Next episode in my Kolkata musical quest.

I kind of dissed the Kolkata Telegraph‘s T2 section for not telling about anything interesting until after it was over but it is way better this year than it was last. They had good coverage before the Battle of the bands sponsored by Indian telco Vodaphone. Six or seven bands played at the Dalhousie Institute, a private club which opened its doors for the evening. The judges were all Kolkata music scene luminaries ranging from scene-setting DJ Austin to film score music producer Neel Dutt to chanteuse Anjun Patel. The event got moved indoors due to the early onset of monsoon season set off by Cyclone Aila the day before (which is turning out to be Bengal’s Hurricane Katrina, incompetency, red tape, politics, and all).

Let me get the annoying out of the way up front. The mc was a middle-aged bald pot-bellied radio type trying to act hip by making all sorts of vaguely lewd and definitely sexist remarks to contestants, judges, and audience alike, none of whom were into it. OK, so on to the bands. Evidently, all the bands were required to do a version of the Vodaphone jingle in order to participate. Unfortunately all but death metal rockers Purgatory took the task a little seriously, producing a series of jingles merciful only in their brevity. OK so then? Last complaint coming here–they ran all the instruments direct to PA with no amps which must have been a challenge for the guitarists as we often get much of our sound from the amp. But anyway this had the result of placing the guitarist and the bass player always in the same spot unfortunately for the guitarists, their spot was right in front of a really loud and way overused dry ice machine which completely obliterated the guitarist of the moment in a wall of fog about once every five minutes. I expected them to emerge coughing and staggering with hands on throats yelling “enough already!” So enough already, what about the music?

The first band was called Ashes in Flames and were how can I put it? Adorable. They were four sixteen year old guys, dead earnest, and quite good. The bass player was still growing into the instrument. They did a bunch of songs I did not know–I hope they were originals. They had nice jangly guitars with good vocals and hooks. Very enjoyable alt rock sound. They made a misstep closing with Deep Purple’s “Smoke on the Water,” played — unfortunately this time — dead earnest. They should have left that one in the shed or given it some twist or camp appeal.

Next up were Black Rose who played accessible hard rock with two lead guitars. They had the only woman in any of the lineups, Mekhola Bose, playing drums. The one guitarist had the sort of shred metal over the top too much technical proficiency all melodrama no emotion Brian May Yngwe Malmsteem style. The other guitarist was pegged as the rhythm guitarist by whoever was running the PA so he couldn’t really be heard well at first. They got their act together best for a truly rocking sixtiesish double guitar funky rock thing as their closer. The third band, Blowing Blues, sarcastically claimed to be doing soft rock. They had cool makeup and had put thought into the concept but unfortunately the guitarist was out of tune and down in the mix and they never quite got it going.

Eternity were next, playing a very slick style of psychedelic rock. The bass player was quite good and a good singer as well. The guitarist had the psychedelic thing going great with lots of well used and controlled effects over solid playing. They should start write more of their own stuff, as the one original they did was very good. Their other notable song was a long psychedelic cover of an obscure Pink Floyd song, which was also quite good. Although we did not stick around for the judging, I heard later that these guys won.

Next came my favorite band of the night, Five Little Indians. Give them a listen! It turns out they were not actually competing, but were one of the headlining bands. They featured two singers, Neel Adhikari being a sensitive singer songwriter type and the Sayak Banerjee drifting into Indian classical stylings and maybe even some ecstatic sufi type singing a la Nusrat Fateh Ali Khan. The whole was held together by the best rhythm section of the night, with Arka Das on drums and Sanket Bhattacharya playing bass playing as a unit, with Allan Ao’s heavy guitar chugging along when not riffing. While Ao wasn’t playing technically better than the other guitarists of the night, he owned the music, playing on, around, before, under, or right on top of the beat and pulling stuff out of the instrument rather than thrashing it into it. As a whole these guys played most like a balanced unit that enjoyed listening to each other as much as playing their own parts. Clear winner for me, but it turns out they were not competing as they are already a pro band. It showed. I also got to hang with them a few nights ago, and they are pretty cool in person too. They all make their livings playing music, which if any of you have tried it, you know is a tough racket. Ao and Battacharya both play in Bangla rock outfit Cactus. Apparently there are hundreds of bands playing rock with Bengali lyrics and stylings that are hugely popular in west Bengal. You can listen to some here if you poke around a bit. Cactus even managed a quick tour of the Bengali ex-pat communities in the States a while back. Maybe I’ll be able to find out more about it later. Where do they all play? Kolkata really needs an underground web page/paper to let people know what’s happening. Hey Arka, you’re a journalist…why not start it up?

