Ex-Byrd Chris Hillman’s Show Soars

Former Byrd and Flying Burrito Brother Chris Hillman has stood quietly in the long shadows cast by Roger McGuinn and cult hero Gram Parsons. In discussions about the significance of these ‘60s-era bands, which virtually defined the genres of folk- and country-rock, Hillman often remains a mere footnote, despite his recent induction into the Rock and Roll Hall of Fame.

How bewildering.

Hillman not only made vital contributions to those groundbreaking bands but continued to soar creatively. Through his work in the late ‘80s, early ‘90s with the popular Desert Rose Band, along with various solo and group projects, he produced a distinguished body of rich and varied material.

All of Hillman’s musical attributes were on display Friday night before a small but appreciative audience of about 250 at the Coach House.

Superbly anchored by ex-Desert Rose alumni Bill Bryson on bass and John Monahan on acoustic guitar, plus percussionist Bob Nichols, the quartet’s 85-minute set spanned Hillman’s nearly 35-year career. It was a truly wonderful sampling of rootsy American music, including country, folk, bluegrass, roots and rock ‘n’ roll.

Encompassing a mix of Byrds, Flying Burrito Brothers and Desert Rose Band nuggets, Hillman’s recent country and bluegrass collaborations and some unreleased solo numbers, the low-key concert demonstrated the players’ reverence for tradition, quality song craft and spirited ensemble playing.

Although Hillman had been eager recently to reform the Byrds, he later changed his mind, calling reunions “unsettling and a hassle.”

Still, his affection for that group’s songs was evident in the inspired treatment given “Turn Turn Turn,” Bob Dylan’s “Mr. Tambourine Man” and “So You Want to Be a Rock ‘n’ Roll Star.” He and McGuinn got the idea for “Rock ‘n’ Roll Star,” he told the crowd, one night in ’68 while watching the Monkees TV series.

To his credit, Hillman sprinkled the oldies sparingly among his recent and brand-new material. A versatile singer, songwriter and guitar picker, he effectively captured a variety of moods, from dramatic and tension-filled conflicts to simpler celebrations of love, friendship and human resiliency.

Illustrating this scope were “Living on the Edge,” a disturbing tale of potential self-destruction; “Hard Times,” about holding onto dreams amid adversity; and a gospel-tinged rendering of “Story of Love,” with its lesson on love’s rejuvenating power.

(Hillman originally recorded “Story of Love” in 1990 with the Desert Rose Band. He reprised it earlier this year on “Out of the Woodwork,” a bluegrass collaboration with veteran folkies Larry Rice, Tony Rice and Herb Pedersen.)

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Happily absent in this acoustic performance were the buzzing amps and fuzzy tones encountered at many of today’s rock shows. Instead, most numbers tendered a gentle, folksy vibe, where the strumming, pickin’ and pluckin’ were clean, tasty and pleasantly engaging.

Occasionally, the acoustic-powered instrumentation did create a more rockin’, aggressive sound, such as during the hard-charging “Change Coming Down,” a beefed-up version of the Burritos’ “It Doesn’t Matter,” and “Angels Cry,” a new, bluesy fable featuring Monahan’s eerie slide guitar work.

The engagement Friday had been promoted as Hillman’s “53rd Birthday Celebration,” and the atmosphere was warm and good-natured. These days, a mellowed Hillman lives in Ojai, enjoying time with his family and rarely playing live. He seems quite content to operate in semi-retirement.

Yet his love of performing showed in his role as affable, self-effacing host. At one point, he quipped: “Someone in the front row once told me my guitar was out of tune. Boy, people pay good money [to see me], and I’m tone-deaf. I feel so inadequate.”

Not a chance, Chris.