Thursday, July 21, 2005 – The Healing Begins
The third annual 10kLF event held in Northern Minnesota turned out to be one of the best festivals of the summer with amazing sets from almost every act floating into the stratosphere from four stages. Who knew? I had made my travel plans based upon the appearances of Trey Anastasio, Widespread Panic, Black Crowes, Everyone Orchestra, The Breakfast, Particle, Cyro Baptista and Les Claypool. I didn’t expect that every band from major headliner to Cosmic Breakster would choose the Midwest to burn with a weird combination of electric magic and audience rapport. Things got off to a very heady and quick start on Pre-Party Thursday as Signal Path circled the skies on the Barn Stage while Trampled By Turtles and God Johnson rocked nearby. Dark Star Orchestra closed the evening with an epic and long set featuring a spectacular take on yet another well-chosen series of Grateful Dead songs. This was the first time I had seen the band since keyboardist Scott Larned’s passing earlier this spring. DSO lifted the crowd throughout with a rousing set that seemed to reaffirm Larned’s spirit instead of mourning with the blues. Quite a trip and well worth the four-hour flight from Phoenix for me and my wife. I arrived at 10,000 Lakes with a very high fever, no voice and zero energy – not the ideal vibe for a rock critic. However, DSO’s music seemed to erase my physical torture and, by early Friday morning, I was on the road to a full recovery with all of my mental and literary skills somewhat intact. Such is the healing power of music. Either that or that was some really good Minnesota fresh water I was drinking, eh?
Friday, July 22, 2005 – Everything In Its Right Place
Stuck in Minnesota with the Memphis Blues Again? No worries. Everything just sort of took off as Jacob Fred Jazz Odyssey assaulted the Barn Stage with a very clever mix of space funk and melodic jazz structures. Sound Tribe Sector 9 members sat on the back of the stage and the Odyssey took note by dedicating a cool little number by Dave Brubeck rearranged and transformed by the band for STS9. Nothing shows flattery like kick ass innovation on an early afternoon festival stage. I then got completely surprised by the wicked sounds coming from the Saloon Stage. This little location would house many fine performances over the course of the weekend as humidity and smoking sets coupled with rabid audiences pushed everything into a tight pocket. Holy Moses & The Holy Rollers followed the jacked-up reggae sounds of TUGG with a mixed bag of reggae, Latin, salsa and jungle heartbeat tunes. These two bands have a fresh sound that do not allow you to just stand next to a bar, nursing a drink. You just got to lay it down, man. From there, Rusted Root plowed the Field Stage with a rustic cocktail equal parts U2 and middle period Zeppelin acoustic explorations. Jazz Mandolin Project played the first of their two weekend sets with humor and high, fine musicianship. I made a mental note to catch them later this year in L.A. when they swing back my way. Bump – another winner of the JamBase-sponsored Cosmic Break contest for upcoming bands continued the decimation of the Saloon Stage with a rager set that had me thinking Radiohead but leaning towards “hey, these guys…uh…ROCK!”
My health had completely returned at this point and every tune just sort of, well, worked. After a very long summer traveling from Pacific to Atlantic to Pacific to Atlantic to Midwest, the season’s best festival seemed to be presenting itself. Again…who knew it’d be at 10kLF? It was the first time all weekend I muttered under my breath, “Bonnawho?”
The Black Crowes have surfed quite a comeback wave after taking what appeared to be a permanent hiatus back in the early part of the decade. Quite frankly, I never thought the Brothers Robinson would get it together or come back with such conviction. More than happy to be wrong on both counts. Southern Gospel – finest kind, ya understand on a beautiful Friday eve. “Halfway to Everywhere” began the onslaught and the entire band was dressed for the Minnesota occasion. And ‘occasion’ is the right word, my friend. Everything in its right place, as it were, and the transcendence seemed to roll forward like all of this was planned from some unseen force off camera: ala the Wizard in the Land of Oz leading one and all down the hall towards the Land of Cool Daydreams…Chris Robinson with a blue plaid long sleeve shirt, shades and jeans with the usual de rigueur patches, every inch the total rock star. “Bad Luck Blue Eyes Goodbye” went down well but one could say that about everything all the way to the ancient chestnut “Remedy.” ‘The Crowes are back in a big way!’ I etched in my little blue notebook as I gathered my thoughts into a single point and waited for the next peak.
