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Written by Glenn BurnSilver   
Thursday, 11 January 2007

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If anyone knows a little about funk, it’s Stanton Moore.


“A good funk track is one that people want to dance to it,” drummer Stanton Moore explained by phone from some unknown town in northern California. “When you make it in the studio and listen back to it, if you can get all excited and imagine lots of pretty girls — lots of people — dancing to it. That’s probably a good track.”


The native New Orleans drummer and founder of funk-centric rockers Galactic, Moore has spent most of his lifetime laying down funky grooves that incorporate much of the city’s unique musical character built around African, Afro-Cuban, Haitian and prevailing Western influences.


Moore’s history lesson began with Mardi Gras parades and escalated to the pots and pans in his mom’s kitchen.


“My mom started bringing me to Mardi Gras parades when I was 8 months old, so the drums had a strong impact on me early on. I started hitting on pots and pans when I was five, took piano lessons around eight or nine, and got a drum kit when I was 10. I was way into the drums at an early age.”


Right now he’s on the road supporting his third solo album, “III,” which was recorded in New Orleans post-Katrina, and it features Robert Walters (Greyboy Allstars) and Wil Bernard (T.J. Kirk), and showcases Moore’s varied influences.
As someone who is “obviously way into Elvin Jones,” Moore manages to spread his sound around, meshing rhythmic jazz and New Orleans down-and-dirty funk with Memphis soul and hints of classic rock. Each song finds it’s own legs to stand on, but the one constant is Moore’s tight backbeat, whether pushing the pace or laying back to let his fellow musicians shine.


“I like being able to hit the drums in a comfortable way where I can play grooves, but also improvise,” Moore explained. “For me funk has all those elements. I love jazz too, but with jazz there is a lot more improvisation, which I love, but there are not a lot of people coming out and dancing to jazz. It seemed like funk was a good avenue to take, and have other avenues to branch off to from there.”


Three tracks on “III” are Moore’s reference to his hometown post-Katrina, “but not in a blatant or overt way,” he said. “I found three songs that I thought represented my observations of what was going on in New Orleans.”


The first is Abdullah Ibrahim’s “Water From An Ancient Well.”


“This references the levees breaking,” Moore explained. “There was a disaster years in the making.”


Next comes “When The Levee Breaks.” Best known as a hit for Led Zeppelin, the track is actually a Delta blues song about the great 1927 Mississippi River flood.
“That one is obvious,” Moore said.


Finally, “I Shall Not be Moved” closes the album.


“I’m not going anywhere, Moore adds defiantly. “I’m staying in New Orleans.”


——
TO GO TO THE SHOW

Stanton Moore
Doors 8 p.m., show 9 p.m.
Thursday, Jan. 18
Aggie Theatre, 204 S. College Ave., Fort Collins
482.8300
$12. Call 482.8300 or go to www.aggietheatre.com.


——
OUT OF DISASTER COMES A LITTLE LUCK

Stanton Moore’s new album, “III,” was recorded in New Orleans shortly after the devastation of Hurricane Katrina.


If there was any good to come out of the storm, it was that Moore had the rare opportunity to record the album at the prestigious Preservation Jazz Hall, which usually has live music seven nights a week but was temporarily empty.


“We didn’t lose our equipment, but the building (with Galactic’s studio) was declared structurally unsound,” Moore said. “Normally they would have music in [Preservation Jazz Hall] every night. We had set the period of time aside to make the record, and I was still going to do it; we just had to find the place. So, this worked out well for us.”

——
WATCH OUT FOR THE STEAMROLLER

“Steamroller funk” is a term often used to describe Galactic and Moore’s solo works. Moore provides a definition:

“It’s very high energy music with relentless grooves, played with a lot of serious energy. We don’t really break things down and play ballads or anything like that. We get on the freight train and just ride it and see where it goes.”
Glenn BurnSilver

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