The next band gave the Indians a run for the money though. Kolkata death metal outfit Purgatory had the concept as well as the execution down. The lead guitarist played absolutely diabolically in both looks and sound. The rhythm guitarist, with his pompadour, pencil mustache, and head banging did a suitable job of channeling in the undead. The singer had the usual death metal growl, sounding like a broken cappuccino steamer on steroids [I mean that in the best possible sense). They really put the show on. My only suggestion is that they stretch out a little, maybe listen to some hardcore so they can learn how to doubletime their way up a notch here and there as the songs all seemed to be at roughly the same medium tempo. They might want to dig into some other undead stuff like psychobilly masters the Cramps (with singer Lux Interior joining, alas, the un-undead). I can hear a double time death metal version of Human Fly– working pretty well for them, no?

Next up were Realignment 2 Reality, who I hope were having an off night. The guitarist was tuned about a semitone off from the bass player and the singer caught neither’s key. Perhaps the most telltale sign was the three young women who were obvious fans. They were all clapping along but to different beats, looking a bit confused. Refinement are also are part of an unfortunate-seeming Kolkata rock band fetish with the truly awful and pretentious crypto-Christian rockers Creed. What’s with that anyway?

We caught the last band’s soundcheck earlier in the evening and weren’t tickled so we skipped out on the classic rock closers the Tube Screamers and went home. We also missed Bertie Da Silva’s band. All in all it was a fun night in spite of the corporate trappings. Not quite alt/underground/edgy but it had its moments of innovation and even spectacle. It was only rock n roll.

One last thing I want to remark on is the fact that all these bands came from private clubs. It seems the only ones able to afford amps and instruments of playable quality are those who can (or whose parents can) afford to be in an exclusive private club. I wonder if there is some street version of Kolkata hip hop brewing up somewhere, or improvised junkyard electronica bands like Congolese trance distorion thumb piano masters Konono no 1. What with the recycle culture here in Kol, it seems somebody would figure out how to make a homemade mic and PA and fight the power. Still looking.

Yesterday, in my post laying out my musical quest in Kolkata this year, I mentioned the difficulties I was having with IndiaMike.com’s censorship policy, (finally resolved, rr, 12/16/09) which seems to be if you point out mistakes and stereotypes in one of the board sahib’s posts, you will get censored. Ok, so here are my specific beefs with the guy from Indiamike.com, RPG, with a bonus for your patience in hearing me out. First he complains that Bhangra and sitar are not Bengali because I gave as a possible example of what I was looking for as “sitar dub over electronic bhangra beats,” and thus I am being inauthentic and clueless in my query. Inauthenticity is kind of the point here however. Bhangra is also not usually electronic either. I am precisely not looking for the “authentic” or “pure.” As far as sitar not being Bengali, perhaps so, but the instrument is ubiquitous in Kolkata concerts and some of the masters of the instrument, such as Ravi Shankar, are

indeed Bengali. Finally there are dozens of sitar makers in the city making everything from tourist models to delicate works of fine art craftsmanship used by the masters. So really, this complaint, which I am not being allowed to answer on the board (and my original response was way more polite, because I did not realize what a jerk I was unfortunately encountering), is nonsense. And actually I can even think of an example of something close to dub sitar from someone whose roots are in Kolkata, though she no longer lives there, namely Shankar’s daughter Anoushka‘s hybrid trip hop sitar music.

