Between-Deal Snacks

Jimmie Dale Gilmore and his record label parted ways about a year after the release of the singer-songwriter’s critically praised but commercially disappointing “Braver Newer World” (1996). So the philosophical Texan with the distinctive, fluttering voice understandably has kept a low profile of late.

Except in the film world.

In fact, three recent projects have enlarged Gilmore’s resume. He made his acting debut in the Coen brothers’ latest adventure, “The Big Lebowski.” He also performed stellar versions of two hit songs by legendary country singer Lefty Frizzell for the soundtrack to the indie film “Traveller.”

But best of all, Gilmore teamed up with longtime buddies Joe Ely and Butch Hancock to write and perform a new song for Robert Redford’s “The Horse Whisperer.” This reunion of the principals of the Flatlanders--which made only one album in 1972 but has grown into a cult-sized legend--is reason enough to rejoice.

As it turns out, the reunion came to them.

“It really wasn’t anything we sought,” said Gilmore, 53, during a recent phone interview from his home in Austin, Texas. “[Someone at] Joe’s label [MCA] contacted somebody at Robert Redford’s movie production company to ask about Joe performing some music for the movie. Well, this guy working for Redford--I don’t even know his name--just happened to be a fan of the Flatlanders. So he asked [MCA/Nashville President] Tony Brown if Joe might be able to get Butch and I together.”

This string of contacts led to the trio’s first collaboration in more than 25 years. One of three songs written in just two days, “The South Wind of Summer,” was chosen to be in the movie. Gilmore describes it as “a plaintive, country-folk ballad with a cinematic, classical sweep to its melody.”

“We had a wonderful time and wound up liking the new material a lot,” said Gilmore, who performs solo Friday at the Coach House in San Juan Capistrano and Saturday and Sunday at McCabe’s in Santa Monica. “We’ve also agreed to do this appearance on ‘Letterman’ to coincide with the promotion of the movie. It’s scheduled to air on May 21, and all of the Flatlanders, including Tony [Pearson] and Steve [Wesson], will be taking part.”

(The Flatlanders’ only release is worth seeking out. Originally available only as an eight-track tape, it was reissued in 1980 on England’s Charly label as “One Road More” and in 1991 on Rounder Records as “More a Legend Than a Band.”)

Gilmore said he and his pals would like to play together again. But whether this mini-reunion will lead to anything permanent is uncertain. He said Hancock is “somewhat available,” but Ely is committed to his forthcoming album, and Gilmore himself is negotiating a record deal with a number of labels.

Gilmore’s “Braver Newer World” stylistically offers a marked departure from his customary diet of folk, country and roots rock. Produced by T-Bone Burnett, the experimental work incorporates harder-edged rock, old-fashioned synthesizers and country and folk stylings. Combined with Gilmore’s quavery vocals and spiritually driven musings of longing and redemption, it isn’t the kind of easy-to-categorize pop album that Elektra Records could get behind.

“Actually, it was a very amicable split,” said Gilmore, a native of Amarillo who grew up in the west Texas town of Lubbock. “I appeal to such a niche market, and Elektra is no longer the kind of company that does this artist development sort of thing. They’re this huge mainstream label with an eye on acts who can break into the Top 40.

“Still, I will forever be indebted to them. I mean, my two records there [including 1993’s ‘Spinning Around the Sun’] got Grammy nominations, and I gained more attention because of those than for anything else I’ve done in my career. Only now it’s time to work with an eclectic label that can appreciate and promote a more thoughtful kind of music.”

In the meantime, Gilmore said, he’s already written about 75% of his next album, which he plans to release independently and sell via the Internet and at his gigs. He’s breaking in some of the new material as he tours solo, a situation born primarily out of economic necessity.

“Without the support of a record company, I could actually lose money by touring with a band,” Gilmore said. “I’m just not in a position to do that. At first I was dreading hitting the road alone, but it’s turned out to be a lot of fun. People seem to prefer scaled-down versions [of my songs] . . . and I get to capitalize on the intimacy of the setting. I’m very pleased.”

*

In Austin, where Gilmore has lived since leaving a Denver ashram in 1980, the music scene is revered by its close-knit, artistically minded community. But lately, the ballyhooed South by Southwest annual music festival has attracted overflowing crowds and industry hype to the city.

Gilmore, speaking both as a resident and past participant, finds the festival a mixed bag.

“It has gotten unwieldy. It’s grown so big that, at times, only people with press passes can actually get in to certain shows,” he said. “And I don’t think it really represents Austin, except in the sense that there is more good music on any given night here than anyone can actually absorb.

“But really, it’s become such a popular event because it’s so darn good. A lot of worthwhile stuff comes out of it. Connections get made, old friends get reacquainted. . . . I mean, it’s still one of the best music industry conventions in the country.”

* Jimmie Dale Gilmore and opener Mercy Miles perform Friday at the Coach House, 33157 Camino Capistrano, San Juan Capistrano. 8 p.m. $13.50-$15.50. (949) 496-8930. Gilmore also appears Saturday (7:30 and 9:30 p.m.) and Sunday (7 p.m.) at McCabe’s Guitar Shop, 3101 Pico Blvd., Santa Monica. $15. (310) 828-4403.