Features
Published: 2012/03/23
by Richard Gehr
Page McConnell, Oteil Burbridge and Russell Batiste: Living La Vida Blue (Relix Revisited)

Oteil, 37, and Page, 39, met more than a decade ago. Oteil, who played bass in Col. Bruce Hampton’s Aquarium Rescue Unit, often found himself hanging out with Page when their respective bands shared a bill. Asked to characterize Vida Blue, Oteil finds himself at a loss for words. “But that’s been the case with every band I’ve played in since 1988,” he laughs. “It’s more about how the individual players’ personalities fit together than it is the style.”
I asked Batiste how easy it was to hook up with an unfamiliar bassist for the first time with the studio meter running—and got an earful in return. “Dude,” he replied, “I’m Russell Batiste. Don’t forget that, hear? I’ll hook up with Jesus Christ if you put a bass in his hand. The show is goin’ down .”
Burbridge’s melodically inventive playing (he claims drummer Elvin Jones as his major musical influence) meshes perfectly with Batiste’s solid flexibility. Oteil, who shares with Batiste a background in jazz, funk, Latin, blues, more funk, and more jazz, felt right at home. “Me and Russell would end up playing the same licks at the same time. Usually it takes a good while before that starts to happen, but it was pretty much immediate with him. We’d just crack up laughing.” It’s been said a million times before, but the secret talent that separates good improvisers from great improvisers is an ability to listen.“Russell may take off on some other orbit,”Oteil says,“but he’s not missing anything else the other players are doing.He can shift gears on a dime and incorporate it into whatever side road he’s heading down.”
While Vida Blue is only Page’s second band, ever, Oteil can’t count the groups he’s played in.Along with the Allmans (“I think the band has found its joy again”) and Vida Blue, the Birmingham resident leads his own group, the Peacemakers (whose second album will soon be out on veteran jazz producer John Snyder’s Artist House label), which he has described as “jazzy Jesus funk.”What he enjoys most in Vida Blue is its liberating looseness. “I’ve never been in a band that would just get out there and free-style it,” he says.
The show went down on day three, when the group hooked up big-time on the jam that became “CJ3,” Vida Blue’s 13-minute instrumental centerpiece. The rambling, exploratory track embraces both earthy funk and cosmic fire, and exemplifies what Batiste means when he explains that, “We’re not just taking a song and going off with it. We’re experimenting on what we’d like to hear in a song.”
The group continued to alternate spontaneous jams with work on the three songs that form the album’s lyrical core. Longtime Phish engineer John Siket was at the mixing board throughout, and Page compares the recording process to Phish’s The Siket Disc, whose tracks he cherry-picked from hours of studio jamming, and Story of the Ghost, some of whose tracks originated as studio jams. Page enjoyed his new role as bandleader, except when the tape stopped. “Everybody would look at me and ask, ‘What are we going to do next?’ And I’d have no idea,” he laughs.
Although some songs have a definite techno feel, thanks to the broad sonic potential of his Alesis Andromeda analog synthesizer, Page insists he’s never paid much attention to the genre. The rest of McConnell’s keyboard arsenal consists of grand piano,Hammond organ, clavinet, Fender Rhodes electric piano, Wurlitzer, Yamaha CS60 and PSR-540 synths, seventies Korg Vocoder and a Ragini electric tanpura (an Indian droning instrument). “Final Flight,” the album’s closer, sounds like the finest song Brian Eno left off of his electropop masterpiece, Another Green World.
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Dld April 23, 2012, 02:44:10