In part one of this post I asked the question: Are there African Americans who are carrying on the tradition of banjo playing? And answered: Not that I’m familiar with. Of course the fact that I’m unfamiliar with something doesn’t mean it doesn’t exist. So feel free to hip me to any contemporary or traditional banjo playing that’s going on in the black community. In the meantime I am hip to Béla Fleck and his band The Flecktones. You can’t find a more eclectic and talented ensemble anywhere on Earth. In this article I’ll be reviewing the Flecktones album The Hidden Land.

Formed in 1988, the band plays a unique mix of Jazz, Bluegrass, and Fusion. Its four members each contribute their own innovative musical style to the whole. While you may initially may do a double take at seeing the banjo in the middle of a contemporary jazz band, it should be remembered that the banjo was a primary instrument in early jazz groups up until the 1930s or so.

Let’s start with the rhythm section which consists of brothers Victor Wooten (bass) and Roy “Future Man” Wooten (percussion). Those who keep up on modern fusion and such will know Vic Wooten from his solo albums and collaborations with other virtuoso players such as Greg Howe and Scott Henderson. On this album he works much more as a sideman allowing the other instruments ample room to stretch out and show their chops. If you see an album featuring Victor Wooten, buy it, they’re all good. I find his collaboration with other musicians especially satisfying though, as it allows different musical paths to be explored that one man can’t do by himself. Subterfuge is one of the funkier tracks and appears to have Béla employing a bit of fuzz on his axe.

Next up is Vic’s older brother Roy who goes by the name Future Man. That’s not just hype either. Check out his axe. He’s created a one of a kind digital drum controller that’s played like a guitar, and calls it a Synthaxe Drumitar. It’s basically a drum controller shaped somewhat like a guitar that triggers midi sounds. This allows “Futch” a lot of freedom in what sounds he plays as well as the ability to stand out front with the rest of the band. I really like this kind of stuff. Too many black drummers and guitarists that I know are afraid of new technology. It fits right in with some of the new instrumentation for the 21st century including the Roland and Axon guitar synths, the Chapman stick and Béla’s own use of a midi pickup to power one of his banjos. Oh, did I mention he can jam too. The cut  Chennai shows you some of the subtlety that’s possible on his instrument

A later addition to the group is wind player Jeff Coffin. While all he does is play traditional saxophone, he has been known to play two saxes at once which is highly unusual. He also rounds out the lineup by providing a pure lead instrument and plays with the same virtuoso skill as the rest of the band. I didn’t realize how good he was until I caught the band live on PBS one time. I had been so focused on Vic and Futch that I hadn’t noticed Jeff until they brought him out front. Outstanding! He teams up with Béla on the oldschool Who’s Got Three.

Last but not least is Béla Fleck himself on banjo. I’ve always been appreciative of musicians that can play multiple styles. Béla sets the stage by bringing his skill at bluegrass, jazz, rock and even funk to the fore. While you still hear the signature twang associated with banjo, I was pleasantly surprised to hear the different tones he gets out of his instruments. He even plays a solid body version that appears to have a Roland midi pickup attached (the pickup is usually associated with guitar so he must have had it retrofitted). The combination of effects plus his ability to solo in a jazz style or add soft chords in the background makes you wonder why the banjo was dropped from the standard jazz instrumentation in the first place. Here’s a tasty banjo solo from the song Labyrinth.

Admittedly some of the bluegrassy stuff I can do without. Fortunately the album’s 13 tracks have enough variety that some of the more countryfied stuff can be overlooked. In fact the album starts off with this classically inspired cut Fugue From Prelude & Fugue No. 20 In A Minor, BWV 889  just to let folks know from the jump that these guys aint playin’. All in all an excellent album. It makes you consider that there are still musicians around who can put together a full album of enjoyable music and more importantly that different combinations of instrumentation can be effective if played by talented artists. I’ll be sure to keep my ears out for more of Béla Fleck and the Flecktones.

Related posts:

1. Pickin’ and Grinnin’, pt. 2: Béla Fleck and the Flecktones
2. Pickin’ and Grinnin’, pt. 2: Béla Fleck and the Flecktones
3. Pickin’ and Grinnin’, pt. 2: Béla Fleck and the Flecktones