Horning's Hideout

Sitting here in the comfort of my family’s home in N.Y., more than 3000 miles away from all the magic that just took place, I wonder if it was all just a dream. Were we really just frolicking in the gorgeous confines of Horning’s Hideout to the sweet sounds of the String Cheese Incident and a multitude of other talented musicians? Were elaborately costumed performers entertaining us with choreographed routines set to the rhythm of music that was a feast for the eyes, ears and soul? Were thousands of people living in a communal utopia where strangers were just a smile away from becoming newfound friends? I know that it was all just a dream, and I thank the String Cheese Incident, Madison House, Peak Experience, all those in attendance, and especially Bob Horning for making that dream a wondrous reality.

Starting in 2000 the String Cheese Incident, Peak Experience, and of course Bob Horning, have teamed up to create a communal paradise at the now legendary Horning’s Hideout in North Plains Oregon. This vision is based around the synergy of love, our combined creative spirit, Oregon’s natural beauty, and of course powerful musical expression. Since the first year, this lush spiritual and musical oasis has hosted some of the most intense and beautiful moments of music and merrymaking that I have ever experienced. This year has only solidified my belief that there is nothing in the world quite as beautiful and incredible as a Horning’s Hideout Incident.

Doors opened on Thursday, and the race was on to find the optimum camping site. It is a funny sight to watch a bunch of smiling and sweating faces, scurrying around like worker bees trying to find and build their makeshift home for the weekend. Shade was at a premium, as the sun would be beating down on us throughout the adventure. The peak of the mad scramble ended after an hour or so, and the next focus was creating the most comfortable, colorful and creative home space as possible. “Hello’s” and “Happy Horning’s” were greetings that could be overheard everywhere. It would have been an arduous task to find a single person with out a huge toothy grin adorning their face. Once everyone was grounded and ready to go it was time for our first taste of music of the weekend.

Zilla started things off on Thursday evening, with a spirited performance that was well received by an audience thirsty for music. There was a sanctification for the hallowed grounds in front of the main stage prior to the show that featured costumed performers. Each dancer was adorned in vibrant colors to reflect their respective camp’s theme and respective element. The overall theme revolved around the multiple steps in the creative process. These performers danced in a giant circle in front of the stage, with Zilla providing the soundtrack. Eventually after each of the camps had been verbally recognized in the ceremony, they all joined together to start the weekend off as one cohesive group. Everyone in the audience was then welcomed into the playful frolicking mix. I enjoyed the first set a little more than the second set even though the second set featured both Michael Kang and a beatboxing woman. To be quite honest I have seen stronger performances from Zilla in the past, and although I was having a great time (I mean come on it’s Horning’s) I thought the show was a little slow and spacey for my liking.

There were five themed camps scattered throughout the grounds that were children playgrounds in the daytime and adult playgrounds at night. There was Inspiration, Initiation, Expression, Evolution, and Synergy. All of these camps reflected the multiple steps in the creative process, and each camp had an elemental symbol that represented their camp. One camp had a giant glow in the dark Alice in Wonderland theme, where there were giant mushrooms, a glow in the dark pulsating canopy, and a giant moving neon caterpillar that would shoot smoke rings deep into the woods. Black lights and music decorated the night time scene, and my other scattered memories from that particular late night playground beg to me to ask whether it was all just a dream. There were fire dancers twirling at the fire camp deep in the woods that were absolutely mesmerizing.

My personal favorite playground was by the water camp where there was a giant iridescent jellyfish with hundreds of glow in the dark tentacles that was a blast to get tangled up in. You never quite knew whom you would bump into in the glowing tangle of tentacles. Beyond the jellyfish there was an electronic sampling machine that allowed four individuals to jam as if they were DJs. There was a communal beat that was controlled by a central knob in the middle of the machine, and each person had a panel of buttons and knobs that added their own sampled flavor to the total sound. I loved it. I am by no means a musician, but for a few minutes I was involved in a jam that had people dancing and cheering, and that was a sensation that I will never forget. Who knows what other magic took place throughout the nights at these playgrounds. I think if I asked ten people to recall their favorite memories at these camps, I’d have at least eighty distinct highlights.

