Once the most cerebral of groovemeisters, when guitarist Charlie Hunter collaborated with saxophonist Skerik, vibraphonist Mike Dillon and drummer Stanton Moore, Garage a Trois reinvented itself two years ago when keyboardist Marco Benevento took the guitarist's place, a process that now continues with Always Be Happy But Stay Evil. In contrast to the kamikaze attack of Power Patriot (Royal Potato Family, 2009), Garage a Trois begins this disc with the odd timbre of one of Benevento's synthesiszer-like keyboards, before Omar" opens up to accommodate, in turn, the soft luminescence of the composer's vibes, the authoritative lockstep of Moore's ...read more
Garage A TroisAlways Be Happy, But Stay EvilRoyal Potato Family2011 The story of jazz/rock cominglings is a not a happy one, strewn, as it is, with compromise and the middle ground. But it does include some happy chapters, several of them set in the modern jam band era. One of these concerns Garage A Trois, the group which has, since 2009's Power Patriot (Royal Potato Family), consisted of tenor saxophonist Skerik, keyboardist Marco Benevento, vibraphonist Mike Dillon and drummer Stanton Moore. The quartet retains the name of its founding, three-piece incarnation--Skerik, ...read more
The lines between jazz and rock can become blurred inside of a really good groove. That's exactly what happens on Garage a Trois' Power Patriot. In spite of its hokey title with red state overtones, the ten songs it contains are tightly constructed jams composed largely by Mike Dillon and pianist Marco Benevento, whose own trio focuses on indie-rock- based jazz. Upon opening the CD, it's clear that this is not a typical jazz album. The inside cover art is a color illustration of two cuddly stuffed animals copulating doggie style, which is a perfect approximation of the rebellious edge ...read more
The music of Garage A Trois is located somewhere on the map between do-it-yourself punk fusion and hip-hop jamband. The current lineup replaces guitarist Charlie Hunter, heard on Outre Mer (Telarc, 2006) and Emphasizer (Tone Cool, 2003), with keyboardist Marco Benevento. The effect is to push the music more towards saxophonist Skerik's prior efforts in the Seattle band Ponga. The change here is heard in the writing of vibraphonist Mike Dillon and Benevento's keyboard mayhem. A fan of vintage electronics and keyboards, as he did on his solo effort, Me Not Me (Royal Potato Family, 2009), Benevento supplies ...read more
Garage a Trois, a quartet consisting of Mike Dillon, Charlie Hunter, Skerik, and Stanton Moore, recorded Outre Mer live with no overdubs: no small feat given its buoyantly dense sound. And although the name of the band doesn't quite fit the number of musicians, they combine elements found in each of their solo projects to form a collective sound, something wholly unique.Favoring breakneck movement-inducing funk/groove backdrop replete with punchy horn lines, hand mutes, and swaggering percussion, this soundtrack to Klaus Tontine's film tells the tale of 45-inch Etienne de Nerval and the lifetime of [this] brave but solitary ...read more
Film music has its own sets of demands, often required to elevate the emotional content of the cinematic story while at the same time seamlessly blending so that it doesn't dominate. And while scores can literally define the mood of a film at their best--think Hitchcock's Psycho--and some only work in conjunction with the films for which they're intended, some can also stand as independent entities, like Miles Davis' 1950s score for Ascenseur pour L'Echafaud.
Some film scores are all about cues and consequently rarely succeed independently, but Garage a Trois' latest release--the soundtrack to French filmmaker Klaus Tontine's Outre ...read more
Garage A Trois' Outre Mer is the soundtrack to an as yet unreleased French film of the same name. The band, consisting of Mike Dillon (percussion, vibraphone), Charlie Hunter (eight-string guitar, pandero), Stanton Moore (drums, polyrhythms), and Skerik (saxophone), lays down surging funk-influenced tunes, tempered by the intricate delicacy of vibraphone and guitar.
The main problem with most soundtrack recordings is that they can be, well, boring. Since the main purpose of the music is to accompany the action on the screen, it may not have the weight that's necessary to maintain interest when played apart from the ...read more