Anytime the master banjoist and eclectic composer Béla Fleck comes to town it is a special occasion. His constant quest to expand his instrument's possibilities has led this musician to collaborate with some of the most diverse of fellow musicians that come from the diverse genres including bluegrass, Americana, jazz, fusion, rock, classical and world music. He is truly a man who doesn't see boundaries. It was an especially rewarding happening when Fleck and his fantastic Flecktones graced Portland's elegant Arlene Schnitzer Concert Hall this past Friday and wowed the full house with a variety of his genre-bending music.
This was my first visit to the Schnitzer, a beautiful venue that seats 2776 and that was originally named the Portland Publix Theater when it opened in 1928. It later became the Paramount Theater in 1930.
It is the last theater that has survived along Broadway, once the home of many more theaters over the years. Over its life, the theater went through years of disrepair and sustained some earthquake damage. In the early 1970s the theater was leased for an extended term to use the venue as a music concert venue. Eventually the exterior of the building received a Landmark status in 1972 and was listed on the National Register of Historic Places in 1976. The Paramount was purchased by the City of Portland in 1980 in a condemnation proceeding. Arlene Schnitzer and her husband Harold were generous contributors to the subsequent restoration project and in 1984, when it was re-opened, it was named for Arlene. With all this history, the theatre, sometimes fondly known as the "Schnitz", has been a vital part of Portland's vibrant arts community for nearly one-hundred years!
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| Howard Levy, Victor Wooten, Béla Fleck and Roy "Future Man" Wooten on stage at the Snitzer on Aug 29, 2025 |
In keeping with its illustrious history, it was just another jewel in the theater's tiara to have landed Béla, and his virtuosic bandmates, for this performance in Portland. Fleck is the principal leader/composer of the Flecktones. The group was assembled for their first performance on PBS-TV's The Lonesome Pine Specials in 1988. The original members of Flecktones -Fleck on banjos/composition , Howard Levy on piano and harmonica, Victor Wooten on electric bass and brother Roy "Future Man" Wooten on his electric Synthaxe Drumitar and percussion,-recently reunited for this year's North American tour, which runs through December of this year.
The group opened up with "Frontiers," a rousing Fleck composition from the 1990 album Béla Fleck and the Flecktones. The music featured a twangy opening with Howard Levy on a Jew's harp, creating a drone-like background before his bandmates pick up this lively music. Béla deftly banjo picks his way into a hoedown-like theme. The quartet add funky breaks and fabulous, albeit brief, solo features. Victor and Roy anchor the throbbing theme like a mind-melded duo, and Howard changes over to his emotive harp that soars in the air like a clarion. The audience respond enthusiastically.
This group were in their element with this Portland audience and it showed in the verve with which they all played. There is palpable interconnectivity amongst these musicians and in turn with the audience and the band, and it makes the experience uplifting and joyful. As Howard Levy said to the audience, "It was good to be back to Portlandia."
The set had a thirty-minute intermission and included eighteen songs that covered such favorites as the afore-mentioned "Frontiers" "Flying Saucer Dudes" and "Turtle Rock" from Flight of the Cosmic Hippo from 1991, and Fleck's "Juno" a single from his three movement concerto that he collaborated with Chick Corea and which commemorates the birth of his son. He wrote it while stuck on the road when his son was born.
The music, at times, felt like you were hearing a hybrid hoedown that had the injection of pure virtuosic improvisation including elements of jazz, rock, bluegrass. world music and pure exploration.
After the intermission, the band continued with "Big Country" from the Left of Cool album from 1998. This was originally played with Jeff Coffin on soprano saxophone, in a reconfigured band that happened when Levy left for a period. On this version, Levy skillfully takes over what was Coffin's part on the record, this time using his amazing diatonic harmonica skills that defies normal limitations. Just a smashing rendition that lacked for nothing.
Levy opened "True North," from the UFO TOFU album from 1992, with either a fife or penny whistle. This Fleck composition borrows its folk feel from Irish folk music. Its a 3/4 waltz that has a whimsical sense of searching for direction while maintaining awareness of your true north, presumably home. The song uses a reflective bass solo by Wooten to bring the coda to a resolution of the wandering implied.
Individually, each of the musicians were given a chance to be highlighted at certain features in the concert. There is no lack of virtuosity in each of these talents.
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| Bela Fleck and the Flecktones (photo credit unknown) |
Béla was largely supportive, building themes with flawless execution and seamless
rhythmic alterations. His facility is clean and quick and his creativity is almost limitless. His banjo was featured on his version of Gershwin's "Rhapsody in Blue" which was simply exquisite.
Victor Wooten wowed the audience with a feature where he used a "looper" pedal that allowed him to build repeating lines on his electric bass. He played against them, layering one level after another.
Howard Levy is famous for being able to play a single key diatonic harmonica and bend his notes in such a way that it is almost like a chromatic harmonica. He was shown being able to rhythmically accompany himself as he maintained fluid improvisation on the melody while playing both simultaneously. Besides his peerless harmonica playing, Howard is a talented pianist who accompanies brilliantly.
Roy "Future Man" Wooten, had a featuring his SythAxe Drumitar, an instrument he has created and pioneered. It allows him to be portable, wearing the instrument and using his hands on pads that create drum sounds electronically. He also won over the audience with his melodic voice on Fleck's "Sunset Road" which was originally played without lyrics on the album Bela Fleck and the Flecktones from 1990.
The group played a World Music inspired piece that may have once been derived from an improvisation on his "Middle Eastern Medley" which Fleck released on a solo album from 1992. It also had elements of Greek Bouzaki music. Fleck's is so deft on his electric banjo that he can sound almost like he is playing an Indian sitar.
The group finished the set with the crowd pleasing "Sinister Minister" also from the 1990 album that featured some creative work by Victor and his fleet fingered bass.
With the audience wanting more, the band returned for an encore playing the signature title piece from Flight of the Cosmic Hippo with Victor's famous lopping bass line. What more could you ask for? Great band, great show! If you have a chance to catch Béla and his group on this tour, which you can check out the details here, don't hesitate to go, you won't be disappointed. If you haven't checked Béla's other group still also on tour BEATrio which I reviewed here, then do not hesitate people. Talent like this is too good to miss.