The Great Speckled Bird June 26, 1972

Vol. 5 #25 pg. 18

Starving braineaters 1

Besides having the most unusual name of any band around town, the Starving Braineaters are playing some of the most unusual music you'll hear in Atlanta. It may take the listener awhile to get into the Braineaters' style, especially if you're not familiar with modern electric jazz, but the effort is worthwhile. It was not until I heard the group for the third time that I enjoyed them. I think much of the difference was the improvement in their technical ability; the complexity of the music demands very tight playing for full effect. Most of their material could he called "original jazz/rock." to give you some idea, but it also includes reworked versions of such songs as "Born in Chicago." and "Ooh Poo Pah Doo" (remember that'.'!). Probably the best piece they played the night I saw them was "Six." a song which Harold Kelling wrote while in the Hampton Grease Band. The Braineaters have extended the dimensions of "Six" through the use of trumpet and electric piano. Besides Harold on guitar, the Braineaters are Kenneth Gregory, trumpet, guitar, and bass; Robert O'Toole. guitar and bass: Tom Rafferty. drums; and Bill Porter, electric piano.

Because of what the Braineaters call their "non-commercial" style, they have found it hard to get jobs. In order to explain this situation, the hand has written the following statement for publication:

We are trying to evolve a unique identity through organizing, arranging, and expressing abstract and concrete feelings. We want the music to he dynamic. intense, subtle, honest, and multi-dimensional.

Much of the music we play is inspired through contact with forces and intelligences far in excess of the familiar and mundane. The source and nature of these powers is beyond any philosophical or analytical description. Only a channel with unlimited potentialities like music can begin to communicate fernum clor .

The realm of expression in music is or should he, limited only by the imagination and development of the player. Between point "A" and "B" in time. There is an infinite number of tonal and rhythmical structures which should be employed to portray emotion and subjective feelings on the part of the player. And to communicate these feelings to the listener. To limit the combinations of notes and rhythyms to a set style is to limit the power of description of emotion by the music, like omitting a part of a language. Many people allow themselves to get taken in by music which is motivated by some sort of need for stardom or recognition, rather than a sincere desire to play beautifully and tastefully and to express a true feeling. If you listen closely, the difference between a "hot little sales item" and an attempt at expression in music becomes quite evident.

To express these ideas and feelings musicians must play. They must work intently in practice in order to put their ideas into musical terms. Performance before a receptive audience, however, is the key to musical development. But the vast majority of audiences desire a music which falls into an easily recognizable beat or melody. This is not entirely the fault of the average listener, for we are all subject to a constant bombardment of music which is created solely for monetary gain. This media is broadcast at us until it becomes familiar and accepted.

Clubs are also monopolized by bands which broadcast this media just like the radio. This is fine. A band can make a good living playing in clubs, and the clientele is likely to enjoy the music because they already know what the band is about to play. This music uses only the most elementary rhythmical and tonal possibilities, ignoring an entire spectrum of melodic, abstract, and emotional thought. Music is to be happy, sad, or lonely; music is to be a part of, to be affected by—not to converse by.

Whenever a band decides that they will not fall into this preordained musical format, but try to express their own concepts instead, they are virtually barred from these clubs. They are offered few jobs to play, usually for small or no wages. Many musicians cannot last through this stiff initiation. They are forced to surrender their ethics in view of making a living. Some just don't play at all. Must an artist fact such absurd restrictions? Music is an action, a force which opens the mind to unlimited depths of imagination. Forces and spontaneity cannot be captured and held in one hand. Any note, picture, feeling. or thought should open channels for further exploration and be followed by more possible combinations.

We feel that all types of music are valuable. In music from all countries there is a sincere expression from people, and music should be heard by people. We intend to find an audience which will accept this music. and we will present as many varied sounds to them as possible. We will play in as many places as we can find. We will try to present this music through recordings of the band and of musicians living in relative obscurity. It will be presented through air play on WREK radio, and through live performances, benefits, and in the parks. We hope you will listen to and value music and try to understand the degree of expression possible.

Starving Braineaters 2

There's no telling what kind of image the name Starving Braineaters brings to mind but, what- ever it is, it probably falls short of being a good description of these five musicians who played at the Twelfth Gate, June 15-16.

Billed as a jazz-rock group, the band stuck to this format most of the time, occasionally varying it with an early rock-n-roll hit ("Johnny B. Goode," "Runaway") or a solid country song, a la Grateful Dead. Yet neither of these were handled as well as their jazz or hard rock, if their music can be properly classified as either. Their style was not original (leaning toward Zappa or early Hampton Grease Band material) but then new groups always have to have a base on which to build. This band seems to have found one that suits them well.

Perhaps the reasons their material resembles that of the Grease Band's is because their lead guitarist, Harold Kelling was once a member of the Grease Band. Besides him. there is electric guitar. bass (who doubles on trumpet), electric piano, and drums. As can be expected, the lead guitarist is dominant and masterful, always beginning a melody which is quickly followed up by either the other guitarist or the piano. At times all three will play, exchanging riffs easily, smoothly, while the piano continues to keep its own melody going. Unfortunately for the audience, the band never seemed to follow through; someone would begin an interesting solo, the others would take it up. then suddenly, with no warning, they would drop it. The audience who seemed attentive several times failed to realize that the band had Finished until a few embarrassing seconds later. This "teasing" technique was apparent in the majority of their numbers.

Most of the material was instrumental, which proved to be a blessing in disguise. Because of their attempt to pour on the volume in a small coffeehouse, no one in the back could understand the vocalizer, alone or with harmonizers. Try all she could, their female engineer couldn't conquer the problem.

In general, the Starving Braineaters are a good beginning band from which something better may be expected, but not soon. Hopefully, any who give the band a chance because of their name will later do so because of their talent.

-pab