Tapir's '4/20 at Last Concert Cafe' packed by funk-filled,
By Chris Goodier
Daily Cougar Staff
Hosted by Tapir Productions, Saturday's "4/20 Party at the Last Concert
Cafe" offered a seamless festival lineup. Beginning at the coinciding late-afternoon
time, the first of several bands quelled crowd anticipation while promising
the full bill that followed.
Local funksters Plump started the event via bumping bass textures and
wah pedal repetition. Putting out a feel good dance vibe, the band
emitted a soothing pattern of eardrum massage, which continued though
Arriving spectators did well in Plump's jovial cascade of pleasure,
absorbing the comfortable party invitation to the point of buoyancy.
Encouraging celebration with a show of gratitude, the band fed off
the lingering grins and bounced between cover songs and Shaft-inspired
Parts of the set had a Skatelites texture of edgy rhythm work over the
driving tempo of a standard like "Caravan." By mid-set, noticeable dancers
exposed more surface flesh, advertising tattoos and piercings that
would be uncouth in other settings.
An occasional breeze relieved the sultry climate, beckoning concertgoers
to shed their garments while their skin developed the glossy buff
characteristic of gyrating bodies. By that time, a nucleus of dancers
had converged in front of the stage; its thickness more noticeable with
concentrating on a balanced symmetry between the horns of the Last
Concert Cafe's public address system.
The Greyhounds, which played after Plump, continued the jam-based improvisation
in such uninhibited environs. The three-piece combo played
refreshingly eclectic progressive funk. The Greyhounds, which list
influences ranging from Wynton Marsalis to Guns 'N' Roses, successfully
meet the desire for more cerebral compositions in jam-based music.
The distinction is accompanied by the role of Anthony Farrell on the
piano. Farrell adds color to the band's sound; to this he attributes both
classical and real-world experience.
The Los Angeles-based Greyhounds are gaining notoriety after their appearance
on the recent Musicblitz Records compilation Jams: Vol. I,
Don't Call Us Jam Bands, which puts the band alongside respected groove
musicians Galactic, Robert Walter's 20th Congress and Vynal.
On the road from Vermont was the "newgrass" slinging Smokin' Grass.
The on-stage lineup featured a bassist, solid rockabilly drumming,
hyperactive mandolin strumming and two acoustic guitarists who did
more with their hollow bodies than is usually allowed by convention.
While one picker was tearing into convincing electric guitar emulation
with the addition of overdrive, the acoustic guitarist positioned his strap
with the sound hole facing upward, laying a steel slide across the
fingerboard in lap style while standing up. Without falter, the rhythmic
trade-offs careened back and forth in a dueling frenzy.
Agility and speed were showcased in a late-set tow truck driver-classic
rock-vegetable medley. Here, trademark rock styles evolved with
succession, going from Deep Purple to southern rock and culminating
in a fiery Iron Butterfly.
Closing the event was the bittersweet banjo finesse of The Tony Furtado
Band. With accolades like "Banjo Player of the Year" (twice) and regular
invitations to the Telluride Bluegrass Festival, banjo/acoustic player
Tony Furtado had no trouble drawing a very respectable congregation.
It took only two songs to get the crowd back into the high spirits experienced
under Smokin' Grass's watch. Furtado's rhythm guitarist unveiled
an abstract bed of accompaniment by tweaking a Johnson combo amp with
a digital preamp.
Light-speed banjo runs quickly got contemporary, resembling the assurance
of the Dave Matthews Band. But by the time 1 a.m. rolled around,
Furtado corralled the stomp of Appalachia in a fireside spiritual to
close out the show with a lasting intimacy.
"4/20 at the Last Concert Cafe" provided yet another opportunity for
Tapir Productions to prove their ability to arrange a quality live musical
Other events are posted on its Web site, www.tapirproductions.com.