Aural adventure

Planet Groove's amazing journey

by Michael Caito

Planet Groove

The child of two classically-trained musicians, Leith MacArthur got into a "royal blowout" with his parents over his musical training at the tender age of seven, and didn't pick up an instrument -- in his case, bass -- until they had both passed away, four years ago, when MacArthur was 48.

With percussionist/drummer Ajay Coletta, MacArthur started Planet Groove about three years back. Now 52, he's jokingly referred to as "the silver fox" by younger band members. At Paragon on Sunday, the quintet's founding duo discussed the comparative pitfalls and rewards of releasing a "concept" album, mentioning that unfortunately, like-minded musicians (see also Amoebic Ensemble, V Majestic for rough equivalents) sometimes feel compelled to dance-ify live sets in the hopes of fomenting interactivity -- and interest -- with nightclub patrons and booking agents. Like the Amoebics and the V, Planet Groove are tricky to describe, but Coletta and MacArthur did fill in helpful details about their self-titled debut, which clocks in at just over an hour.

Jeff Goulart (also on percussion/drums), John Medeiros (g) and Chris Zarlenga (keys/ piano) round out the fivesome, with cameos by saxophonist Klem Klimek. The opening "Serengeti Dancer" marks the first footsteps in a trek through this world's most ancient and fiercely beautiful terrain:the titular Plain, a "Metropolis" that owes as much to the South American country as it does to the Terry Gilliam film Brazil, an "Across the Rishi Gange" evoking images of the storied river, plus "Journey Into Sunlight" and "Desert Passage," which examine verdant pockets under searing skies. To this point, we witness nature as X-Game -- bold, exotic and potentially life-threatening. Planet Groove's continuous keyboard/bass/guitar interplay is the body whose blood is aerated and refreshed by the two percussionists. At its most potent, the effect is that of a waking dream, a concept bolstered by MacArthur's admission that two compositions originally came to him as dreams. In another instance, he was inspired by the 1990 film Dreams by Japan's icon of cinema, Akira Kurosawa.

Of course, some dreams dissolve into nightmares, as the fifth track "Descent from Dunagiri"shows, with a chilling sample of men gasping for breath before the band launch into this track about a 1975 climbing expedition. It marks -- in memoriam -- a fatal 1982 assault on Everest's harrowing North-East Face which claimed the lives of mountaineers Joe Tasker and Peter Boardman. Medeiros' simple three chord progression suggests the one-step-at-a-time precariousness of the climbers' situation, while MacArthur's basslines, seemingly coming from all directions at once, could well represent buffeting winds and snow squalls. Ditto Zarlenga's piano, which could also represent the climbers' laboring breath. The temptation for the percussionists -- whose presence is unmistakable and tasteful in the first four tracks -- to cut loose in a sort of wintry percussive fury was probably hard to resist, but they hang back. It's thus a defining moment for Planet Groove, and extending the mountaineer metaphor further, represents how crucial it is to remain focused internally as the external forces of nature go berserk. To this point the listener has been able to negotiate Afro-Cuban, African and Latin American tinctures nimbly, as they incorporate a jazzier feel than either Peter Gabriel or David Byrne, two of worldpop's more recognizable proponents working within similar pan-global idioms. The album does have a tiny pop sheen, but it's only in the idea of what it isn't: despite the inspiration of dreams and Dreams, it never lapses into a passive, New Age feel. That's a feat given the delicacy of their textures and the presence of synth effects which only occasionally devolve into syrupy washes.

"3510" starts the second half on a sci-fi tip, and the gist of the continuing saga involves aliens of that year and their interaction with a planet called, ahem, Planet Groove. From here to the end we're treated to the examination and celebration of said planet, and you'd guess that there are either Herbert or Heinlein fans -- or both -- at work. At just under two minutes, "3510" marks a sea change in feel, and right through to the end the listener happens upon the intricacy and danger of this new world on a more kinetic plane. It's an ambitious thematic swerve, but the thread is never lost during the extra-worldly journey.

With the exception of the percussionists, the playing is sure-handed throughout. Coletta and Goulart raise the bar. They showcase among their percussion arsenals twin elevated bass drums, and transcend surehandedness, keeping surge intact, and propelling as confident beat-keepers are prone to do. Mix that in with dream elements, an inventive if expansive storyline. Then add Planet Groove's refusal to raid the cupboards of worldbeat merely for the sake of some provocative, metriculous (as in metrically ridiculous) knock-off, and their debut is one of those rare musical sagas you have to hear all the way through every time.

Planet Groove's CD release party is on Saturday at the Century Lounge. Info at www.planetgroove.net.

Jimmie Vaughan and the Tilt-A-Whirl Band: Live at Lupo's July 9

Texas blues straight outta Austin, and like quality chili, the bite's built at its own pace, occasionally arriving well after fans chewed and swallowed. Stevie Ray fans got their "Texas Flood" (far closer to the original than the seething Double Trouble iteration) plus a track from the brothers' Family Style. While some called it a day after the free jazz show at Water Place and others after the free neo-swing show at India Point, Iwouldn't trade this set for either. Little-Richard-lookin' Junior Brantley simmered on piano, adding to scorching work by three male backup vocalists and a jaw-dropping Hammond organ which gave the gospel-y flourish so evident on Vaughan's latest studio offering Out There (Epic). Add about a hundred "hey baby"'s from the Strat-slinging Texan, and Johnny "Guitar" Watson's raucous, sexed-up "Motorhead Baby," and Vaughan delivered an intimate, friendly set, with the guitarist's heavy damping serving to underscore the vitality of every (finger-picked, for the most part) note punched out through his twin Matchless amp rig. With Jimmie, it's not pith as much as it is marrow. Wicked.

MISCELLANY. Dan Moretti's next self-titled release on Blue Orchid is under the same label umbrella as Greg Abaté's latest, Happy Samba (DAMusic). Dan's at Chan's Saturday with an expectedly good band behind him, airing out numbers from that release due in February. Plan 9's new Connecticut-based label J-Bird Records, which officially releases the Planet Shannock quartet's Pleasure Farm around Labor Day, has been expanding mightily and in all directions, with '98 releases including Jazz Hall of Fame guitarist Jimmy Stewart, the Harlem Gospel Choir, (Rusted Root alum Jenn Wertz's) Lovechild, and The And, produced by Butch Vig. Newest master-stroke:Billy Squier. J-Bird are heavily into web promo, so click the site (www. j-birdrecords.com) for hints.

The Amazing Royal Crowns will have to change their name yet again. They added "Amazing" out of deference to the Royal Crown Revue, who evidently thought they were a crap little band going nowhere and let them keep the "Royal Crowns" part . . . until, of course, the Providence quartet signed with Velvel and got label muscle behind them. Stay tuned.

Tonight (7.16) V Majestic open for Bardo Pond and Superjesus at the Met. Friday: QAZ and the Joe Parillo Ensemble at the Century Lounge, and the Slip hit Lupo's. Also, prepare ye for Combustible Edison, next Friday at the Met.