Widespread Panic. A lot of black-on-white stomped into the keyboard grooves from every writer from San Fran to Nu Yawk in the past six months. But, you know, ain’t none of those words are wasted and that’s how I felt about the first of their two headlining Main Stage full two-set shows on Friday night. This night was to be ball-crushing rock; whereas, the next eve would feature more moody Panic musings. Everything worked from “Worry” to “Chainsaw City” to the closing segue fest of “All Time Low”>”Pusherman”>”Fishwater.” Post-2004 hiatus aside, Panic is also showing strong signs of a rejuvenated spirit that is infusing their sets with a new sense of wonder while defying the decibel limits imposed upon a band of lesser note. And Dave Schools? Can pretty much guarantee that his bass tone will always keep this band honest.
Sound Tribe Sector 9 is raising the bar of deep space dance club music as we landed on Earth, the Field Stage to be precise, via a wormhole into the 26th Century…not of this world…but, somehow, they are, green stage lights all, y’all? That and a freakish fireworks display from the opposite direction – a campground, a moon shot, a cool little arc of multiple lights pulsed the evening forward, steady and funky. The Breakfast had one of their career-defining sets at the infamous Saloon Stage as the room was packed from floor to ceiling with fans, new and old, and everything just made me laugh and headbang like a kid. Guitarist and singer, Tim Palmieri and Co. had traveled from Connecticut with a purpose and that purpose became quite clear, from “Gravity” to “Buquebus” and beyond, the band has a unique blend of jam and radio-friendly power rock that carries nary a note of pretension. I love this band because they’re smart without sacrificing melody for ego-driven jams. Well done. Now head further West, boys.
Saturday, July 23 – The Secret of the Universe
Well…OK…so it isn’t really a secret anymore. Improvisational music is critically important because it frees the mind, musicians and audiences alike, to explore exquisite passages within the chambers of the Great Unknown. Or something heady like that, man.
Steve Kimock sat in with Everyone Orchestra but so did half the continent. An amazing performance from a group of musicians just thrown together for the occasion and somehow…again…everything worked. The ‘band’ featured everyone from Kimock to Reed Mathis to members of Delta Nove, Signal Path and JMP to EO founder and co-conductor Matt Butler to the incredible Jamie Janover. When Janover wasn’t leaping around the stage coaxing various notes from the assembled musicians, he was holding up signs to provoke the audience to shout out in response. What makes the EO performance so remarkable is that this type of music ain’t actually very easy, brother. You try to keep it together while a leaping juggernaut assaults your mind with stop-on-a-dime theatrics. I loved Kimock’s reaction during the performance. He had jaguar eyes as his face was focused and poised for just about anything that was being directed his way. Kimock’s appearance with the band definitely was a highlight of the festival but it also proved to be a moving touchstone that reminded pretty much everyone that improv music could be great fun when it isn’t blowing minds.
Particle then blew my mind. El Fry-O. What was left of it, anyway. (You saw that coming, right?) They came on immediately after the groundbreaking set by EO and laced the air with a toxic mix that was surreal and neck breaking but awfully odd to witness in the broad daylight. These cats scream late night vibe but even this milieu didn’t disturb the oddly-appropriate-of-just-about-everything-in-Detroit Lakes portrait. Jazz Mandolin Project grooved on the Barn Stage during Particle’s performance so I played stage and genre leapfrog and tested my endurance. Alas, no worries; JMP can do just nicely even when they’re paralleling the intense alternate universe Particle shadings.