Then he said it would be like going to Hawai’i and “demanding the locals to play the blues.” First off, I’m not demanding anything, just looking and listening with some curiosity. I pointed out that there is a small blues scene Hawaii should you wish to hear it and that you could also find reggae played on ukuleles, neither of which is authentic but both of which are interesting to hear. Interestingly slide guitar used in blues originated around the same time as slide guitar in Hawaiian music, perhaps passed one way or the other by touring Hawaiian musicians or African American paniolos in Hawai’i. In 1929 or so a Hawaiian slide guitar player, Tau Moe, visited Kolkata and demonstrated the slide guitar there. This set off a craze for the instrument, bolstered when Moe and his wife lived in Kolkata during the 1940s. Pandit Brij Bhushan Kabra became a well known master of mixing the western instrument with Indian classical music. One of his students, Debashish Battacharya

, had gotten a guitar as a gift from his father, who had received it in payment of a debt. Battacharya took his training in vocal music from his guru Pandit Ajoy Chakrabarty and worked it into the guitar music he was learning and combined it with other forms of Indian music to create his own style, and ultimately his own instruments designed specifically with Indian rather than Hawaiian music in mind. Battacharya came to the Islands a couple of years ago to hang out with some Hawaiian slide players and they put on a concert of Hawaiian slide guitar music and Indian classical music that culminated in a big jam among them all. Interestingly, Tau Moe was still alive, so part of Battacharya’s trip was to visit his master’s old teacher.

I won’t get too much into the guy’s stereotypes about Bengalis being conservative based on how the women dress except to say I am partners with one of those Bengali women for the past two decades and regardless of how she dresses she’s anything but conservative. He also says there is “very little in the way of musical innovation. Bengali songs are about the words; musically they are dull and unoriginal (the songs all sound the same).” I don’t suppose he listens to much of what Bengali musicians are playing, which as I’ll demonstrate over the next fews days, is as innovative as anywhere else on the planet where humans play music. Generalizations about a culture of millions seldom hold any water. The thing that really annoys me is that by allowing me to participate except when I disagree with “RPG” it looks on the board as if I am endorsing these arrogant, stereotyping generalizations about Bengalis.

I recently posted a challenge of sorts over at a site we just found, IndiaMike. It went along these lines: In any city I have ever visited, I can find the underground arts and music scene right away but Kolkata has me stumped. I can find several Tagore song recitals per week (Actually they are setting up a weekend-long Tagore song festival outside my window right now!) and lots of Indian classical, all of which is great, mind you, but where is the dub sitar electronic bhangra beat trip hop music? Where is the mixed up, alternative, edgy, inauthentic stuff?

I got some good responses pointing me inexorably toward the downtown clubs catering to the well to do and tourists, as well as a pile of neo-colonial stereotypes and misinformation packaged as wisdom from one of the list “elders,” RPG, whom I suspect is also a moderator of the list because my response, which politely pointed out the misinformation and general missing of the point, was somehow never posted and when I pointed this out and said I’d move the discussion over here, they rejected that too. (turns out RPG was not a moderator, and the site owner finally agreed to remove the thread -rr, 12/16/09) It seems some sahib over there doesn’t like anyone to point out when he’s wrong. Come on guy, its arrogance combined with cluelessness like that that gave colonialism such a bad rap.  So enough with IndiaMike for now and on with the quest over here, where at least if I write something I know it won’t disappear. I’ve found more interesting music than I can keep up with on a daily basis, and I’ll try to tell you about it as we go along. Metalish hard rock with Sufi ecstatic singing, Kolkata death metal, Bauls, Sitar Dub and Slide guitar, marching bands that sound like the Contortions, Monsoon music, and and and….

Ok, I’ve been catching tons of great music while traveling but have not had time to write about it, so rather than try to start at the beginning and do posts on everything, I’ll just give you the whirlwind tour.

