Béla Fleck and the Flecktones
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|Béla Fleck and the Flecktones|
Victor Wooten, Béla Fleck, Jeff Coffin, and Future Man
|Origin||Nashville, Tennessee, U.S.|
|Genres||Jazz, fusion, progressive bluegrass, jam band|
|Years active||1988–2012, 2016–present|
|Labels||Warner Bros., Columbia, Sony BMG, Rounder|
Béla Fleck and the Flecktones is an American band that combines jazz and bluegrass music. The band's name is a play on 1960s rock band Dick Dale and the Del-Tones.
The Flecktones formed in 1988 when Béla Fleck was invited to perform on the PBS TV series The Lonesome Pine Specials. The original members were Fleck on banjo, Victor Wooten on bass guitar, his brother Roy Wooten on Drumitar, and Howard Levy on harmonica and keyboards. After Levy's departure in 1992 the group continued as a trio for several years before recruiting Jeff Coffin on saxophones. Coffin quit the group in 2010, and Levy rejoined in 2011.
Near the end of his time with the New Grass Revival band, Fleck was invited to play for the Lonesome Pines Special on PBS in 1988, and he gathered a group of musicians to assist him. Howard Levy he had met the year before at the Winnipeg Folk Festival. Victor Wooten auditioned over the phone and volunteered his brother Roy as a potential member.
After the memorable PBS TV performance, Fleck decided to keep the group together, calling it Béla Fleck and the Flecktones. His compositions became more complex. The Flecktones merged bluegrass with jazz, presenting record store owners with the problem of where to stock the albums by these strange characters. The covers bore cartoons and titles like Flight of the Cosmic Hippo. Fleck was named after classical composer Béla Bartok and grew up in New York City, but he played electric banjo and was influenced by the Kentucky bluegrass of Earl Scruggs and "The Ballad of Jed Clampett". Victor Wooten broke into jazz bass solos. Wooten's brother Roy called himself "Future Man", sometimes dressed like a pirate in concert, and played an odd-looking instrument known as the drumitar. Melodies were usually taken by Howard Levy, who played harmonica and keyboards. Their first video, "Sinister Minister", was in rotation at the networks VH-1, which played pop and adult contemporary music; BET, the Black Entertainment channel; and Country Music Television. They performed at jazz festivals with soul singer Stevie Wonder, blues guitarist Bonnie Raitt, and the Christian a capella group Take 6. Deadheads, fans of the Grateful Dead, were interested.
Their debut album, Bela Fleck and the Flecktones (Warner Bros, 1989), received a Grammy nomination for Best Contemporary Jazz Album, as did their second album, Flight of the Cosmic Hippo (Warner Bros., 1991), which also received a nomination for Best Instrumental Composition for the song "Blu-Blop". Their second album contained the Flecktones's version of "The Star Spangled Banner". Their next album had another cartoon cover and the palindromic title UFO TOFU (Warner Bros., 1992). The song "Bonnie & Slyde" had Fleck playing banjo atypically with a slide, an idea suggested to him by slide guitarist Bonnie Raitt.
UFO Tofu would be the last album the Flecktones recorded with their original lineup until Rocket Science in 2011. Howard Levy left the band in December 1992. While the departure of Levy was tough for the band, it was not unexpected. During their 1992 tour it became evident to the band that Levy was not happy with the rigors of touring and wanted to spend more time with his wife and children.
The remaining trio, consisting of Fleck and the Wooten brothers, recorded their fourth album, Three Flew Over the Cuckoo's Nest. "'Once we started rehearsing, everything was fine,' said Fleck. 'We started finding ways to sound good, and it was real exciting.'" Sans Levy, the Flecktones, as usual spent most of 1993 on the road and released Three Flew Over the Cuckoo's Nest in September of that year.
In July 1996 the Flecktones released their fifth album, and first live album, Live Art. Devoted fans who had been seeing the band for several years were clamoring for an album to capture the experience of live Flecktones, and this album fit the bill. The trio took home a Grammy for Best Pop Instrumental Performance in 1997 for the track "Sinister Minister".
Return to quartet
1997 saw more collaborations with big-name jam bands. In June, the Flecktones opened for The Dave Matthews Band, which drew rave reviews. In July the Flecktones toured Europe and sat in on the second set of a Phish show in Lyon, France. This marked the second and final time that the Flecktones played with Phish.
In June 1998, the Flecktones released their sixth album, and fifth studio album, Left of Cool. Left of Cool represents a switch from previous Flecktones albums, as the band, according to critic Terri Horak "jettisoned their self-imposed rule to only record what could be duplicated on live instruments."
In July 2000, the Flecktones released their eighth album, Outbound. Outbound is another studio album, and again the Flecktones' philosophy with this album was to do something different from everything they had done before. What makes Outbound unique is the way in which the Flecktones recorded the album. The quartet recorded each track on the album, then invited guest musicians to overdub vocals or instrumentation. Outbound guests include: Jon Anderson from Yes, Shawn Colvin and John Medeski, of Medeski, Martin and Wood, to name a few. The album earned the Flecktones the Grammy for Best Contemporary Jazz Album that year.