G. Love & Special Sauce opened the day’s events on the Main Stage with a perfect early evening crowd-pleasing set. R&B, hip hop, funk, rock, the whole package without any low points or draggy flab – Love’s a post-modern hipster with a good take on ear candy. Delta Nove entered the Saloon Stage as they rampaged through some very cool Long Beach rhythms that seemed to knock the audience over with their bravado. I had been fortunate enough to have caught these diehard road warriors several times recently but, at 10kLF, Delta Nove was intent upon delivering a really solid set: a consistent mantra spoken throughout the whole weekend constantly ramming a drumbeat into my mind much like the excellent tones ricocheting from the Nove Saloon Stage.
Widespread Panic. Part II. As mentioned, this night’s show was a bit more shady, intense and moody. However, I liked its complex textures a tad more than the previous night’s rock roast. When the Second Set starts with “Weight of the World” followed by “Ain’t Life Grand” and the First Set ended with “Cream Puff War” – well, the Boys meant bidness and we were bludgeoned by their three hour-plus masterpiece yet again.
Buckethead? Yeah, I got an e-mail that said they were the best thing at 10kLF but, hey, I have to admit, I haven’t escaped from prison recently so I wouldn’t share that opinion. Buckethead is an acquired taste and he definitely has the chops to interest everyone from Les Claypool to Axl Rose to hook up with him. But, hey, I mean, come on – Alice Cooper and Kiss dressed up for a reason: they couldn’t write a tune. Why bullshit your art by using a tired old gimmick? Anyway, my review, my opinion. Focus your playing and ditch the fast food headgear. Corporate America doesn’t need your support. Am I being harsh? Hell, no. I really love his music but, I’m one of those weird cats that likes to look at a musician’s eyes, closed or open, they are still the mirror of one’s soul and you can’t hide behind the trappings of a deranged hillbilly forever.
Sunday, July 24 – Who Will Be The One To Carry Us Away?
With apologies to SeepeopleS, I just had to title the last section about the last day of the 10kLF tour de force, with a snippet from one of their gems.
There’s a scene in Apocalypse Now! where one of the characters explains to Martin Sheen’s character, Captain Willard, that “he doesn’t want to die in an evil place because then his soul wouldn’t make it to heaven.” Or something paraphasingly like that. Anyway, 10kLF was rolling along in such a fine fashion…2 shows of Panic, the Crowes, G. Love, HMHR, EO, any acronym you could thing of – that I felt like we were all hovering in some sort of cosmic sweet spot where nothing evil could ever reach us. Hell, even the cell phone reception was 24/7 crystal clear. These things be important, ya understand, when you’ve got twelve people to contact for fifteen interviews while sifting through fourteen hours of music a day. And NO bands were worth writing off as a set to be skipped – it was All…umm…sorry…Good; if I didn’t write about your band in this review, I apologize but, I probably saw you and your music was just exactly perfect, too.
Green Lemon had the horrible misfortune of beginning their set during the Trey Anastasio soundcheck. Uh, guess who won that battle? Trey’s rehearsal/soundcheck was played in front of a jaw-dropping, ever-increasing crowd that included me on the rail facing the Jam King while holding my interview tape recorder. This cassette has an unholy colossal sound that gives me Mt. Everest goosebumps everytime I hear it. Sorry, all of you burned out Wookies but, if you think the man can’t produce ethereal majesty post-Phish, you have to listen to this tape. As the band ran through various takes of multiple versions of different new numbers, we all gathered in a tight circle and hoped that the band would just practice on and on and on…woe to the great and glorious Lemon who had to wait for this little parade to end before finishing their excellent set.
Grace Potter & The Nocturnals smoked quite a fine number with a very eye-opening set featuring Bonnie Raitt on speed and a voice from some rich tapestry of soul. How does someone at the age of 21 sound so seasoned and full of the blues? The whole band really tore up the stage and rocked and I was totally floored by their sound – a very familiar tone with a link to hooks I’d never heard before. Gabby La La followed in the absolutely
PACKED and hotter than hell room known as our little version of hell: Saloon Stage.