We went to the House of Blues Disney location again, this time to catch another of my favorite bands, Aterciopelados (roughly translates as “the velvety ones”). They have a new album out, Rio, and it is quite good. Musically it weaves the electronica experimentation of the last few years with Latin and Caribbean folk styles, going for a sort of musical version of magical realism. As always, the songs are politically engaged, this time largely around water rights in their home country, Colombia. On the songs folks knew like “Baracunatana” and “Bolero Faz,” the whole place knew the words and Andrea Echieverra did not even need to sing. But when she did, she drew notes from way down inside her, “engaging her core” as my artist friend Riti so aptly put it: another candidate for the decibels per pound award. They finished with my favorite, “Luz Azul.”  Poke around their site, including the link to the old site, to find lots of their music and videos if you want to give them a listen.

A day later, we joined thousands of marchers in the May Day immigrant rights marches throughout Los Angeles. While I’m here in Kolkata, I intend to edit soundscapes from the protests and even the Venice Beach Drum Circle (maybe not together though), but I’ll save that for another time. There were six or seven different marches this year, altogether about 10-15,000 people came out on the streets, but they couldn’t all get together because each though that either they were being excluded or else they wanted to exclude something they saw as too radical or not radical enough. One sign of unity emerged in the evening, as two groups headed mostly by younger people, the Revolutionary Autonomous Communities and CopWatch LA descended on MacArthur Park and actually managed to cooperatively put on a great event highlighted by RAC’s great documentary on the 2007 May Day police riot at the park — which cost the city 12.85 million bucks in damages — We’re Still Here, We Never Left, followed up by a totally rocking Latino ska band called Ekolekuua that had the park skanking and moshing. Maybe the elders will get it together to cooperate some more next year.  I’ll try to add some pix later, but I forgot the camera usb cable so it will have to wait til I get back to Boston.

Speaking of Boston, we caught the Damned in, of all places, Paradise – ‘hey, who let those guys in?’  I’ve been a fan since the seventies, and “Wait til the Blackout” is one of my top five favorite all time songs. They played it, along with most everything else. Captain Sensible was too loud, sloppy and talked way too much, kind of par for the course I guess, but it was loud and great. David Vanian seemed a bit checked out…maybe trying to look goth? Anyway, it was a blast. And we got there just as they started and it hadn’t sold out yet so for some reason, no one was at the door and we got in free! Now that is Paradise.  I have the cable for the iPhone, so here’s a blurry pic of the Captain and Vanian to go with the blurry Aterciopelados pic. I won’t go into the controversy over why Rat Scabies left, but the Captain went on a pretty funny rant about it and put in a plug for the book on Scabies’ quest for the Holy Grail.

Now if I could only find time to write about the avant garde guitarist festival last summer in Tokyo…but how about a few new tunes from me instead. Here is a dub thingie with a nice wobbly bass line, L.A. Skank, and another I’m calling “be miner” for now. More rreplay has happened and I’m mixing away in Kolkata so stay tuned there, but first I’ll have to write about my Kolkata musical quest, so stay tuned, though its looking like it be a few days as we’re heading off on a side trip.

Caught Ozomatli (click here to open an Ozo jukebox while you read) again, this time at the 200 seat Grammy Museum in an event to mark the special exhibit “Songs of Conscience, Sounds of Freedom.” It was supposed to be just talk, but the full band, with a sit-in drummer, showed up with instruments totally rocking out a 200 seat theater instead of the overstuffed HOB Anaheim.

We were sitting right in the middle about halfway back…perfect seats. No pics allowed though, so the picture on the page is from their site.

They showed a film from their travels as emissaries of the US State department, jambassadors as they used to be called. It was a complex process, playing on behalf of an administration they disagreed with, but in the end they went for it and did speak out without burning a little Bush piñata on stage. They decided they could knock out some stereotypes about what Americans are like making sure they would be allowed to speak their minds. Not everyone was happy – they got hate mail from the New York Post, which they seemed pretty proud of.

