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NAJA jams to a different beat of blues and rock By Tara McLain The 12-bar blues took on a Native twist Thursday night at Native Jam '99. Sponsored by the Native American Journalists Association, the event at Seattle's Showbox featured four diverse groups headlined by Indigenous, an all-Indian blues/rock band noted for its reservation-raised blues riffs. Lead guitarist and vocalist, Mato Nanji, laid down smooth baritone lyrics in a true B.B. King style. But when it came to the guitar, Nanji's licks dipped generously into a modern Hendrix influence, complete with reverb. Nanji's solos, while lengthy at times, were filled with fresh ideas and diverse effects. These skills were most apparent in guitar-god homage to Hendrix and Santana's "Black Magic Woman." The Santana tribute was pulled off effectively by percussionist Horse's finessing of the congas, timbales and bongos. The polyrhythmic style blended well with the blues-influenced vocals and rock-based drums to create a truly cross-cultural sound. More solo time spent on the drums would have lightened the extended guitar solos and made listeners more attentive. Raised to be performers by their father Greg Zephier, the members of Indigenous learned their musical skills from him. Zephier made them practice diligently for two years before appearing in public. The Nakota family, which hails from South Dakota's Yankton Indian Reservation, consists of brothers Mato (guitar and vocals) and Pte (bass), sister Wanbdi on drums, and cousin Horse, on percussion. The family's tightness was apparent in their smooth transitions and impressive control. The blues is rarely played in young mainstream groups with the strong soul these 20-somethings demonstrated. A former lawyer for the Muckleshoot Tribe, Lara Lavi demonstrated her musical upbringing with her singer/songwriter-meets-sultry-diva style. Lavi projected her throaty vocals with the skill of an opera singer - probably because her mother was one. A little too thickly textured, the many layers of guitars, accordion, vocals (two to three backup singers at times) and drums masked the sound of the delicate violin interludes that Lavi provided. The dense sound was redeemed with flowing melodies and hard-hitting changes. In keeping with the evening's theme of diversity, the Ghetto Monks brought the audience down onto the dance floor with their funk-based rock. Great groove and tight bass lines were accentuated by the strong intensity of the lead vocalist. Indeed, all nations were represented with the inclusion of 5 o'clock somewhere, billed the "token white band," as well as alternative rocker Justin Haley.
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