Live at the Quick, which was also released as a DVD, is the band's ninth album, and second live album. For fans of live Flecktones, this album, like Live Art, successfully captured the sound and feel of the Flecktones in concert.
Little Worlds, the band's tenth album was released on August 12, 2003. Like previous Flecktones' albums, Little Worlds features a slew of musical guests, from Sam Bush on mandolin, Derek Trucks on guitar and even former New York Yankee and guitarist Bernie Williams works his way into a track. Little Worlds was released as a 3-CD album, but for the less committed listener, the band also released Ten From Little Worlds, which includes ten songs off of the original 3-CD Little Worlds.
In February 2006, the band released their eleventh album, The Hidden Land. As with every Flecktones album, they needed to change something from their last album. For The Hidden Land, the Flecktones didn't want any guest musicians. "'The truth is, the last few records are not what we are,' Fleck said. 'Obviously, we loved playing with those musicians, but if you keep on doing it, you become a gathering point rather than a group with its own identity.'" For the Flecktones to keep moving forward, they felt their music had to get back to the roots of the quartet. After spending much of the year apart, the Flecktones came together in 2008 to release a holiday album, Jingle All the Way.
Jingle All the Way would turn out to be the Flecktones' last album with saxophone player Jeff Coffin. After the death of Dave Matthews Band saxophone player LeRoi Moore, Coffin went on to become the sax player for Matthews. To replace Coffin, the band decided to bring Howard Levy back into the fold. Levy returned to the Flecktones in the summer of 2011 for a brief tour and to record a new album, Rocket Science.
In June 2012, following another summer tour, the Flecktones announced their hiatus as a band.
In January 2016, the Flecktones announced a short reunion tour scheduled for June 2016, confirming an appearance at the Telluride Bluegrass Festival on June 16, 2016. In 2017, the band announced concerts for June–August 2017, and also confirmed a tour with Chick Corea Elektric Band in August 2017.
The Flecktones were described by critic Thom Jurek of Allmusic.com as performing an "unclassifiable meld of jazz, progressive bluegrass, rock, classical, funk, and world music traditions," a style sometimes dubbed "blu-bop".
Of the album Bela Fleck and the Flecktones critic Geoffrey Himes wrote, "Fleck's banjo-playing takes the quartet on wide tangents through the outer space of jazz improvisation and minimalist composition, but he always brings them back to the traditions of rural America". Himes also praised harmonica player Howard Levy as the star of the album.
The quartet received attention for their musical innovations and invention, including praise from music critic Bill Kolhaase. However, he was critical of the band's lack of a drum kit, claiming that Wooten's "electronic beat seemed a bit muddy compared to the real thing".
Cosmic Hippo was received favorably. Himes applauded for their use of their prodigious improvisatory ability. John Griffin of The Gazette also praised the group's ability to create such an individual style that "the whole of idea of style disappears." Mike Joyce, of the Washington Post was impressed by the Flecktones' ability to maintain a distinct voice. Joyce called a Flecktones show a "musical free-for-all, embracing the band's recorded material and venturing off into the great unknown the next."
Geoffrey Himes remarked that Left of Cool sounded too ordinary. In his negative review he wrote, "Unfortunately the Flecktones' first studio album in five years reveals that they've become a very ordinary band." Himes adds, "The four Flecktones are all marvelous musicians, and they come up with imaginative parts for the new album's 15 cuts. The overall concept, however has diminished into easy-to-digest pop-jazz, for which there is too much already."
Hidden Land received mixed reviews. Critic Michael Endelman of Entertainment Weekly, wrote that the Flecktones sound "hasn't aged well." Dan Ouelette of Billboard found Hidden Land to be "by far their best album." Ouelette was particularly impressed by the quartet's range of repertoire in this album.
Jingle All the Way was well-received. Geoffrey Himes praised the band for being able to package the Flecktones' complex sound into an easily digestible holiday album without having to compromise.
Jeff Kelman of Jazz Times writes favorably about Rocket Science and Levy's reunion with the Flecktones, "Rocket Science recaptures everything that made the Flecktones so fresh, so innovative, so important during its first five years." Kelman particularly praised the album's writing and the interactions between Levy and Fleck. AllMusic critic Thom Jurek also gave Rocket Science a rave review, "Rocket Science fires on all cylinders and comes off as a fresh and exciting reintroduction to a newly energized Flecktones."