There were also a wide variety of workshops, lectures, yoga sessions, beat boxing puppet shows and other creative experiences that added to the summer camp vibe for the festival. These activities were held at the separate themed camps and side stages scattered across the campground. Three of my favorite workshop experiences took place along the lake during Saturday morning. The first was a creative songwriting workshop hosted by Liza Oxnard and friends that I stumbled upon toward then end of their session. Bill Nershi and Scott Law were accompanying her, and played us some music and answered some questions. I really enjoyed Billy’s response to the audience’s question of what song that he wrote was his favorite. He said that "Sand Dollar" was his favorite, and that he wrote it while on a hiking trip around the Puget Sound with Travis. He added that there was a complete synergy between the five points in the sand dollars that were scattered along their hike, the five time of the song, and the five members of the band. I just love to think that whenever I hear that song that it was born in my adopted home in the great northwest.

Following this workshop was a brilliantly conceived workshop that occurred each day called the Power of Sound, which allowed aspiring musicians to get on stage and perform with an incredibly talented back up band of Tye North, Matt Butler, and Scott Law. Each musician who played with this trio seemed ecstatic to be able to play their music for those listening, and to have the opportunity to be backed by some of the best northwest musicians on the scene today must have been such a beautiful treat. This was followed with a drum seminar led by Michael Travis, and although I was in transit during this workshop, I could hear the sweet sounds echoing through the woods, and it sounded quite incredible.

On Friday afternoon New Monsoon had one of the best opening sets of the weekend that included rousing originals as well as a rocking rendition of the Who classic "Eminence Front." Their set was a perfect way to spend the mid-afternoon, and for those lucky enough to have wondered to the grounds for the set, this dance party was an absolute blast. Michael Travis showcased some of his versatility by joining in on bass. Tim Carbone from Railroad Earth also made an appearance by adding some of his flying fiddling fills to the mix.

Legendary Cuban trumpeter Arturo Sandoval’s set followed with a Latin flavored musical fiesta that even featured S.C.I.’s Kyle and Travis as his part of his back up band. Arturo is a talented and animated performer who studied under Dizzy Gillespie. As he performed his passion for music was evident as he readily alternated from his signature trumpet, to drums and back to accentuate whatever jam the band was flowing through.

The Friday String Cheese Incident show may have been the strongest show of the weekend. The energy this evening was through the non-existent roof. People were absolutely ecstatic to be at Horning’s once again, and once S.C.I. took the stage the bands’ and fan’s excitement was palpable. S.C.I. felt the positively in the air, and responded in kind with a show that included some of their repertoires more lyrically positive songs. "Smile" opened things up perfectly and couldn’t have been more appropriate. Other songs that attempted to reflect the positive Horning’s spirit was the "Joyful Sound" that followed, where Keith Mosley’s fat bass line stood out, and a fiery "Shine." As well as my favorite Cheese cover of the Talking Head’s masterpiece, "This Must Be the Place (Naïve Melody)" and a "Good Times Around the Bend" encore. This euphoric expression is what Horning's is all about, which is a positive spirit engulfed in positive energy, with music that positively rocks.

This night also featured some first set collaboration with trumpeter Arturo Sandaval, which gave additional flair and authentic flavor to Kyle Hollingworth’s Latin influenced instrumental "M.L.T." as well as the John Coltrane classic "Impressions." Kyle and Arturo bounced and echoed runs of melodic notes off of one another in a masterful and beautiful way. Jason Hann also added some new depth to these songs, as well as other Cheese classics, with his skilled percussive layering. This is the second run of shows that I’ve seen him (NYE 2004) and I really believe that his addition has added a lot to the band’s overall sound, and more specifically he has allowed Travis to flex his drumming wings in new directions. Travis no longer has to handle all of the rhythmic duties alone, which allows him to be more creative behind the kit.

The Friday show also featured some of the thicker and darker jams of the weekend, in both the "Rivertrance" second set opener, as well as the "Black Clouds>Orion’s Belt>Black Clouds," which was a soupy mindmelter. After the show Cheese soundman Jon’O played James Brown’s "Sex Machine" through the PA, and the dance party wouldn’t and couldn’t stop. Kyle Hollingsworth even reemerged back on stage to add his dynamic keyboard flavors to this b]impromptu funk party.

