There was preshow party for what was probably the best complete show of the festival on Oct. 30, 2002. Food and drink and everything! Naturally overcrowded, but a very good vibe
The gig opened up with a decent pair of djs, not usually my bag, but I enjoyed it while it lasted. THEN, suitably robbed for the baptism, The Polyphonic Spree... from Mississippi? over filled the stage, Trombone, harp, flute and theremin with a dozen or so in the chorus.
“You’ve got to be good. You’ve got to be strong. You’ve got to be 2000 places at once.” I heard from some in the exhibit hall that they also played the day stage way too loud for that room, I’m told. They were just fine at the Bowery Ballroom, though. Lead man Tim DeLaughter was previously known for Tripping Daisy. This was sort of T-Rexy at times, let’s say part Brady Six at others. It could or would be called disco, if the genre existed today. I never thought I’d say it, with that suggestion made. But I liked it. Every song was a ballad, and most went on too long. But then of course, I wasn’t expecting this disco revival. Third act was Hazeldine, with a sweet harmonious, slow tempo start promised more than the predictability that followed. I came out for Robert Randolph and the Family Band, an act I swore I’d see again after working through his Gathering of the Vibes set as cameraman in 2001. These guys are fantastic. The universal march of love. ... of freedom ... “You’re gonna tell somebody you were a witness to somebody learning the march tonight, said Randolph. The march is par between John Cleese’s ministry of funny walks and the balance Chuck Berry, but no worries. The spirit just moves you to do it. “Press On,” fantastic message “No matter what I’m going through, I’ve got to press on. ... All the hard times in my life, I’ve got to press on.” What a howlin’s sound that man produces from the pedal steel guitar. Do you self a favor and hear him. I had the opportunity to tell Randolph before the show that he reminded me why I liked music in the first place. Writing this, reminds me all over again.

Another great CMJ showcase performance was compliments of Danielle Howle Nov. 1 downstairs at the Knitting Factory - though I didn’t care too much for the other acts on the bill. Daniel played some with a accompaniment, electric guitar and bass - which truely suits many of her songs, but didn’t forget to do the solo thing too, even acappella that I love so much. Of course, the barroom crowd only occasionally had the class to just shut up and enjoy, but her voice could handle it – from soulfully belting out the ones I know from her cds, to others I hadn’t heard yet. “I’m here to dispel the myth that people with acoustic guitars do not kick ass. There will be no bread covers, though I do love the band,” she said. “When you leave and you try to describe me to your friends whether you like me or hate me, don’t use the word folk, rock or country. Use the word, this weird girl in a crazy red dress took some pictures o’ time and I got ‘em in my mind.” She offered the crowd pop-structured songs or weird as hell structured songs, and played some of each. Strange, somehow she seemed bigger than the little stage of this basement performance room. Maybe because I last saw her aptly fill Radio City Music Hall - with no help at all. The concert hall crowd there also failed to pay full courtesy. Better acoustics though. I want to see what Danielle is up to now. Last I heard there’d be more of a band and some local tour action booked by a NYC agent. She’s printed in my mind, and she’s due for a new CD, too. “There’s a war going on and we’re having a good time,” she said. Little could she know.

While the FilmFest lineup was altered slightly by the pulling of Phone Booth a sniper flick ill-timed and release-delayed by the beltway area sniper nightmare, there were some very good motion pictures to be had during FilmFest. The replacement for the mainstream flick was about a punk band trying to make in Australia, I think. It was a little slick but very entertaining. Can’t for the life of me find my notes on that one - can’t even tell you the name. BUT if you stumble across a listing for a film that fits that description, watch it. Amandla! A Revolution in Four-Part Harmony has been making the festival rounds the past year. It’s an outstanding documentary on the use of music as resistance to Apartheid. Very moving, and educational. Worth watching both for the music and narrative thread.

At the exhibit hall, Victor E. seen in the photo, played his own vide, produced by him, and played over and over at a booth staffed by him along. The video had these hot nurse types feeding Jell-O type jiggly cup candy to zombies, or working droves. Who knows what that’s about. E. played the t’ing over and over on a plasma screen hoping to get “Meditation No. 6 (Getting to Know You)”” sold, I think. I wish him luck. I haven’t seen it on MTV yet, but then I don’t watch MTV. xradio.com was there too, cutting through the bullshit with straight music by subscription. Who has money to pay for that? I can’t imagine. Still, it could be nice. There’s was a healthy dash of indie labels with all the Internet wonks on the exhibit floor – a good sign.

I also wandered in and out of a very crowded panel featuring Tori Amos, who was babbling on about her new cd. Perhaps it was the bad sound, perhaps it was the lack of an available chair (though the carpeted floor was fine), or perhaps it was Amos’ meandering remarks. I couldn’t stay. Other sessions included promotion, marketing, distribution, I’d say the panelists are more than qualified but the format sometimes doesn’t do the topic justice. I’m always amazed by howmany people are trying to make it in the music biz. Many of them do still appear to be frustrated musicians. - Ment