Newspapers / The Guilfordian (Greensboro, N.C.) / March 23, 2001, edition 1 / Page 10
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Page 8 S4NIB BATTLE II IK THE SEKENSII Ty Eppsteiner STAFT WRITER 7:09 p.m. "When is this supposed to start?" says Cullen, drummer for Hazy Days, the second band scheduled to play. "N0w..." says James, the group's guitarist. But there is no audience, and the stage is bare. Dave, drummer for the Jazz Giant's, the first band scheduled, can't make it till ten. "We may have to go first. Maybe some of us could disap pear, that way we wouldn't have to play..." says Cullen. 7:20 p.m. The auditorium is still empty. Hazy Days has just pushed a lone piano to the front of the stage. James saun ters up to it and begins to move through jazzy piano riffs, slightly crude, yet mood effec tive. Patrick, the group's har monica and back-up vocals comes from behind the curtain to squat against the side of the stage near James and grooves BPrV y ■Mpr aJm ,#ft* I H mp' ■1 ' ■ln And of course, what would any Guilford rock show be without the antics of Little Brother and the Spoiled Siblings' frontman, Tim LaFollette? Doesn't he look so sweet and innocent here? But HA! We all know better.... He'scrazy. 1 Features 7:25 p.m. 12 people in the audience. "We have no rhythm section," says Clay, the Jazz Giant's saxophonist, to Ben Shelton, the group's bassist. They both laugh. The stage is quiet and disheveled. 7:42 p.m. A few more people have begun to straggle in. Ted, the "Freundt's Jazz Giants'" pia nist has taken over the Balldwin grand; he switches moods between George Win ston and Bill Evans. Cullen has been chosen to fill in for Dave. The Jazz Giants begin set-up. 7:50 p.m. Freundt's Jazz Giants take the stage. The first song, they claim invented on the spot from the horns of Jon Moore [trumpet], Clay Steinwister [sax], Ted Fetter [piano], Ben Shelton [bass], and Cullen, culminates in avante-gardesque call-and-re sponse between the horns and funky licks in the rhythm sec tion. They mix all the ingredi- The Guilfordian ence. Hazy Days sets up. Cullen dangles his feet over the front of the stage. Isolated shouts and playful jeers sound from the growing crowd. "Did you get it?" asks Ben Shelton, filling his next role as "Cousin Jimmy's" bassist. He walks past Ben Many, one of the group's two guitar ists, who sits in a side room backstage. Many rests, shaded by a white cowboy hat that shields him from the fluorescents. "I got it." For emphasis, Many plays the country lick he has been trying to "get" for one their songs perfectly as Shelton glides past. He continues jamming as Hazy Days begins their set. 8:25 p.m. "We smile as the music hits us, because there is rhythm in our soul." Jack, on ents of a "bitch's brew" yet at times feel like a mish mash of music with no plot. Their second tune, written b y Horace Silver entitled, "Song for my Fa ther," is a more tradi tional piece that flows on a deep tight un der c u r - rent groove. 8:20 p.m. 4 0 people in the audi- DAVE SNOTT guitar and vo cals, sings above the bum rush cacopho nous pulse. David Cloni g e r , Stephen Brinkworth, and Jon on percussion, Ted Fetter on keyboard, Patrick McDougal on harmonica, Cul 1 en Povthress on drums, James Hart on guitar. They jam in the style of the Gratetful Dead and the Allman Brothers. They use dynamics to deliver the audi ence into states of hashess bliss or rollicking dance. Their playful stage presence accom panies the expanding emo tions of the growing crowd. j •-' -X, ' 3 Garron Rogers of Clutch Hand sure knows how to keep a crowd busy. He wouldn't even stay still long enough for us to get a great rockstar picture. llt J m l $ Jrn^H Eric Mann of Little Brother and the Spoiled Siblings is nothing other thanrockstarbabe-alicious. Oooh yeah. March 16, 2001 -8:45 p.m. 135 people in the audi ence. Tim Lafollette, sched uled to go after Clutch Hound, shuffles back and forth back stage. His hands rest on his hips as he weaves through the LYNDSAY ELIAS throngs of black instru ment cases, amps, and drum sets. He has on a dirty " wife - be a te r" with the words, Weiner Bruder 1 1 2 4 6 0 1, scrawled in permanent marker on the front. Charlie Chaplin's face is tattooed to his left shoul der. Four soft dim lights barely light backstage cast ing most of their glow on four white pil lars positioned on the sides of the stage. Garron Rogers, clad in jeans and a "wife beater," claps his hands before the curtain as if psyching himself up before heading into an interview. He shakes his head, pulls the side curtain open, and walks on stage. 8:55 p.m. "Ya'll come a little closer," Garron invites. "You shouldn't be so far away." Clutch Hound, Garron's band composed of feverish maraud ers shelling the audience with a barrage of gut tural aggressive heavy- metal, lives up to its name. 9:31 p.m. 211 people in the audience. "What's the dif ference between tuna and a fish?" one of the an- LYNDSAY ELIAS nouncers, whose tongue is quickly loosening, asks the au dience. "You can't tune a fish." And with that he breaks into beat-boxing, free stylin', "yo' momma" joke-telling, and dry humping to appease the audi-
The Guilfordian (Greensboro, N.C.)
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March 23, 2001, edition 1
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