Saturday featured some more world beat musicians as the multi instrumental Transglobal Underground kicked things off with their thick swirling sound, followed by African Reggae sensation Alpha Blondie. It was a hot day, and the crowd was not as in force as it had been the day before, but those in attendance seemed satisfied with the variety of sounds emerging from the stage. Both sets were strong, even if the crowd’s attendance was not. I have to admit that I was a little surprised that these musicians weren’t seen more often throughout the weekend, considering how far they had come for the show, as well as the collaborative nature of the festival. But Horning’s Hideout has lots of nooks and crannies where musical magic occurs, so who knows what kind of mischief happened around the campground that these ears were not lucky enough to hear.

Saturday’s Cheese set continued to focus on songs that reflect Horning’s joyous celebration with a rousing opener of the adopted Keller William’s gem "Best Feeling" which segued nicely into Jean Louc Ponty’s "Mouna Bowa." The rest of the first set had a mellow flow to it, which was highlighted with a fun "Born on the Wrong Planet," as well as a nicely played "Close Your Eyes" that featured some of Kyle’s incredible command over the keyboard. Interestingly enough the "Close Your Eyes" was listed on Friday’s stage set list as the first set closer, but was saved for some reason to close Saturday’s first set.

Horning's hideout’s most magical moments revolve around the peak experience’s performances that occur during Saturday’s second set, which is the midpoint or shall we say peak of the festival. This year’s performance was no exception. The theme of this year’s weekend, was the Third Eye Open, and there were five camps scattered around the campground that all revolved around the development and implementation of turning an inspiration into creative action. The performance was scaled down from previous years in some regard, as there was only the visual and musical aspect. In past years there was some narration that accompanied the performance, but I enjoyed this without the narration because there was a more pronounced focus on the music. There were fire dancers carrying everything from flaming swords, hoops, poi chains and staffs. There were stilt walkers, people in elaborate costumes, and a giant flaming circle on the floor of the amphitheater. Everything was synchronized and the view from above was mesmerizing. The String Cheese Incident was performing on stage as the musical accompaniment, as Jamie Janover acted as an inspired conductor directing the music with the performers. It was a beautifully syncopated dance that entranced the open minds of those in attendance, and words and pictures do not do justice to the magic that swirls around Horning’s during this artistic display. Peak Experience always does a masterful job at coordinating this multi-sensory motif, and they deserve a lot of thanks for a job wonderfully done once again.

The third set this night was one of the true highlights of the weekend for me, as the Cheese rolled through a variety of my personal favorites. Any set that contains "Birdland," "Restless Wind," "Black and White," and "Way Back Home" is sure to get our collective booties shaking. To finish us off, SCI brought a huge encore of Billy Preston’s Will It Go Round In Circles" and the fan favorite "San Jose," both of which welcomed many special guests. This included a surprise addition of Martin Fierro on saxophone that was a perfect way to end a magnificent day and a spectacular performance by all that were involved.

After the show there were so many adventures to be had throughout the campgrounds, that I’m sure there are more than a few terrific stories to tell. For me, the adventure began with a visit to the beautifully decorated Inspiration Camp, which was at the top of the concert grounds. There was a stage was set up and Scott Law and friends were going to host their own post Cheese dance party. Scott Law is a Portland based guitarist whose incredible performances are beginning to demand national attention. He even won an opportunity to play Jerry Garcia’s Wolf guitar with Phil Lesh at Red Rocks a few months ago, based on a demo tape that Phil himself listened to and hand selected. For this evening, Scott was joined by Tim Carbone on fiddle, Bill Nershi, Michael Travis on bass once again, Matt Butler of Everyone Orchestra fame, and a variety of other musicians. This was quite the treat for an unannounced musical throwdown.

The adventure continued late in the evening with an adult themed treasure hunt, where each individual was invited to visit each of the themed camps to get a stamp. A collection of all five stamps would sanctify that person as a creative Cheese Whiz by weekend’s end. This quest led to many adventures throughout the night. As the sun rose the annual tradition of watching giant soap bubbles float across the lake behind the stage entertained those still awake, and there was something surreal about watching these giant beach ball and larger sized bubbles float across the misty pond at morning light. Sometimes these bubbles would be partially submerged as it traveled across the lake, which mesmerized onlookers. This night was magic, pure magic.

