable mention and a special shout out to all the
musicians who stopped by Camp Harry: The White Thighs, Surprise Me Mr.
Davis, Apollo Sunshine, My Morning Jacket, JFJO, ALO, The Motet, Steel
Train, and anyone else I've forgotten in the haze that was a legendary
weekend!
|
Who was in YOUR top 3 from High Sierra?
Leave a comment!
Continue
for more photos
Joe Craven with Jake Shimabukuro
The Everyone Orchestra
Sam Cohen (Apollo Sunshine) with SMMD
Brother
Victor Wooten
Grace Potter by Jon Bahr
Son Volt
Shin-ichiro Tomita (Meltone) |
