Music has always been prominent in my life — roots extending back far beyond my years, my mother a Greek belly dancer, my father esteemed in his talented salsa swinging. Heck, even my family photo closely resembles that of a Bee Gees group shot circa 1982. This is then seemingly appropriate for me to be living now in one of the nation’s largest Mecca’s of culture and art.
With a burgeoning collection of everything from museums to live music venues, San Franciscans are spoiled, if not smothered in the aforementioned. Yet, it is so often, and with greatest ease that one can take this all for granted.
On Feb. 23, many tuned their TV’s to undoubtedly the year’s biggest evening in the music industry, the Grammy Awards. 23 million people watched as winners such as Coldplay, Ashanti, Nelly, and Norah Jones received awards based on the recognition of their peers, undeniably highlighting their careers as artists.
Their hit tunes wrap the airwaves of every major radio station across the country, their faces wallpaper our magazines, and their bodies dance their way across MTV, their names, common in our households. Yet, however obtainable these artists seem to us, really, the idea of ever getting to see them in small, familiar setting is highly unobtainable.
Subtract if you will, the idea of seeing a show at mega-plexes (Shoreline Ampi-Theatre for example) and imagine yourself amongst similar ranks as the artists. Being so close, that you can stand and watch in awe and give direct eye contact to the musicians themselves. You dance so hard that afterwards when you extend your gratitude in the form of a handshake to the singer herself, she shakes back and says humbly “Hey, I’m glad you enjoyed the show.”
When you plop down $10 to buy that bands first, independently released album to listen to later, you know that your money trails back to the very artists you just heard that night. Perhaps this is information you know, and therefore benefit from already.
To generations of independent artists, this is their sole livelihood wagering their lives on presenting their art to others.
When I first conceived this project, I thought to myself, “This will be great. I’m gonna catch seven parties in a row and write about it.” What has since unfolded, is how lucky we all are, that on any night of the week, one can catch an outstanding live show right here in our very own town.
I was reminded that music goes far beyond what we see on TRL (Total Request Live) and read about in Spin. Each of these artists featured, as diverse in their musical offerings, play with such intensity to an audience of 1 or 1,000, as if they shall never play again. In the spirit of honoring independent artists everywhere, I, the lone ranger of concert going, will present to you … from bebop to hip hop, 7 nights of live music in the city.
Tuesday 2/12/03
With only one or two left in the city, live jazz clubs such as Bruno’s should be put on an endangered species list. Over the years, the owners of Bruno’s have greatly cultivated an exceptional venue to catch live, quality jazz, on any night of the week.
In the candlelit backroom of the club, the freshfaced players of Shotgun Wedding Quintet await to sonically summon you, tuning their instruments and welcoming the slowly filling room. The delectable instrumentation of flute, alto saxophone, slide trombone, didgeridoo, seven string electric bass, electric violin, and drums make it easy to think that we’ve stumbled upon some sort of jazz show.
Under the dim stage lighting, two turntables and a microphone see themselves politely into the mix. Welcome to their universe: the unraveling of jazz cats and hip hop heroes – two separate forces, intermingling. Jazz veterans Adam Theis, Joe Cohen and Eric Garland, lyricist M.C. Dublin and DJ Aspect make up the illustrious bunch. With their swank ness in synch; clad in matching pinstripes suits and Kangol hats, hereby ripping to shreds any “image” one might hold to hip hop.
“We wear the suits to distract people from their perceptions of rap music and also out of respect for the music itself,” said M.C. Dublin after the show.
And with this, I promise, Shotgun Wedding is like none else. Over the course of the night, the hip hop nods its head to Brazilian tempos that cha-cha their way into burlesque themed ragtime which, in turn, delivers us a package of spastic dub. Frosted over with skipping violin riffs, dub delicately molds itself into an ethereal dreamscape over which at times, M.C. Dublin surrenders softly spoken word, all the while, staying politically cognizant and flowing with fluidity.
With first class breaks and scratches for the skilled, DJ Aspect interlaces his musical offering so solidly smooth, he is the quietest gem in the bag.
All in all, Shotgun Wedding makes for one scrumptiously sound showdown.
If you like: The Roots, Soulive, or Pink Floyd
Try: Shotgun Wedding Quintet