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Bela Fleck and The Flecktones: An unorthodox trio
By Ming Rodrigues
for t*xt Oregon Da*V l ***&&&
Whal prompts a New York City
kid to take up the banjo? Hearing
the lif\rrlv Hillbillies theme sung
perhaps or the duelling-banjos
scene in Dehvemncr ' Well. ves "I
was itist riveted by the sound of the
instrument.'' admits Bela Flw k
When he limk up the instrument
at age 15, rather than hewing to tra
ditional forms His k delved into the
kind of niusK other urban teen
agers were playing I.ed Zeppelin.
Yes and (.hit k Corea, for instant e
I,iter, after moving to Nashville and
earning a reputation as a hluegrass
whiz, he eventually formed Bela
Flw k ft Hie F lis.ktones, a group that
mirrors his wider interests in jazz,
hluegrass, rot k, funk, I-atin and oth
er styles
.Sim e then, the unorthodox hand
{Instruments include a unique elec
l roll it percussion tailed the Synth
A\e Drumitar) has made some
impressive at t omplishments Hat h
of their first two albums was nom
inated for a Grammy award, and
tfieir 1891 release. Flight Of The
Cosmic Ihppo. climbed to number
one on Billboard's contemporary
jazz charts They have also appeared
no less than three times on The
Tonight Slum, and in late 1991 they
toured Kurope with Bonnie Kaitt
and wrapped up the year in style
when they opened the New Year's
Eve show for the Grateful Dead.
Now comes UFO TOFU, the
group's third studio release, and
Bela Fleck is proud of it "It s a real
evolution," he says. "We wanted to
continue the attitude of the first two
albums and to combine complex
playing with accessibility. This time
we tried to be more song-oriented
with memorable melodies, diverse
grooves and new sounds."
"Our success surprises us," says
Fleck. The band, however, attrib
utes their popularity to a grueling
schedule of over 200 dates per year
for the Inst three years.
One way to understand the
band's rise to stardom is to realize
Bela Fleck and The Flocktones ns
musical visionaries. For Fleck, the
opportunity to make changes in
how the banjo was played began in
New York when he was the young
protege of banjo great Tony Trish
ka. Fit* k said Trtshka was open to
all types of music, which he con
sidered ideal while starting out on
the instrument.
"No matter if it's jazz, biuograss.
Irish or world music, what I like to
listen for is the spirit of creativity
— it's a kind of 'forward leaning'
quality you can always pick up."
viys Fieck. "It's all ethnic music, in
a way. Jazz, for instance, is ethnic
Bela Fleck and The Flecktones appear with Artis the Spoonman and Baby Oramps at the Hilton Ballroom April 24.
music, hut like Imiinn music, it's
also becoming a kind of classical
music.
"I think there’s a lot of growth
within the band as a performing
unit," Fleck adds.
“We improvise together so much
that a lot of the growth is what hap
pens on stage in the way we take
left turns together and make split
second decisions based on know
ing what we each might do or might
not do.
"We're « very human-friendly
group. With some hands, you can
tell they're trying to push and be
intense all the time while with oth
ers. it's obvious they re in it for the
money." «avs Fleck "Wore neither
of these We've played together long
enough to read em It other's minds
and we love to challenge ourselves,
hut mainly we want to i omnium
t ate with the audience
A live F’leoktones concert is a
departure from their structured,
recorded efforts. Fleck prov ides a
musical am hor while the Tones
showcase their musical and phys
ical dexterity on solos and duets
Their repertoire ranges from The
Beatles to Tchaikovsky to Vit tor's
rap tune for world peace
Flet k says live is what the hand
is all ahout. "People always say We
really like your records, hut when
wests! you live, it’s a whole differ
ent thing '
"There's a lot of v isual aspwt ts to
w hat's going on and then- are things
that vmi ll see when you t Ottie to
see the Flet ktoiles that you won't
see anywhere else people plav
ing instruments in i ertain ways lis
tuning to the music is only half of
it."
Along with spot uil guests Artis
the Spoonman and Bnhv (.ramps,
Hela Fleck and The F’lei ktones will
perform Saturday, April 2-1. at l>
p in. in the Fugenu Milton Itallrtsim
Tickets SIt> for student* and
$12 general admission are avail
able .it the FMU Main Desk
Court*** TOto
Brave Old World performs traditions! K termer music at Basil
Concert Hall April 25 as part of the Music Today Festival.
Brave Old World upholds the musical tradition
By Ming Rodrigues
for me Oregon Daily Emerald
Sounding like a cross between a New
Orleans dixieland band, an old-time
Appalachian string band and a Brecht
Weill theater band, klezmer music is
as rich as the East European Yiddish
culture that gave it birth.
hull with the traditions of religious,
folk and popular song, it reflects the
influence of Romanian. Ukrainian. Pol
ish. Russian, Hungarian. Greek and
Turkish sensibilities on the Jewish
imagination.
(Carried by the great waves of Jewish
immigration into the country at the turn
of the century, it developed in the New
World despite the near-destruction of
Jewish life in the Old World. And so
in love songs, wedding dances, histor
ical ballads and political anthems, its
melodies and rhythms continue to
blend the flavor of East and West, of
old and new
Truly folk music, klezmer was a
thread that, along with religious faith,
kept a wandering people in communi
cation with one another.
Frequently compared with Ameri
can jazz because of its improvisation
a! style, klezmer also grew- out of an
oppressed, isolated subculture — a
world for the most part unknown to the
dominating culture.
I.ike African-American culture, the
music of the klezmor bunds preserved
its integrity because of its isolation from
the mainstream and thus, when it broke
out of the underground, it appeared on
the scene fresh, vibrant and fascinat
ing.
A dozen years ago,'first in the Hay
Area and then throughout the nation,
the Klezmorim ensemble dominated
the klezmer scene. Lev Liberman's
enthusiastic researc h had encouraged
him to form an authentic klezmer hand
playing authentic klezmer music Oth
er hands followed worldwide, and soon
the Klezmorim began expanding its
repertoire Howuvcr, though the spir
it of the music remained, often its roots
wore lost.
One kle/mor group that did not
dilute its music to accommodate tastes
more attuned to American pop. rock
and jazz was Brave Old World, a four
piece hand including Michael Alport
on vocals. comAmntnry. violin and per
cussion; Alan Beni on accordion, piano
and percussion; Stuart Hrotmon on
string tmss. dmbalum. percussion and
various instruments; and Joel Rubin on
clarinets.
flailed hy the Village Voire as "a
Turn to WORLD. Page 8
y<*. li-fMUk-«o4 wfa
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