Tomahawk
Tomahawk (Ipecac Recordings)
In 1999, Jesus Lizard guitarist Duane Denison and his bandmates called it quits, ending a fruitful 10-year collaboration that took them to every corner of the globe and afforded them some measure of celebrity. The group epitomized and helped establish the pummeling, bass-driven sound propagated by esteemed producer Steve Albini; they sold tens of thousands of records, played on Lollapalooza and maintained a loyal following that included Kurt Cobain of Nirvana. So it was a big deal when they disbanded, but as Denison explains, none of the members wanted to be in a group that was perceived as getting past its prime.
Prompted in part by the split of Jesus Lizard, the extremely versatile and virtuosic guitarist left Chicago, where he’d lived for 10 years, and landed in Nashville in the spring of 1999. Like so many people who wind up here, he’d only intended to visit, to see about a job. But after falling in love with the “hills and trees and birds” and “low crime,” he decided to stay. He also had that job keeping him here: a gig as a guitarist for Hank Williams III, the onetime local thrash/punk drummer who in recent years has forged a country career following the path of his famous father and grandfather.
Denison’s latest project, Tomahawk, is about as un-Nashville as you can get—which makes it all the cooler, given that it came to fruition here. Last year, the guitarist met Mr. Bungle/Fantomas vocalist Mike Patton after Mr. Bungle played a show at 328 Performance Hall. Based on that one meeting—Patton had apparently been a Jesus Lizard fan for years—the two began a musical relationship through the mail that soon became the main outlet for Denison’s creative energies. He even quit his job as Hank III’s guitarist. “I wanted to spend a lot of time on it and really concentrate on songwriting and make this as good as it could be,” he says.
The pair recruited Kevin Rutmanis of The Cows and John Stanier of Helmet to round out their new group. The four converged in Nashville to record Tomahawk’s debut disc in May and June 2001 with Joe Funderburk, a local engineer who made his reputation cutting the likes of Jerry Reed and The Judds. Now out on Patton’s own Ipecac imprint, Tomahawk testifies to the group’s collaborative nature. The songs are all Denison’s, but each player retains his own idiosyncratic style: Rutmanis’ dissonant, jazz-fueled, but still rockin’ bass, Stanier’s deejay-influenced beats, Denison’s nuanced, blues-based riffs and Patton’s emotive vocals and samples all stand out in their own right.
The great thing about collaborating with Mike Patton, according to Denison, is that “he’ll take my tape and come up with melodies I would never think of.” This gives the material a certain unpredictability, even though Patton’s dominant musical personality and lyric stamp are instantly recognizable—as is his penchant for sophomoric humor and what Denison terms “cinematic” keyboard textures.
Classically trained by the likes of Manuel Barrueco and Christopher Parkening and with a performance degree from Eastern Michigan University, Denison is arguably “overqualified” for the bands he’s been in. This is not to slight Jesus Lizard or Hank III or Tomahawk, but merely to underscore his own all-encompassing interests: He cares as much about the feel of the music—about the rockingness and the edginess—as the technique. That comes through on Tomahawk, but there are also moments on the disc (such as “Laredo”) destined for tablature transcriptions in guitar magazines. And accomplished as it is, the album is ultimately unfulfilling thanks to Patton’s lyric presence, which tends to dominate the record. (If, on the other hand, you’re a fan of Patton’s other projects, this probably won’t be a problem.)
Still, there’s no arguing that this is serious, nuanced playing, anchored by a relentless backbeat and unapologetic bass, but just as equally informed by Denison’s own broad tastes. (Of late, the guitarist says he’s been listening to legendary German ’70s group Neu!, deejay/producer Amon Tobin and laptop musician Fennesz.) The record also contains the most convincing update of the classic ZZ Top sound since Steve Albini’s group Big Black covered the legendary Texas trio in the late 1980s.
Tomahawk are currently on tour in support of their debut album, but curiously they have scheduled no Nashville appearances. Whether this is an oversight on the band’s part, or on the part of local club owners, there’s a large demand for rock music in this town that goes unnoticed and unsatisfied—and one that Tomahawk might well satisfy.
