Mia: Club Goddess

In her second column for Good Citizen, our pal and gal around town Mia Sladyk will tell you about all the great shows you missed. In this issue, Mia raves about Ozomatli and she has lunch at Stone Soup with Marc Ribot.

A special thanks to the local Warner Bros. affiliate for keeping Mia's favorite late night TV offering, MuchMusic on the air throughout the fall. An insider told me that the broadcast of the Canadian music television network, MuchMusic, was only a fill in for the local WEB station's summertime schedule vacancies. Fortunately, my kind words in the last Good Citizen somehow enticed the powers that be to keep MuchMusic on WB throughout the fall. Thank you for keeping a young woman happy and leting me see cool videos without purchasing cable.

Ozomatli
Higher Ground 
Saturday, July 25
Three County Fairgrounds
Northampton, MA, Wednesday, July 29

I work at a record store in Burlington. I am fortunate to have the opportunity to listen to pretty much any and all music that is released for our listening pleasure. I get a lot of cassette samplers of emerging artists, most of them are crap, but I try and give them all a chance in my car stereo where there is no huge time investment or loss. There is a whole lotta crap out there to weed through but occasionally there are a few gems that shine and rock my little lame-ass world. When I catch these great new bands or musicians, I feel the need to spread the word, and I do. 

I snagged a two-song Ozomatli cassette sampler on my way home from work one day and popped it in my car stereo for the short drive home. I knew they were coming to Higher Ground in a few weeks, so I though they would be cool, but I was thoroughly surprised at the incredible mix of Latin, hip-hop, funky reggae dance madness. I found myself doing the "car drivers' boogie", dancing in my seat and tapping my fingers on the steering wheel. 

When I got home I called work to see if we had the full length Ozomatli album, went back to work, got the CD and started counting the days until the show. The buzz traveled around town quickly about "that" band who's going to be at Higher Ground on Saturday. I was amazed at the level of word of mouth promotion involved. All those who knew that Ozomatli rocked let everyone else know. Everyone I talked to had already heard something about Ozomatli, and was going to the show to see what the hype was about.

Finally, Saturday arrived and I was on my way to Winooski for a good night of dancing fun. I had been listening to their debut self-titled album for about two weeks to familiarize myself with the L.A. based band. Even though I don't know Spanish, I knew the sounds of the words, and could kind of sing along.

I was waiting for the set to commence, looking at the stage for activity, but I looked back at the front door of the club and saw the ten-piece rhythmic dance explosion entering with their horns and drums playing the intro from their album. They proceeded to the dance floor, banging away, establishing the beat for the rest of the night. WOW, what an entrance! 

The integration of Latin rhythms and horns with a hip-hop dance beat enticed the crowd into dancing throughout the set. The rapper skills of Chali 2na (from the acclaimed hip-hop group Jurassic 5), brought the hip-hop aspect to the forefront on many tunes, making up for the temporary absence of their DJ, Cut Chemist (also from Jurassic 5). The vocal styling of the other singers Raul Pacheco and Asdru Sierra are rooted in a classic Latin style varying from falsettos to guttural croons. The three piece horn section reinforced the salsa, cumbia and samba rhythms and added a fun jazzy layer. The percussion brought all aspects together with a driving cohesive beat, integrating the magic known as Ozomatli.

They ended their set with my favorite song on their album, "Super Bowl Sundae," highlighting the brilliant MC style of Chali 2na. At the end of the set, they made their way onto the dance floor, each band member playing either a percussive instrument or horn and led the dance circle out to the parking lot, back into the club and then back on to the stage for the grand finale. WOW, what an exit...

I danced my ass off more than I have danced in quite a while. I was intoxicated by the Latin rhythms and the hip hop beats that kept my ass shaking. 

Ozomatli had been touring with the WARPED tour but had to take a few days off because of their inability to travel in Canada because of "issues." That is the only reason we were fortunate enough for them to hang out in Burlington for the weekend. "Way to go" to Higher Ground for scooping them up. 

So, Monday morning I got to work and got a call from a super-cool record company guy, Joe Kara, from Universal. He is working the new Ozomatli album and wanted a review of the show. Of course I couldn't shut-up about the fabulous experience I had witnessed and let Joe know about the coolest thing since sliced bread. Joe asked me what I was doing on Wednesday, and I had the day off, so he told me that Ozomatli was playing at the WARPED tour in Northampton, MA. I was ready for the road trip.

I drove to the Three County Fairgrounds to see the music extravaganza, Vans WARPED tour. Thirty bands, five stages, a competition size half-pipe and street course with pro-skaters, bikers and in-line skaters and twenty thousand kids rocking out to their favorite hard-core, punk, ska and hard rock bands...Oh and Ozomatli, of course. I was extremely overwhelmed by the amount of stuff going on and decided to focus on seeing Ozomatli and forgot about Rancid, Bad Religion, Cherry Poppin' Daddies, NOFX, Reverend Horton Heat, The Specials and a bunch of other cool bands. 

Me and my friend, Jessica, walked around for awhile. We caught little bits of a bunch of bands on a few different stages and finally found the stage where Ozomatli was playing. I saw the Ozo-boys, went over, said hi and was greeted by surprised faces. "Wow, you drove four hours to see us? Thank you soooo much!" They couldn't believe that people actually traveled distances to see them.

They rocked out for a short forty minute set featuring a great bunch of songs. The highlight of the show was definitely the presence of DJ Z-Trip, a fill in for Cut Chemist. The masterful turntablist skills of Z-trip brought the Latin, hip-hop dance explosion to a new level. 