One of them, I forget whom, remarked that they approach their activism through the music rather than vice versa, having the message arise organically from getting the music right, a la Fela Kuti, James Brown, or Bob Marley, rather than taking an aggro, in your face didactic approach.

With success, Ozo have found the they can’t always play what and where they want anymore because of  prior engagements and contracts, but they still try to do benefits and be politically active through the music. They talked about playing the Bowery Ballroom in NYC a week or so after 9/11 and what a powereful experience that was. They talked about playing in a parking lot that stood where the Grammy museum is now for what I guess was a protest against the building of the whole LA Live complex in 1999. I remember talking with Monisha on the way there, wondering what the neighborhood was before the whole Staples Center/LA Live complex was built.

LA provides an ambivalent inspiration for the band. The city’s eclecticism and diversity was like a macrocosm preparing them for meeting musicians and other people around the world by going around LA. At the same time, they grew up in the years of the riots and the peak of gang violence. Living in working class, immigrant neighborhoods they were exposed to a lot of violence growing up and they talked about how they kind of grew more political from experience and circumstance than from any ideological stance. For example, the violence went on until a white kid got killed, then all of sudden, Clinton comes in and says “no more of that.”

The host, Josh Kun from USC, asked about specific social movements and they responded by saying that music cuts across boundaries and unites people in ways that are unique, and that Ozomatli has tried to tap into this power by singing about the daily struggles to do the right thing. Hip hop acted as a huge bridge that people could respond to all around the world, but there were other moments that had to be negotiated even though they were intimidating, like the percussionist Jiro Yamaguchi playing tablas to a North Indian Percussion school, or the band playing salsa in Cuba, where the Cubans were like “well, ok” but then the Cubans tried playing some funk and Ozo could say “well ok” too, which made it easier for everyone to be comfortable playing what they played without worrying about it.

They finished up by talking about how they stayed together, Raul saying it was therapy, which brought a big laugh, but he said it was serious, and that they had to work through stuff and grow as people, and that over time they developed a commitment to each other that they never would have thought they would find with a bunch of guys.

Then they played a half hour set, telling a little story about each of the songs. They started with “Malagasy Shock,” with its message of seize the day. Then they played a song on what looks to me like a detuned acoustic tenor guitar teamed up with Turkish drums. The song was originally based around a Spanish chorus about the sun coming up, but came to be about the Asdru Sierra’s son, kind of like the Teletubbies sun kid he joked. Then came a reggae-ish song I don’t know, no story this time. Then a rapper whose name I also missed came up and pitched in on “City of Angels.” They finished with “Temperatura” They were in the studio during the May 1 demonstrations and decided to hit the streets rather than record. Instead of being a song about Ozo inspiring the masses, this one is about the masses inspiring them, a fitting way to finish up.

We hung out afterwards and talked to Josh a bit and Ozo’s manager, then checked out the exhibit while waiting in line to meet the band. I just got a new stack of rreplay CDs, so I gave them a couple. You can hear rreplay here and the rest of my music on WayMusic. Give it a listen if you made it this far.

If you are interested in digital guitar, check out the Digital Guitarist YouTube Channel. Subscribe here.

n.b., update June 23, 2010: in depth review of Godin xTSA, part 1: as electric guitar.  Part 2: as acoustic. Part 3: as guitar synth with Roland GI-20 and Axon AX50

I decided to get a new guitar for traveling so I would not have to subject my ancient SG and pre-cbs jaguar to airport bumps and tosses.  If you just want to hear what the new Godin xTSA sounds like, here are a quick one, strange attractors, and recession era dreamscape 17, all showing off the synth and acoustic capabilities.

I have been eying up Godin guitars for some time now, and played a neat one with two humbuckers and a single coil in the middle with a little twist…there was also an onboard piezo pickup to emulate an acoustic sound.  The one I played was in Honolulu, at Easy Music Center, and a good deal, but I decided to forgo it and wait til I got to Los Angeles to buy anything, thus saving one leg of travel.  Plus I figured there might be more guitars in LA than in Honolulu.  I sent some emails out inquiring and got back a response from Jon Bingham at West LA Music on Santa Monica Blvd saying he could get the Godin for me.  He got me a great deal.  Go see him for yr guitars!  When we got around to details, it turns out that Godin has stopped making this particular guitar but makes the exact same one with a guitar synth built in as well, the xtSA.

