Music

Courtesy Photo / Thrasher People

‘An Extension of Us’

Drummer and bandleader Gerry Gibbs — a headliner at this year’s Jazz’SAlive — is back in San Antonio

BY SANFORD NOWLIN

In addition to its usual slate of out-oftown performers, this year’s Jazz’SAlive represents a homecoming for drummer and bandleader Gerry Gibbs, whose 2000s-era stay in the city helped shape its contemporary jazz scene.

The two-time Grammy nominee lived here from 2000 to 2005, performing weekly at tapas bar Carmen’s de la Calle. During that time, he also helped shape Trinity University radio station KRTU’s jazz format, recorded a live album at local club Luna and booked gigs for legendary performers including Larry Coryell, Ravi Coltrane and Sam Rivers.

Now, Gibbs and his Thrasher People sextet are scheduled to take Jazz’SAlive’s main stage Friday, Sept. 23. The 7 p.m. performance will mark his fi rst time playing the free two-day festival since he departed the Alamo City for New York.

While Gibbs still maintains his East Coast residence, he’s again put down roots in San Antonio, making it his primary home. When the pandemic dried up his gigging opportunities, he drifted back to the Lone Star State for what he thought would be a temporary retreat.

“I didn’t plan on staying, but I ended up fi nding the right group of musicians,” Gibbs said. “It turned out I was looking for something.”

That right group of musicians was Thrasher People, which is comprised of San Antonio and Austin players including vocalist Michelle Garibay-Carey, the daughter of the late and legendary Chicano bluesman Randy Garibay. The band is recording a new album next year and plans to hit the road for extensive touring.

Also contributing to his decision to stay in SA, Gibbs is working with a Texas-based movie producer on fi lm scores, which — true to Hollywood form — he’s unable to discuss in detail.

Like Garibay-Carey, Gibbs also is the scion of an iconic musician. His father, the vibraphonist Terry Gibbs, is an infl uential jazz player whose career spanned the big-band and bebop eras and beyond.

Indeed, the younger Gibbs’ Grammy-nominated 2021 album Songs From My Father, is a tribute to the 97-year-old musician that includes collaborations with jazz heavyweights such as Ron Carter, Patrice Rushen and Kenny Barron. The release also includes the last performance of the late keyboard virtuoso and fusion pioneer Chick Corea.

Upon its release, Songs From My Father hit the top of the jazz charts, as have four of Gibbs’ other 13 albums for the East Coast label Whaling City Sound.

That’s something the drummer hopes to repeat with the forthcoming Thrasher People LP. The ensemble isn’t just a collection of sidemen latched onto his star but a group of eager collaborators in it for the long haul, he said.

While Garibay-Carey’s dynamic and soulful voice off ers an easy entry point to Thrasher People, the group is anything but a traditional vocal-jazz combo. The music, dense yet playful, stretches from bebop to fusion, R&B to the avant-garde — sometimes within the same song. And it’s all energized by Gibbs’ propulsive drumming.

“When we play, you’ll hear anything from Charlie Parker to Weather Report to Louie Armstrong to Nirvana to Earth Wind & Fire,” Gibbs said.

Part of Gibbs’ musical appeal — Thrasher People included — is that for all the complexity he brings to the table, it’s not ponderous listening. As a composer and bandleader, he understands how to be accessible without drifting into smooth-jazz pandering.

Some of that likely stems from Gibbs’ lifelong willingness to play in a variety of jazz styles, KRTU Music Director Kory Cook said.

“Every time I talk to Gerry, there’s something I learn about him,” Cook added. “Whether it’s someone he’s played with over the years or another part of the jazz spectrum that he’s explored.”

The members of Thrasher People share a similar artistic restlessness, Gibbs said. Most jazz fans enjoy a wide spectrum of music and are eager to hear musicians explore outside the genre. Further, the band’s R&B, hip-hop and rock infl uences provide an on ramp for listeners who aren’t deeply immersed in jazz.

“We’re playing music that’s an extension of us,” Gibbs said. “We’re all from a generation where we were exposed to pre y much everything going on in music, not just jazz or any one genre. So, I wanted to put myself in a position where I’m playing with people who can say, ‘I want the whole world of music to be part of this band.’”

Other performers scheduled for this year’s Jazz’SAlive include New York-based joyful jazz collective Sammy Miller and the Congregation, Grammy-nominated Latin jazz ensemble the Pedrito Martinez Group and Austin-based soul purveyors Tomar and the FCs. A full schedule is available online.