—Chris Davis
Angel of good
Like recent releases from artists including Robert Earl Keen, Chris Knight, Ben Folds and Nick Lowe, local singer-songwriter Karen Taylor-Good’s first nationally distributed CD, On Angel’s Wings (Scream), hit record stores on the worst Tuesday in U.S. history: Sept. 11, 2001. While the unfortunate timing may have cost her a few album sales, she also learned a priceless lesson of purpose. “For the first four days after [the terrorist attacks] I thought, 'Why should I ever write a song again? What part could I possibly play?’ ” she recalls. “Then I checked my e-mail and so many people had written to thank me, and say that my music was helping them through this.”
But then, such a response was only fitting, given the inspirational nature of Taylor-Good’s music. The Texas native and two-time SESAC songwriter of the year received more positive encouragement through the guest book of her Web site, www.karentaylorgood.com. One fan wrote, “Especially at this time of insecurity, your songs bring great peace.” Another fellow songwriter added, “I hope you never run out of things to write about in this world of extreme suffering (in between our times of great love and joy).”
Through lyrics that are often painfully honest, Taylor-Good confronts tough issues such as raising a teenager (“Heart of My Heart”), aging parents (“Me There in the Middle”), child abuse (“The Eleventh Commandment”) and loss, best expressed in her 1995 Grammy-nominated hit “How Can I Help You Say Goodbye,” which was recorded by Patty Loveless for her platinum-selling album Only What I Feel. “There are songs about grief, and how to get to the other side of that,” Taylor-Good says of her new CD, a collection of some of the most healing songs from her past five recordings. “Some of that is what people find comforting.”
Her music is often used in therapy groups and self-help workshops, and has landed her roles as opener for self-empowerment author/lecturers Dr. Wayne Dyer and Marianne Williamson. “Many Christians can turn to Christian and Gospel music and find peace, but what about everyone else?” the songwriter asks. “I think my music offers a place to find spirituality by relating to real-life stuff.”
On Angel’s Wings can be found at Nashville-area Tower Records, Barnes and Noble Booksellers, and other record retail outlets nationwide, or it can be ordered through karentaylorgood.com. A portion of the proceeds benefits Alive Hospice Inc. and the National Hospice Foundation.
—Heather Johnson
Friends, family and funk
Victor Wooten is so highly regarded that he tops critics’ and fans’ polls even in years when he doesn’t have a new release. He’s an acknowledged master in any style, but his latest Compass session, Live in America, spotlights his proficiency as a funk accompanist and soloist, as well as a bandleader. The two-disc set showcases his band at various live gigs, and the guest performers include another bass legend—Bootsy Collins, who gets the first CD off to a blazing start on “Are You Ready, Baby?” Fusion and pop player/producer Marcus Miller is on hand for “Miller Time,” but Wooten’s flashy licks, often amazing riffs and frequently brilliant solos don’t take a backseat to anyone on either CD. He again demonstrates his comfort with and mastery of contemporary technology, on two cuts utilizing a Yamaha MIDI pickup that allows him to enhance and embellish his usual array of thudding, deep tones and thick riffs. He even moves over to guitar on “My Life.” Throughout, he’s assisted by brothers Regi on electric guitar and Joseph on keyboards and theremin, plus drummer J.D. Blair. Wooten shouldn’t have difficulty repeating his triumph in the critics’ polls with this one.
—Ron Wynn
Fair Weathers
He once replaced the great Maceo Parker in James Brown’s band, so saxophonist Waldo Weathers certainly has the chops. He zips through the blues, covers soul and contributes a couple of entertaining originals on his current release Waldo—The Mix. The selections range from a decent rendition of War’s “Low Rider” to an entertaining romp titled “Who’s Dat Knocking” and soulful, steamy solos on “Late Night,” “Stormy Monday” and “Give It Up, Turn It Loose.” He smoothly combines a huge tone, excellent timing and a powerful sound, creating interesting solos even when the melodies he’s working from aren’t exactly breathtaking. Still, compared to the total technique Weathers displays in a live setting, Waldo—The Mix only offers brief glimpses of his skills.
—Ron Wynn