I have been playing synthesized guitar for a while, using first G-tune, a tuning program with midi out, then the widi pitch tracking software.  This has been fun–but tracking is a problem.  Widi did a better job than g-tune (it should, it is made for the purpose while g-tune is primarily a most excellent tuner program), plus you could delimit the note range, taking some stray hits out of the picture.  Still, it was like having a slightly drunk Thelonious Monk wannabe playing something vaguely similar to what you played on guitar but a little later.  It is actually kind of cool sometimes, especially if used as an inexact wash kind of thing…check out rreplay’s round the perimeter, but the problem is something called tracking.  Turning guitar string vibrations into midi notes is computationally inexact and intensive, so the tracking was never more than an approximation.  Plus, neither captures any of the dynamics of your playing.  This is particularly a problem with widi…it would not take much to put in an envelope follower to track dynamics and map it onto a midi control change message…that should be built into the program.

So anyway, Jon said he could get me a sweet deal on the xtSA, basically getting it for the same price as the discontinued model without the synth, so I thought , ok.  Now last time I checked, guitar synths were always multi-thousand dollar affairs that locked you in to a particular set of synth hardware that did not sound so great.  I checked again and found the Roland GI-20, which was just what I needed, basically it just took the signal from the guitar and changed it into midi, which I could then run through my zillion plugins.

After a few mixups which delayed the guitar’s arrival, I got it, the GI-20, a road-worthy case, and the attendant cords and a cool strap.  The guitar is a beautiful flame maple top, black with lighter detailing in the wood.  I also like the cognac flam maple finish, but got the better deal on the black one.

Got it home and spent a week on the acoustic and electric pickups without doing the synth.  Very nice.  The combination of humbuckers and single coil is nice.  I have always played single coils, so it is nice to have that edgier sound available, and I figure when I get back to Honolulu, having something with humbuckers will add to the sonic palette.  The single coil is not so hot, outputting only about half the volume of the humbuckers, but with a nice fendery slinky kind of sound.  I am going to try raising it to see if I can get it to output a little hotter.  I like crunchy single coils a la p-90s, but I am not sure this one has it in it.  The pickup positions, selected via a strat-style 5 position switch are neck humbucker – humbucker/single coil – single coil bridge humbucker – and bridge.  I thought it might be nice if the humbuckers could be tapped, instead of mixing, and a couple of other Godins do that with two pickups, the the LGX-SA and the LGXT, but they are two to three times the price.

The acoustic section is cool sounding, though without some doctoring up, not really acoustic sounding.  It is more like the glassy 80’s Police/Andy Summer kind of tone that sounds really good chorused.  I am playing with running it through a convolution reverb with a guitar body impulse loaded to make it sound woodier, and also mixing it with an octave up signal and a light slow moving chorus to get a twelve string sound…hmm, maybe a delay would be better than a chorus to get that…I’ll have to try it. One down side is that the whammy bar is really microphonic when the piezo is on so usually you’ll want to swing that out of the way.

The guitar plays flawlessly.  It came set up right, and there are no dead spots or buzzes.  It has locking tuners, which I guess I don’t get the point of just yet.  They put on strings with no extra winds around the tuning peg, and I guess the lock is supposed to keep them in place and in tune, but mine slipped when I bent the strings, so I had to immediatrely restring.  Not a good pitch for the Godin strings that they recommend on the guitar.

