The Motet, Keller Williams

The Rialto Theater Presents

The Motet, Keller Williams

Dec 04 Thu

Doors: 7:30 pm / Show: 8:30 pm

The Rialto Theatre

$20.00 - $25.00

This event is all ages

*8:30pm : Keller Williams 10:30pm : The Motet General Admission Standing Room w/Limited Festival Seating in Rear

The Motet, Keller Williams
The Motet, Keller Williams
Those who’ve followed Keller Williams’ recording career to date know that he has given each of his albums a single-syllable title: FREEK, BUZZ, SPUN, BREATHE, LOOP, LAUGH, HOME, DANCE, STAGE, GRASS, DREAM, TWELVE, REX, LIVE, ODD, THIEF, KIDS, BASS, PICK, KEYS and FUNK. Each title serves not only as a concise summation of the concept guiding the particular project but also as another piece of the jigsaw puzzle that is Keller Williams. GRASS, for example, is
a bluegrass recording, cut with the husband- wife duo the Keels. STAGE is a live album and DREAM the end product of a wish list: Keller collaborating with some of his great- est musical heroes. THIEF is a set of unex- pected cover songs. And KIDS offers up, you guessed it, Williams’ first and possibly only children’s record.
The naming trend has continued with 2012’s
BASS and PICK, respectively a set of songs
where Keller plays bass and William’s col-
laboration with royal bluegrass family The
Travelin’ McCourys. In 2013 – Keller re-
leased FUNK with his newest collaboration
– a six-piece funk outfit – More Than a Lit-
tle. What all of the titles reveal, when taken
together, is an artist of great stylistic breadth and infinite imagina- tion, a singer, songwriter and musician, always on a quest for the new. Keller Williams has never followed the prescribed path laid out by the conventional music business, nor has he taken the pre- scribed meds laid out by his team of conventional doctors. Instead, he has taken the A.D.D. path (Artistic, Determined, Dedication). It’s a path that has served him quite well.
Since he first appeared on the scene in the early ’90s, Williams has defined the term independent artist. And his recordings tell only half the story. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. For most of his career he has performed solo. His stage shows are rooted around Keller singing his compositions and choice cover songs, while ac- companying himself on acoustic guitar. With the use of today’s technology, Keller creates samples on the fly in front of the audi- ence, a technique called live phrase sampling or looping, With noth- ing pre-recorded, the end result often leans toward a hybrid of alternative folk and groovy electronica. A genre Keller jokingly calls “acoustic dance music” or ADM.”
That approach, Williams explains, was derived from “hours of play- ing solo with just a guitar and a microphone, and then wanting to go down different avenues musically. I couldn’t afford humans and didn’t want to step into the cheesy world of automated sequencers where you hit a button and the whole band starts to play, then you’ve got to solo along or sing on top of it. I wanted something more organic yet with a dance groove that I could create myself.”
Hailing from Colorado, The Motet is a world- class improvisational funk band that has dedicated more than a decade to the heal- ing powers of funky dance music. Although the early years of the band saw a constantly revolving cast of musicians, the most recent incarnation has been touring the country for the last several years developing a new and unique style of music with roots in funk, afro- beat, disco, electronic music, and soul. This new Motet has quickly gained a reputation for throwing infectious dance par- ties everywhere they go, creating a deep rapport between band and audience.

With the recent release of their 7th album, The Motet has once again showcased their commitment to push- ing the sonic envelope while remaining dedi- cated to the musical traditions that have defined their sound. The band’s decision to call the album The Motet is a reflection that the group has finally fully manifested. The album is a truly collaborative effort, with each member contributing equally to the writing process. In addition, the band spent hundreds of hours in the studio meticulously crafting vintage tones that hearken back to the glory days of funk music. The result is an organic collection of strong interlocking parts and melodies that could only be The Motet.

All bands have their influences, and The Mo- tet is no different. The band has a long-stand- ing tradition of putting on a musical costume each Halloween, playing consistently sold- out shows along the Front Range of Colorado while performing the music of groups like Earth Wind and Fire, Parliament Funkadelic, Tower of Power, and Jamiroquai. The careful study of the music of these bands has had an undeniable effect on the creative direc-

tion of The Motet. As bandleader and drum- mer Dave Watts explains, “By studying and playing music from all these incredible funk bands, we realized how effective a great song is on a crowd. In addition to striving to of- fer a stellar live experience, we’ve also consciously decided to focus on tunes, because we understand how powerful a great song is.”

A great song needs a great band to play it, and The Motet has proven to be much more than adequate in that regard. In addition to Watts, Joey Porter (keys), Garrett Sayers (bass) and Ryan Jalbert (guitar) form the core rhythm section Playing together for more than a decade has led to their characteristic deep rhythmic pocket, and has created the musical bonds that allow them to take their collective improvisation to heights bordering on precognition. The Motet horns are Matt Pitts (sax) and Gabriel Mervine (trumpet). Although deeply rooted in jazz, their time with The Mo- tet has made them into one of the funkiest horn sections on the scene. Front man Jans Ingber rounds out the lineup with his soulful singing, welcoming stage presence, and “Soul Train” dance moves which inspire concert goers to boogie like no one is watching.

These seven musicians form what is undoubt- edly the strongest, most cohesive incarnation of The Motet to date. Whether you’ve loved The Motet for years or you’re just tuning in, listen up. You haven’t heard The Motet like this, and you won’t be disappointed.
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