So, yes, I am the biggest Ozomatli fan in the world. If I could I would go on tour and be an Ozo-head.

Marc Ribot Y Los Cubanos Positizos
Greyboy Allstars
August 18 and 19
Higher Ground

I have seen the Greyboy Allstars a few times, they are fun and all, but I went to both nights to see Marc Ribot Y Los Cubanos Postizos (The Prosthetic Cubans) open. opinion). Ribot's new project is a tribute band to the late great Cuban composer and guitarist, Arsenio Rodriguez. The New York City based quartet's self-titled new release brings traditional island jazz sound together with subtle "new-jazz" styling to create innovative interpretations of classic works of a Cuban legend.

Guitar legend of the modern era, Marc Ribot has been playing for years, with Tom Waits, The Lounge Lizards, John Zorn, Trey Anastasio's Surrender to the Air and Tricky, to name a few. His prolific history has spawned many recordings varying from virtually unlistenable albums full of noisy guitar and squeaky sound to straight up rock and roll and classic jazz records.

I knew the show at Higher Ground was going to be much tamer then the majority of music I have heard from Ribot. Past albums, like Rootless Cosmopolitan and Don't' Blame Me illustrate a more off-the-wall, chaotic sound of the guitar virtuoso. His new project, with The Prosthetic Cubans, is a more controlled, danceable, mellow jazz, not as rooted in an improvisational noise as other works.

I went to both shows, Tuesday and Wednesday, missing the beginning of each set, yet still catching a good forty-five minutes each night. The content of the shows were about the same both nights, featuring all of the songs from the new album. I enjoyed sitting and truly listening to each piece fall into place forming songs as well as dancing a bit. 

The amazing guitar mastery of Ribot was complemented by an incredible rhythm section of bassist, drummer and percussionist. Bassist Brad Jones' slick bass lines helped set the mellow vibe. I enjoyed the moments when he played his stand up bass with his bow, adding a nice non-traditional tinge. The highlight of the show was "La Vida Es Un Suero," a passionate beat driven tune supplemented by the amazing vibrato soaked guitar solos and sultry vocals.

Sporadic vocals and intoxicating solos helped bring the unknowing crowd closer to the stage and more interested. The crowd was a bit timid to really pay attention and dance a bit on the first night, but the second night everyone new they knew should arrive early to see the opener.

It was evident that a lot of folks in attendance were there to see the guy who played with Trey in hopes of a surprise appearance...cause maybe he might play with him...kind sister...and hey the show was a few days after the Lemonwheel.

The Greyboy Allstars brought the energy level up significantly with their up-tempo, grooved out, funky acid-jazz. Thick saxophone and groove oriented keyboard lines shaped around slick guitar riffs got the whole club dancing. It definitely got me dancing all night long. 

I left early on the first night missing the surprise appearance of Marc Ribot during the second set. A friend of mine taped the show so I got to hear the recorded version and it certainly did rip. I thoroughly enjoyed both nights of music. The second night was a bit better, due to a more packed house providing the energy for the rockstars to shine.

I was fortunate enough to rope a nice little lunch meeting with Marc Ribot on Wednesday afternoon so I could get in touch with the man behind the myth. We had a long conversation over a healthy meal at Stone Soup. I was anxious to find out about such an experienced and intricate man who has created such diverse and crazy music. He told me about the fifteen to twenty years he has been collaborating with many musicians of different backgrounds. 

Of course I was most interested in his involvement with Tricky. I am probably the biggest Tricky fan in the world, so it was great to hear some first-hand experience from someone who helps create the music I love so much. 

We talked about the crazy John Zorn years and the Lounge Lizard period. He was a very nice guy. I had intended to transcribe the interview, yet it was kind of loud at the restaurant and my tape was pretty inaudible, oh well, at least I have the memories...

Construction Joe
Wednesday, August 26
Club Metronome

Every time I see Construction Joe live, I think its the best show yet! This show WAS the best. They are probably my favorite local band. I religiously listen to both of their albums, the debut, self-titled CD and the most recent release Cry Uncle. I go to every show I can possibly see. I even have "bootlegs" of their fantabulous live performances and radio appearances. I just can't get enough of these Queen-city rockers.

Club Metronome is my favorite place to see Construction Joe play, due to the excellent mix by sound engineer extraordinaire Sergei, as well as the incredible volume of the music and the way it fits so well in the room. The sonic-dirt sound of Construction Joe is fully appreciated at extremely loud volumes. David Kamm's fiery banjo-pickin' and Nelson Caldwell's ripping cello playing just aren't fully experienced until the volume is on eleven.

The American-roots feel to their music was intimately felt throughout their set. Sonorous vocal harmonies rang throughout the evening as the quartet powered through a string of fast acid-grassy tunes. Lead vocalist and guitarist, David Kamm presented his best banjo-pickin' skills on "Lizards" as well as some other live favorites. Trevor Crist and Nicole Valcour provided the back-beat rhythm allowing for a great night of rock and roll.

The highlight was a slick little mellow tune called "Pleasure." It portrayed every aspect of why I think Construction Joe is the most rippinest band in all the land. Three part harmonies, smart lyrics, sweet melodies and blazing cello and banjo solos combined to create a swinging masterpiece. Another shining moment of the set was during a brilliant rendition of Tom Waits "Glad That You're Gone," when Guppyboy and Ben Grimm member Zach Ward made a guest appearance on backing vocals.

Kudos to yet another enjoyable evening of Construction Joe pleasure...thank you!

Mia Sladyk found her dog, thank you. She would like to thank all the kind people who called her with dog-sightings.