Vintage Guitar - July 2016 - Open - 114

hiT lisT REVIEWS
Pete Anderson

Gary louris
with trademark
'60s Gibson SG.

Live at the Moose

The Burbank
Moose Lodge
do e s n't s e e m a
l i kely plac e for
electrifying guitar
performances, but Pete Anderson and
band spent three days in December 2014
dazzling the crowds that showed up there
to see them. The band is basically an organ
trio with Anderson, Luke Miller on organ
and key bass, and drummer Lael Eccard.
Anderson's chops are on display throughout and he shows he's not afraid to play
around. Those familiar with him from his
long-past days as Dwight Yoakam's guitarist and producer will smile at the banjo
rolls that have notes flying everywhere on
the funky "36-Hour Day."
"One And Only Lonely Fool" is a simple
blues shuffle that features Anderson soloing
with double stops and dazzling singlestring runs that are imaginative and never
fall into cliché land. The instrumental "Wes
Side Blues" is a jazzy piece with some Latin
influence.
If you think it's impossible to take the
sameness out of slow blues, check out
"I Got Mine" as he mixes blues and jazz
into a guitar stew that almost creates its
own genre. Anderson's also not afraid to
explore several emotions within one song.
"Blue Guitar" is a lovely instrumental that
starts as a ballad and before it's done it
becomes a funky number that showcases
his quick right hand. It's all different and
varied, without cutting into the integrity
of the song.
While Anderson flies under the radar to
the general listening public, he's assembled
a discography that features original and
imaginative guitar playing. If all you know
or remember about him is his past history
with Yoakam, latch on to this one and
then work backward through an extremely
rewarding catalog of music. - John Heidt

Charles Lloyd
and the Marvels
I Long To See You

It doesn't take a
genius to realize that
adding Bill Frisell to
a project will yield
great results. But teaming him with jazz
saxophonist Charles Lloyd was a master
stroke, in large part because the sensibilities

Power PoP with
twaNg aNd thUNder

t

hose with only a
casual ear to the
pavement will likely
file the Jayhawks under
murky signifiers such
as "Americana" and "Alt
Country." While those
tags were once perfectly
apt, the truth is they've
been thoroughly inadequate since the second
Clinton administration.
In 1995, Jayhawks
co-frontman Mark Olson
bailed abruptly, though
amicably, leaving guitarist
Gary louris and bassist
Marc Perlman, the lone
founding members, at a
crossroads. The reimagined band began indulging
deeper influences and
sonic sensibilities. Even
at the band's twangiest,
louris' love of a good
Fuzz Face had been
noted frequently, but
suddenly the sublime
brother-like harmonies he
had created with Olson
were replaced with layers
of keys, strings, and an
expanded pedalboard.
Nearly two decades

Vintage guitar

114

on, the Jayhawks offer
their ninth long-player and
fourth sans Olson (a shortlived reunion in 2011-'12
ended badly). Recorded in
Portland, Oregon, the disc

Paging Mr. Proust
The Jayhawks

is co-helmed by louris,
R.E.M.'s Peter Buck, and
production whiz Tucker
Martine (Bill Frisell, My
Morning Jacket, and
Mudhoney, among many
others). Martine's diverse
past credits hint at what's
in store when the needle
drops. "Quiet Corners &
Empty Spaces" may hint
at the classic Jayhawks
modus operandi - catchy
jangle, descending verse,

July 2016

and louris' fantastic
tenor (which seems to
get better with age) - but
exciting left turns await.
The muddy and druggy
rocker "lost The Summer"
is a quick counterpoint
to the opener, while the
anglophilic "lovers Of The
Sun" feels like a sunny
park scene in a groovy
mid-'60s rom-com. And
although "Pretty Roses
In your Hair" sounds like
the title of a lost A.P.
Carter chestnut, louris, a
ferocious guitarist, would
leave Neil young blushing even in his gnarliest
Crazy Horse mode.
Songs like "Isabel's
Daughter" and "The Devil
Is In Her Eyes" reel things
back to more familiar
territory with Karen Grotberg's keys and gorgeous
background vox playing
off louris and the harmonies of drummer Tim
O'Reagan, but both are
contrasted with the likes
of "Ace," a snakey detour
(complete with car horns).
Buck's influence is
obvious in "Dust Of long
Dead Stars," perhaps the
best mid-period R.E.M.
song not written by
R.E.M. The album's zenith,
however, is "leaving
The Monsters Behind,"
an incredible ear worm
featuring a marvelous
background vocal from
R.E.M. bassist Mike Mills.
Proust finds four musicians who've been together for two-plus decades in
typical fine form but, more
encouragingly, continuing
to move forward. Fans of
Big Star-inspired power
pop, headphone music
from the likes of Jayhawk
pals Wilco, and indeed
Americana twang, will
consider this a rewarding
endeavor. - Dennis Pernu


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Vintage Guitar - July 2016 - Open - Cover3
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