Rather than clinging to charted musical territories of the past, The Berkshire Mountain Music Festival has traditionally presented a lineup in tune with the groove/jazz side of jam rock, while incorporating bands with a more progressive sound. This summer’s lineup continued this eclectic vein, showcasing close to sixty bands ranging from the uplifting and organic electronica of Sound Tribe Sector 9 to the bizarre and twisted stage show of The Flaming Lips, the avant-garde breakbeats of Medeski, Martin &Wood to the smoothed acid jazz grooves of The Greyboy Allstars, providing a full presentation of the many unique directions thriving from live music’s current evolution. Other than the customary Berkfest downpour on Sunday night, and a cancellation from legendary live hip-hop act, the Roots, there were few reasons to complain about Berkfest 6.
What makes Berkfest unique amongst the growing number of camping music festivals is its scenic location in the heart of the Berkshire Mountains. Rather than providing the traditional onsite parking that most festivals provide, campers leave their vehicles off site, and camp freely amongst the trees, in the woods, and more or less anywhere they choose. For better or worse, depending on who you ask, this element of inherent nature is Berkfest’s soul. Being one of the thousands of people amongst the trees along Berkfest’s wooded paths is the unique experience that, other than the music, keeps bringing the Berkfest regulars back. Without the now infamous woods, Berkfest would be just another of the summer music festivals to emerge in the last few years.
When not wandering the forests, there is live music playing from ten in the morning till eleven at night on three stages, and then early into the next morning in two ski lodges within the festival grounds. On Friday, The New Deal got things off to a fiery start. Despite the humidity, The New Deal’s set proved that sounds reminiscent of Nintendo soundtracks over house beats can and should be played in a live setting. As synth lines ripped over bouncing four on the floor bass and drum kit rhythms, the crowd got a taste of what The New Deal has made their name on. Berkfest veterans Medeski, Martin &Wood displayed the trio’s marriage of free jazz and break beat exploration that has become a staple of both the experimental and groove music scenes. Like usual, MMW’s performance showcased their ability to completely leave their formal musical training behind as they consistently pushed musical boundaries. John Medeski intricately wove his inside out jazz explorations on his vintage arsenal of keyboards while Chris Wood’s playful garage interpretations of both upright and electric jazz and funk cranked along with Billy Martin’s technical, yet offbeat approach to break beat drums.
On Saturday, Charlie Hunter’s signature technique of playing simultaneous guitar and bass lines never fails to make people marvel at his rhythmic ambidexterity. Highlights of his funk-jazz performance included a beat box session by drummer John Clap and a soulful guest appearance by singer Dean Bowman. Kaki King gave a jaw dropping performance of rhythmic and tapping technique on her solo acoustic guitar on the small Sundeck Stage, and to the crowd’s dismay, after promising to break out of her soft spoken shell and give a rare vocal performance, Kaki was cut short by the always funky and solid sounds of the Addison Groove Project. Addison Groove bass player, John Hall, was absent due to a misfortunate bout with cancer, however, the band still managed to play a solid set with bass line responsibilities taken over by keyboard player Rob Marscher. An exception to Berkfest’s lack of twang tendencies came compliments of Sam Bush, though his performance had more punk rock undertones than country when he indulged in his vast array of influences that stray from the bluegrass platform his music is based on. After Kabir &DJ Axel Foley gave Berkfest hip-hop fans a small taste of what was missing in The Roots absence, Galactic took the stage with an updated variation on New Orleans funk. Galactic has continued to further their musical evolution and their performance featured new tracks of a harder rocking and synth-laden sound. Highlights of their performance included guest spots by Mofro singer, John “JJ” Grey, whose band performed earlier in the day.
To close the Saturday night main stage performances was the ever-flamboyant Flaming Lips. Although new to the jam festival circuit, thanks to diversification efforts by the already legendary Bonnaroo, the Lips held their own amongst the more established acts in the scene. Their performance featured their elaborate stage show, complete with giant inflatable robots, twenty plus fans in furry animal costumes, powerful strobe lights, excess amounts of giant balloons, confetti, smoke, and a giant screen displaying an assortment of twisted projections, skits, and music videos. The Lips set included many tracks off their new album as well older classics such as the early 90s radio hit, “She Don’t Use Jelly.”
On Sunday, the thirteen-piece Afrobeat revivalists, Antibalas Afrobeat Orchestra played a solid set and kept fans on their toes with classic Fela Kuti tracks as well original afrobeat grooves. Everyone expected it, and sure enough, it started to rain as Warren Haynes played his set of acoustic Southern Rock just before Sound Tribe Sector 9 took the stage. Regardless of the downpours during the first half of Sound Tribe’s set, they continually raised the bar for where live music is going. As opposed to placing an emphasis on any individual member of the band, Sound Tribe’s success lies in each member’s ability to play for the band’s overall sound. Their fusion of ambient soundscapes, electronic drum &bass, funk and visionary world beat brought a sense of harmony amongst listeners. Their improvisations continually fed off the crowd using the audience to determine which direction their music would take, and after their set, few, if any in the audience seemed disappointed. The Greyboy Allstars, who reunited after several years on hiatus, closed the festival. Their pioneering sound of acid jazz and boogooloo kept fan’s attention throughout their set, sounding as if they never took a break. Karl Denson’s soulful voice and fiery sax matched with solos by guitarist Elgin Park, soared over their legendary tight rhythm section. The set included fan favorites such as acid jazz classic, “Happy Friends.” All in all, The Greyboy Allstars were a great act to place closure on the weekend’s music.
When the sun goes down, regardless of the hot and sweaty crowds that they attract, some of the best times to be had at Berkfest occur at the late night lodge performances. More like a nightclub than a festival, the crowd has more interaction with the bands. This usually results in more intimate performances and also creates a good opportunity for upcoming bands to perform in smaller venues within the festival grounds. On Friday night, Motet opened for The Jacob Fred Jazz Odyssey in the lower lodge. Motet’s set was a melee of world beat and funk rhythms. Their percussive rhythm section keeps a relentless up-tempo pulse that is glued together by the virtuosi former Miracle Orchestra bass player Garret Sayers. Following the Motet was Jacob Fred Jazz Odyssey. Like Medeski, Martin &Wood, Jacob Fred Jazz Odyssey’s improvisations explore the outer limits of where live music can go and they somehow always manage to come back to the groove they took off from. Saturday night’s lodge performances were equally as sweaty. New comers Moonraker laid down a tight and highly energetic original set in the lower lodge, combining elements of drum &bass and 80’s new wave. After Moonraker, The Slip performed in the upper lodge and proved that their musical evolution has continued on its eclectic course. Sounding more dissonance and focused than in the past, The Slip is sounding better than ever.
For all that attended, Berkfest '03 provided the best in forward looking progressive music and scenic camping that could be found this summer, and its funky undertones provided a glimpse at where live music's evolution is headed. Though attendance was down, the running theme of festival season '03, there are few other music festivals that come close to providing such a beautiful setting with such high quality acts. With any luck, Berkfest will wade out the hard times, and keep assembling music lovers at Butternut for years to come.
Photos courtesy of Adam Marcinek.
