Drums and Tuba perform
Sunday at Sam Bonds.
BY VANESSA SALVIA
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Supple, Swaying Tuba
&
TRACHTENBURG
FAMILY SLIDE
SHOW PLAYERS
Brand new sounds at Sam Bond’s.
W
hat kind of music can be made
with drums and tubas? The an-
swer, if you’re a member of the
genre-defying ensemble Drums & Tuba, is a
resounding “everything.”
The eight-year old group has produced two
EPs and five full-length LPs, the latest being a
self-released full-length, Gas Up Blow Up.
(D&T’s second release for Ani DiFranco-
owned label Righteous Babe was 2002’s
Mostly Ape. A third Righteous Babe release is
expected in Spring 2004.)
Cutie will be appearing Wednesday, Nov. 19
at WOW Hall. The band has received much
critical acclaim for fourth and latest release
Transatlanticism. This Bellingham, Wash.,
quartet lifted its name from the Beatles’ film
Magical Mystery Tour, though there’s nothing
“cute” about their approach to accessible-
rock-meets-indie-meets-pop.
The title Transatlanticism alludes to the
CD’s theme of distance. Not only physical, ge-
ographic distance, but psychological distance,
the kind that makes enemies of former lovers.
THIS
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ALL AGES
The threesome creates a surprisingly supple sound,
made funky by the voice of the barrel-chested tuba.
1010 WILLAMETTE ST · 541-344-4343
The instrumental trio doesn’t rely entirely
on drums and tubas however; Tony Nozero’s
drums and Brian Wolff’s tubas are comple-
mented by Neal McKeeby’s guitars, and, on
Mostly Ape, electronics by Nozero and trum-
pet by Wolff. And that’s it.
The threesome creates a surprisingly sup-
ple sound, made funky by the voice of the bar-
rel-chested tuba. Keyboard loops and samples
paint a swirling backdrop for the brass expres-
sions and guitar melodies, with the result
being a mesmerizing, hip-swaying sound any
fan of jazz, funk, jam or electronica would
find irresistible.
It all began in 1995, when Nozero and
Wolff met while working together at an Austin
health food store. The pair immediately recog-
nized a mutual affinity for “eclectic sounds.”
Nozero and Wolff tried their hands as street
performers, but as a duo, they felt something
was missing. McKeeby came along, and the
trio began an exhausting touring schedule.
In 1998, folkie DiFranco took notice. The
group toured with DiFranco and Righteous
Babe debut Vinyl Killer followed in 2001.
Though the group’s members now split their
lives between New York City and New
Orleans, the group remains committed to play-
ing live and stirring up ideas about the role of
the lowly tuba in danceable jazz.
The band’s ultimate goal when they take
the stage, is, according to Wolff, “to get people
to say ‘I’ve never seen anything like that be-
fore in my life, and it fucking rocked!’”
Drums & Tuba will perform Nov. 16 at Sam
Bond’s.
Indie-rock darlings Death Cab For
Transatlanticism shows Gibbard’s songwrit-
ing growing stronger. Chris Walla’s keyboards
are better than ever and bassist Nick Harmer is
re-joined in the rhythm section by former
Eureka Farm bandmate Jason McGerr.
DCFC has been busy since releasing The
Photo Album in 2001. An EP in early 2002 was
followed in the fall by a CD re-issue that in-
cluded bonus tracks of original cassette-only re-
lease, You Can Play These Songs With Chords.
Walla has produced a couple of notable re-
leases, the Long Winter’s When I Pretend To
Fall and The Stratford 4’s Love & Distortion.
Gibbard joined up with Jimmy Tamborello to
make Give Up, an electro-pop record released
under the moniker The Postal Service. Nada
Surf will open DCFC’s WOW Hall show.
Changes are in store for Eugene’s 10-year-
old venue, Café Paradiso. Recent scrutiny by
the OLCC means that the venue will no longer
be able to host musical acts for all ages. The
coffeehouse is making the move to a full-serv-
ice bar, which means shows will be 21 and
over only. That license, as well as some minor
remodeling, will be realized by mid-
December, when the permanent change to 21+
will take place. As of now, Friday and
Saturday shows are 21+ only, with shows dur-
ing the week remaining all ages.
Over the past few years, Café Paradiso has
slowly ramped up its entertainment, offering
performances far beyond the “background”
music the OLCC had originally licensed them
for. Unless the venue was willing to revert to
“background” music only, or cordon off a sep-
arate area for drinkers, the OLCC demanded
the change.
ew
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