My setup for while I’m away from home

noise from ground loop

Now on to the synth…this is where things get a little squicky.  The setup is to run an acoustic and electric analog out and a thirteen pin analog to midi cord to the Roland GI-20 midi box.  When I plugged the Roland into the USB, it gave a terrible whining noise through the electric pickups at 1000 hz, 2000 hz 3000 hz and so on (see image above).  I solved the problem by dispensing with the roland usb midi and running a midi cable out of the Roland and into an outboard USB midi port.  Another seeming problem is that the synth volume knob does not work until you program it to work on the roland, as I found out when I RTFM.  Once all that got sorted out, I was able to make some interesing music.  Check out a quick one first if you don’t have much time or patience.  It is the acoustic guitar played with a synth bass tracking the guitar sound.  Next comes strange attractors, and last and weirdest, but showing some of the interesting things that can be done with the synth, is recession era dreamscape 17.  All are recorded in one take in Plogue bidule.  Everything but the drums comes from the guitar.  As always, check out the rest of the music on way music.

OK, just because I am getting so behind here because of all the good music in LA…Ozomatli totally rocked the Disneyland House of Blues two Saturdays ago.  If you have never heard of this LA band, their albums are great, but their live show is amazing, one of the top five concerts I’ve ever been too.  I have just missed them three times at home in Hawaii…they are one of the few good bands from the continent to come through.

It was a packed house, but we got a great spot in the front center of the balcony, where it was not such a mob scene and Monisha could see.  Plus it was right over the sound board, so the sound was great. A woman about my size kept trying to slide in to a space about half my size all during the first band…I moved over but there was still not room and she kept pushing…I thought she was going to pick my pocket or something.  Finally she asked the woman next to me to move over while her husband was away so she could get in, taking hubby’s place.  The woman said no, the spot was her husband’s, and finally the woman gave up.  I would have let her in, she was just too big!  But my wallet was ok.  It distracted me from the first band though.

Ozomatli accurately describe their music as “a notorious urban-Latino-and-beyond collision of hip hop and salsa, dancehall and cumbia, samba and funk, merengue and comparsa, East LA R&B and New Orleans second line, Jamaican ragga and Indian raga.”  They have been working with rappers Chali 2Na (from Jurassic 5) and Kanetic Source.  The songs they were in weren’t just jams with raps over them (except maybe one or two).  They were worked out so the raps fit the music to a “T” even to the point of having the whole band do synchronized dance steps with them which was kinda fun.  I was waiting for them to break out the electric glide or the macarena (not really).

The band, together for fourteen years, seems to be at the top of their game and having fun while still managing to be political.  I’ll check out their politics a bit more when Ozo come to the Grammy Museum in LA on March 24th.  I only tell you cuz I just got my two tix for this 200 seat place—if you can, hustle over to ticketmaster and get ’em — they are only ten bucks (plus all of tixmaster’s fees upon fees).  They’ll be talking, not playing though.

But back to the playing, they covered all the styles they claim to and then some, even having some oud-ish sounding instrument at the forefront for one song.  It was really a family affair, with about 1000 family members present and rocking.  A couple of band members’ kids and partners even took to the stage at the end, when opening band Upground joined them too.  The whole thing ended with Ozomatli setting up a second-line style marching band and wandering around the HOB floor for about half an hour.  I talked about the Ninja Academy’s getting revenge for classical Japanese music lessons….I am sure this was the revenge of the kids who had to play in the high school marching band…who knows, with a band like that in HS maybe I would not have dropped out (don’t worry, I went back and now can’t get out…I’m a college prof)!

Upground was also excellent in their own right, rocking the place with their Latin infused rock and reggae sound.  Check them out too!

Sorry Ozo heads (is that the right term?) for not knowing the songs — I always listen but seldom learn titles. I’d have had more to say on the music if I was able to write a little sooner after the concert while stuff was fresh, but work impinged.

As always, if you made it this far, give rreplay and the rest of way music a listen, especially my “The Revolution will not be on the Internet” which is going on an album with Chumbawamba and John and Yoko among others!

Eric Parker from rreplay has a new Boston thing going…check out the music at his blog, theriex.

Went to hear Ozomatli and an East LA band that I had not heard of before, Upground.  Both were great.  Ozomatli was one of the best live gigs I’ve ever heard.  More later, once I get done with some of my real job.