Awards and honors
|1990||Grammy Award for Best Jazz Instrumental Album||Béla Fleck and the Flecktones||Nominated|
|1991||Grammy Award for Best Jazz Instrumental Album||Flight of the Cosmic Hippo||Nominated|
|Grammy Award for Best Instrumental Composition||"Blu-Bop"||Nominated|
|1992||Grammy Award for Best Instrumental Composition||"Magic Fingers"||Nominated|
|1997||Grammy Award for Best Pop Instrumental Performance||"Sinister Minister"||Won|
|1998||Grammy Award for Best Instrumental Composition||"Almost 12"||Won|
|Grammy Award for Best Pop Instrumental Performance||"Big Country"||Nominated|
|2000||Grammy Award for Best Contemporary Jazz Album||Outbound||Won|
|Grammy Award for Best Pop Instrumental Performance||"Zona Mona"||Nominated|
|2006||Grammy Award for Best Contemporary Jazz Album||The Hidden Land||Won|
|Grammy Award for Best Pop Instrumental Performance||"Subterfuge"||Nominated|
|2009||Grammy Award for Best Pop Instrumental Album||Jingle All the Way||Won|
|2012||Grammy Award for Best Instrumental Composition||"Life in Eleven"||Won|
- Béla Fleck and the Flecktones (1990)
- Flight of the Cosmic Hippo (1991)
- UFO Tofu (1992)
- Three Flew Over the Cuckoo's Nest (1993)
- Left of Cool (1998)
- Outbound (2000)
- Little Worlds (2003)
- The Hidden Land (2006)
- Jingle All the Way (2008)
- Rocket Science (2011)
- Béla Fleck – banjo, synthesizers (1988–)
- Howard Levy – harmonica, piano, keyboards, Jew harp (1988–1993, 2010–)
- Victor Wooten – bass guitar, double bass (1988–)
- Roy Wooten – drumitar, drums, percussion, electronic drums (1988–)
- Jeff Coffin – saxophones, flute, clarinet (1998–2010)
- Stambler, Irwin; Stambler, Lyndon (2001). Folk and blues : the encyclopedia (1. ed.). New York: St. Martin's Press. p. 200. ISBN 0-312-20057-9.
- Harris, Paul (February 2, 1992). "Fusion on Folk: Bela Fleck Thrives on Unlikely Blends". St Louis Dispatch. Retrieved 2014-04-20.
- Sculley, Alan (November 13, 1993). "Life After Levy: The Flecktones Make Some Musical Adjustments". St. Louis Post Dispatch. Retrieved 2014-04-20.
- "Archive in Cowtown". Retrieved 2014-04-20.
- McLennan, Scott (June 12, 1997). "Eclectic Fleck is Ideal Pre-Jam Fit With Dave Matthews". The Telegram and Gazette (Massachusetts). Retrieved 2014-04-20.
- "Setlists Featuring Bela Fleck". phish.net. Retrieved 2014-04-20.
- Horak, Terri (May 30, 1998). "WB's Flecktones Stretch Out With 'Left of Cool' Set". Billboard Vol. 110 Issue 22. Retrieved 2014-04-20.
- Graybow, Steve (2000-07-29). "Fleck Goes 'Outbound' In Sony Deal". Billboard. Retrieved 2014-04-20.
- Tauss, Lucy. "Bela Fleck and the Flecktones: Live At the Quick". Jazz Times. Retrieved 2014-04-18.
- Vrabel, Jeff (January 20, 2006). "Back to the Basics; Bela Fleck and the Flecktones Look Within Their Own Group for Their Latest, Stripped Down Record". Florida Times-Union (Jacksonville). Retrieved 2014-04-20.
- "Bela Fleck and Flecktones Announce Hiatus". Jambands.com. Retrieved 2014-04-21.
- "Flecktones // News". Flecktones.com. Retrieved 2016-03-04.
- "Flecktones // Tour". Flecktones.com. Retrieved 2016-03-04.
- "Flecktones // News". Flecktones.com. Retrieved 2017-03-29.
- Jurek, Thom. "Bela Fleck and the Flecktones: Rocket Science". Allmusic. Retrieved 2014-04-21.
- Himes, Geoffrey (May 18, 1990). "Bluegrass Roots of Space Age Banjo". The Washington Post. Retrieved 2014-04-20.
- Kohlhaase, Bill (June 27, 1990). "Flecktones-- Fusion of a New Order". Los Angeles Times. Retrieved 2014-04-20.
- Himes, Geoffrey (September 20, 1991). "Improvised Jazz-Folk with the Flecktones". The Washington Post. Retrieved 2014-04-20.
- Griffin, John (July 10, 1992). "Flecktones blow away musical boundaries". The Gazette (Montreal, Quebec). Retrieved 2014-04-14.
- Joyce, Mike (September 23, 1991). "Bela Fleck and the Flecktones". The Washington Post. Retrieved 2014-04-20.
- Santella, Jim (December 10, 1992). "Banjo Virtuosos Keep Crowd Stompin'". Buffalo News (New York). Retrieved 2014-04-20.
- Himes, Geoffrey (July 3, 1998). "Bela Fleck and the Flecktones: Left of Cool". The Washington Post. Retrieved 2014-04-14.
- Endelman, Michael (2006-02-17). "Bela Fleck and the Flecktones: The Hidden Land". Entertainment Weekly. Retrieved 2014-04-20.
- Ouellette, Dan (February 18, 2006). "Bela Fleck and the Flecktones: The Hidden Land". Billboard. Retrieved 2014-04-18.
- Himes, Geoffrey (December 2, 2008). "Bela Fleck's Holiday Surprise". The Washington Post. Retrieved 2014-04-18.
- Kelman, John. "Bela Fleck and the Flecktones: Rocket Science". Jazz Times. Retrieved 2014-04-21.