Sunday featured fan favorite Railroad Earth, who led the crown through a variety of their bluegrass/rocking staples, and who in turn received one of the biggest responses from the audience of all the opening acts. It seemed that they drew the biggest pre-cheese crowd of the weekend, and their catchy jams had many in attendance up and dancing hard to their sound. Jeff Miller, the truly talented guitarist from New Monsoon, was brought up to add some of his guitar wizardry to the mix, and smiles were to be found everywhere. Some friend of mine even said that this set was one of their favorite highlights of the weekend. Railroad Earth was not done there, as they would be invited to join the String Cheese Incident during the final set to help send us on our way.

In the past, Sunday at Horning’s had offered up an acoustic first set, followed by an electric second set. This year was a little different, as the Cheese emerged during the first set with their electric instruments in hand. All in all I found both sets from this night to be back heavy, as the first half was slow and mellow, and the second half picked up the energy and raged musically. First set highlights revolved around a perceived tip of the hat to the late Jerry Garcia who passed away about ten years ago with a "Catfish John" that featured Tim Carbon as well as a funky "Freedom Jazz Dance." Yet the pinnacle of the first set was an absolutely raging "Little Hands," that showed exactly how fast and insane a Cheese jam can peak. When Michael Kang brings out the fiddle on the second half of the song, bodies twitch and jump in ways that are almost unimaginable. I don’t know if I have danced harder in a long time, and lots of water and some deep breaths were desperately needed after this flame-throwing version.

The second set mimicked the first set in the back heavy set list, although inviting a multitude of guests on stage in the first half of the set made the mellow parts all the more interesting. Members of Railroad Earth joined in different combinations for the "Big Sciota and Mountain Girls," but the set really got going during the appropriate "Shantytown," which was penned about the wonders that occur at the Oregon Country Fair. Scott Law added some insane psychedelic licks to "Shantytown" that turned Horning’s into a seriously raging dance party. From this point out the set was not for the faint of heart. "Jellyfish>Rollover," or as I have heard it called the “Jellyroll”, was an absolute meltdown of tremendous proportions. To end the weekend on a perfect note the boys chose the Bob Dylan classic "Quinn the Eskimo," and brought up Jamie Janover, Jeff Miller, as well as a few of the Railroad Earth musicians. As the lyrics profess “When Quinn the Eskimo gets here everybody is going to want to…” well you know the rest.

Following the encore, Bob Horning was brought on stage to be greeted by the largest ovation of the weekend. As he tried to leave the stage the echoing chant of “Bob!…Bob!…Bob!” echoed throughout the concert ground and would not let him leave without making a curtain call. I almost felt as if I was at a classic James Brown concert of the seventies, where someone was going to drape a long cape over his shoulders, as he dropped to his knees from exhaustion. He went through so much legal, financial, physical and mental strain to make this weekend possible, that I could not say thank you enough times for making this dream a reality for us all. Bob, from the bottom of my and I‘m sure everyone else in attendance’s heart, Thank You so much for everything you’ve done!

Even after the final note on the main stage was played the music and the fun was not over. Peak Experience threw a celebratory party by the barn where Billy Nershi tried his hand on mandolin along side with Scott Law on acoustic guitar, Jeff Miller on a quiet electric guitar, and Jillian Nershi added her beautiful vocals to this sweet set inside the constructed dome. It was a tranquil and beautiful musical session, and a giant thank you was directed toward everyone at Peak Experience for a job well done.

Even if a Horning’s Incident never happens again, all I can say is these have been some of the most magical and memorable weekends of my life. I was lucky enough to have been at three of these insane Incidents (2000, 2004, and 2005) and so many of my favorite memories and friendships have been born or strengthened in this communal utopia. The String Cheese Incident at Horning’s Hideout is an experience of a lifetime, and I will always cherish the memories and magic that I was lucky enough to be a part of in this tucked away oasis in the forested Oregon countryside.