Juana Molina, Juana Molina, Juana Molina, and Juana Molina (along with Gregor Hilbe on drums and Martin Iannaccone on bass for most of the night) played the Trouadour Tuesday night.  Molina spins out a magical web of sounds based on something called looping.  Think of a loop as a section of a song that one plays, say on guitar, and then replays after it is recorded, with the option of recording more over the top of what has already been played.  Molina uses four of these loopers plus what she plays and sings over them after recording them: building some up  while taking others out, now a vocal loop with another voice dubbed over it, a synthesizer might come in while layers of guitar shift and swirl in everchanging textures.  Molina’s playing requires an insane amount of multitasking and juggling.  Hilbe managed to sound like Molina’s idiosyncratic percussion through a combination of wonderful playing and technological wizardry, thickening his beats by running them through pitch-shifting delays on a MacBook.  Iannaccone also did a fantastic job on bass and occasional backing vocals.

At one point, the band left her to her own devices for a few minutes then came back with some low-tech wizardry for a change.  A table with 3 overturned plastic bar glasses was set up on stage, and the three musicians played a percussion game consisting of pounding the the cups in a rhythm interspersed with claps and everyone exchanging cups to the beat.  It was great fun and sounded quite cool…I think there was a contact mike on the table.  It reminded me of the bottle-and-ashtray-with-handclaps percussion of the Dixie Cups classic “Iko Iko.”

All the machinery could be a recipe for mechanical sounding music, but she never sounds canned.  In fact, mixing all the loops together almost always results in some unique, irreproducable sounds.  The danger is that mistakes get replicated too and one little glitch can wreck the most carefully planned loop.  The trick here is to turn glitches into musical moments on their own terms, which I think happened once or twice during the night.

The music is stunning, and at the risk of sounding new agey, it has an opening up effect on me, something that I might have called spiritual a few years ago, but for now I’ll just enjoy it it without having to label it.  This goes along with Molina’s lyrical intent.  Most of the songs are in Spanish, but while I would like to understand the words better, much of the singing is just notes with no particular words.  I think this helps her cross-cultural appeal, because she sings in a more or less universal language all her own.

I managed to get right up front without knocking anyone over or barging forward in spite of the nearly full house.  On the right at the top is the best of the lousy iPhone pix I was able to get, and below are my attempts to make them a bit more interesting.

Finally, as always, give a listen to rreplay and the rest of my music on way.net.

Caught Anavan (myspace) at the Smell Saturday night, where they played from the floor rather than the stage and got almost all of the 100 or so people “up real close til it’s uncomfortable” (actually what they said was a bit ruder) and then proceeded to set the whole thing off into a forty minute mosh pit/dance floor set to their beat-heavy, guitarless, raunch-synth driven pop-tinged mayhem.  I couldn’t really see what was going on except when Aaron Buckley gave up his drums to stand on a table or something and hold forth above the crowd, inciting further motion on the floor, but everyone was moving.  Great live show, and I wonder how they fare when the crowd is bigger and less familiar with their music.  You could tell they loved playing at the Smell and the Smell requited it on Valentines Day.

The other act we caught was tleilaxu music machine, a one-person rant caromed over the top of superhyperindustrialdrummachinesynth pummeling.  Outfitted in a lovely black sundress with striped kneesocks, arm hoisery, and workboots, the dreaded and bearded guy running the machine drove a bunch of people from the room when he started but then drew just as many back in…after a minute or two of acclimation to the sound, it began to take root in some part of the lizard brain and actually became compelling, and he put everything into the performance, moshing away with the crowd and rolling on the floor as he alternated between setting and playing synth patches and growling and roaring through the microphone.

Also playing, but I failed to catch them, were Extreme Animals, faav, and the two-drums-and-glockenspiel puppy dog. Next time.  And hey, what’s with this trend of unreadable (unless you highlight everything), seizure-inducing strobomatic clashing color myspace pages? Ouch.
As always, check out rreplay and all the other great music on Way.Net.