Again – didn’t matter. We were transfixed by her beautiful eccentricities.
Oh, fine, he praises La La and bags on Buckethead. What’s up with that, homeboy? Well…La La is smart enough to have her tongue in cheek and sharp enough to know the thin, fine line between humor and bullshit. She errs on the former and her elegant humility only adds to her charm. Yo, Bucket, I have friends that can play Jimmy Page solos backwards on their pawn shop guitars but they can’t wear a Tigger outfit with green hair and romance the hell out of a crowd while playing a theremin.
Only in ‘You-Had-To-Be-There-Brotha-Minnesota’:
Gabby La La: “Knock. Knock.”
Very Loud Crowd: “Who’s there?”
Gabby La La: “Too many sweets.”
Very Loud Crowd: “Brush your teeth.”
Perpetual Groove is on a whole other sonic plane – fast and transcendent and epic and all of the really cool rock crit words that get wheeled out when a kick ass band is kicking your ass all over the Field Stage. And they did. 23rd Century hoedown, indeed.
Les Claypool. I’m a massive fan of everything he does because from Bucket of Bernie Brains (there’s that KFC dude again – giving Buckethead his due, he is a Giant in this band) and Oysterhead and Primus (reunited, at last) and everything in between…Claypool gets IT. Music is about emotion and humor and weird Zappaesque lyrics and Stravinsky music mixed with huge truckloads of talent and hard work. Dressed in military garb and boots, he led a blitzkrieg from the Main Stage that pretty much served as the World’s Best Opener to a Trey Gig Ever. La La, again, was in her element as she played off Claypool with almost intuitive bent humor intertwined with trippy sitar notes.
And then there was Trey – the most ridiculously overexposed entity in the Jam Music Kingdom…and rightfully so. You throw a party in the woods out in the middle of Blair Witch, Vermont on a moment’s notice and have 70,000 people trudge a gazillion miles to get there barefoot, naked, hungry and willing to do it all over again. We love Trey, hate Trey, can’t live without him. Enough said. After a horrific cover song-plagued set at Bonnaroo that had me almost in tears as I waddled back to the media trailer like some muddy, wet skinny duck, Trey Anastasio brought his game to Minnesota and I think we all heaved a collective sigh of relief. He introduced three new songs: “Invisible,” “Tuesday,” and “Spin” and covered quite a bit of ground that had been previously unproven.
The huge highlight of the night was Trey and 70 Volt Parade’s well-scripted rampage through “Goodbye Head” – a song co-written by Anastasio’s eldest daughter, Eliza, and “The Way I Feel.” These two numbers from the Spring Tour glimmered in the late Sunday sky. When Trey and the band hit the encore “First Tube,” the festival had reached an Olympian height that I really didn’t think was possible after the prior events. Trey really bumped it up a notch on this solid gem as he euphorically jumped about the stage while the music arced into oblivion, cascading over us in mind-melting bliss, pushing me to write this little ditty and tell you why 10kLF was THE BEST.
If that wasn’t enough, Cyro Baptista & Beat The Donkey closed out the festival on the Field Stage with an unbelievable set of percussion music laced with great guitar from Clay Ross and dancers all over the place banging on everything imaginable, acoustic or electric – a Mickey Hart Acid Daydream that reinforced the 10kLF aura: Cyro all over the place pounding away like some genius percusso madman while directing everything at 100% volume, 100% crazy & brilliant…a beautiful man, a beautiful band.
Alas, the airport beckoned but that’s a whole ‘nother tale to tell at some other campfire.
Where ya headed in 2006? To paraphrase the immortal words of that Great Austrian Actor, Arnold Swazaneg…uh…I can’t spell check his name so..awartzanegger in that immortal film Total Recall:
“Get your ass to Minnesota.”
Photos courtesy of the 10KLF official site
