Four Groups Fuse Into One Eclectic Spirit

Drummer Barrett Martin’s plaid flannel shirt was the only reminder on stage Wednesday at the House of Blues in West Hollywood of the Seattle grunge-rock explosion he was part of as a Screaming Trees member. But the same sort of community spirit that forged that early-1990s scene was evident in the Latin-jazz fusion of the Wayward Shamans, the power pop of the Minus 5, the cinemascopic pastiches of Tuatara and the unrefined Delta blues of CeDell Davis.

Featuring acts on Martin’s new Fast Horse record label, this is the latest edition of a recording and touring concept inaugurated in 1997--more of a collective performing in overlapping lineups than four truly separate acts. Joined by longtime cohorts Peter Buck of R.E.M. and Scott McCaughey of the Young Fresh Fellows, Martin served both as spiritual and musical anchor, barely leaving the stage for the show’s 3 1/2 hours.

The seven-piece Wayward Shamans opened, evoking such ‘70s jazz-funk acts as the Crusaders with various combinations of horns, Fender Rhodes piano, vibraphone and Afro-Caribbean percussion.

With sly McCaughey in front and Buck on bass, the Minus 5 bridged the garage-rock roots currently resurgent via the Hives and White Stripes with Beatles-derived song sophistication.

Buck’s R.E.M.-mate Mike Mills and Southern California indie-rock veteran Ward Dotson made winning guest appearances.

Flagship act Tuatara’s new lineup (the seven Shamans plus Buck and McCaughey) brought boosted dynamics to well-worn models, recalling Lalo Schifrin and John Barry movie music.

New member Sue Orfield (replacing founding saxophonist Skerik) stood out with her forceful and imaginative tenor sax jazz runs.

Arkansas-based Davis, who turned 75 last month, was perhaps the ringer. But sitting in a wheelchair and playing slide on an electric guitar with a table knife wedged into his polio-twisted hand, he capped the night with raw, earthy spirit, complemented by the infectious joy of the Fast Horse participants backing him.

The only down note was that there were not many more people in the audience than on the stage--though if that bothered the musicians, they never let it show.