Jazz’SAlive, Free (special packages available online), 5-11 p.m. Friday, Sept. 23 and 11 a.m.-11 p.m. Saturday, Sept. 24, Travis Park, 301 E. Travis St., saparksfoundation.org/event/jazzsalive.

music

Reminder:

Although live events have returned, the COVID-19 pandemic is still with us. Check with venues to make sure scheduled events are still happening, and please follow all health and safety guidelines.

Courtesy Photo / Invincible Czars

Night of the Vampire

Invincible Czars to perform live score for classic horror fi lm Nosferatu at Alamo Drafthouse

BY MIKE MCMAHAN

These days, you go to a movie expecting loud, high-quality sound to boom from the speakers. But that wasn’t always the case. Until the late 1920s, most fi lms were silent.

For movie enthusiasts who want a taste of that era, Austin band Invincible Czars will perform its soundtrack for the legendary silent vampire fi lm Nosferatu while it plays onscreen at Alamo Drafthouse Park North.

A endees of the Tuesday, Oct. 4 concert-slash-screening can expect an immersive experience that balances a love of tradition with a modern musical sensibility. Yes, the band has features drums and guitar, not to mention violin and fl ute.

Invincible Czars’ instrumentation might be described as traditional, but in an orchestral sense. It’s ostensibly a band, but it doesn’t hurt for the audience to have a grounding in post-rock and eclectic rock-adjacent acts such as the Mike Pa on-fronted Fantômas, which incorporates horror, fi lm noir and cartoon musical tropes into its compositions.

Nosferatu is the Czars’ seventh fi lm score, preceded by The Nutcracker Suite, The Cabinet of Dr. Caligari and Aelita: Queen of Mars.

Even though the group has performed shows with underground mainstays including Melt-Banana and NoMeansNo, it’s since shifted much of its a ention to alternative fi lm scores. With that change, it began performing in theaters, including the cinephile-catering Alamo Drafthouse.

“Once we started doing silent fi lm, we realized no one else is doing this,” Invincible Czars frontman Josh Robins said. “And then Alamo Drafthouse is right here, so as they expanded, we expanded. ‘Oh, they opened on in Virginia? Let’s go there.’”

Robins, who handles guitar and sound eff ects, and Skunk Manha an, the band’s keyboardist and vocalist, spoke to the Current via Zoom as they rehearsed for an upcoming tour. Flautist and vocalist KatieO Radio also popped in for part of the interview.

Tellingly, a Fantômas fl yer hung on the wall behind Manha an, who wore a beanie adorned with what appeared to be a mash-up of the anarchy symbol and the tri-force logo from the Legend of Zelda video game series. If you want to know the essence of what the Czars do, there you have it: geek culture refracted through classical motifs.

Rocking Bartók

To be sure, Nosferatu has no shortage of signifi cance for movie geeks. Especially since this year marks the 100th anniversary of the fi lm — revered both as a seminal horror fl ick and a prime example of German expressionism.

The black-and-white adaptation of Bram Stoker’s Dracula premiered in 1922 with music wri en by Hans Erdmann and performed by an orchestra. Since then, much of the original score has been lost. That’s led to a tradition of composers writing their own music to accompany the fi lm.

Invincible Czars’ take on the score evolved over a hundred performances.

“We would choose classical music that we know, that we think will work,” Robins said. “Then we either incorporate that music — which is usually what we’ve done — or use it as a leaping point for tone, modality or tempo. Then we develop music based on that.”

The Czars’ ultimate take on Nosferatu is inspired by the composer Béla Bartók, who had an interest in Romanian folk dances.

“We kept the same feel but changed up the melodies, changed up the chords,” Robins added.

The band’s score also incorporates modern sound eff ects, such as a heartbeat that surfaces when the titular vampire sinks his teeth into a victim.

Cinematic precision

Monsters are no strangers to Robins and Manhattan, who fi rst met when they played in a heavy metal band together.

While good metal requires a certain precision, a live fi lm score performance takes things to an even higher level. That’s particularly true since the Czars don’t use a click track, a form of audio cue that arena-sized bands use to keep music and video in sync.

In particular, the band members cited the importance of matching certain musical moments with the jump scares playing out onscreen.

“The number one reason that it’s tough is not that we are somehow defi cient in this music,” Robins said. “The standard that we now have for ourselves, by having go en that precise, is unrealistic.”

As a recent addition to the Invincible Czars, fl autist-vocalist KatieO Radio brought a perspective of both a band member and former audience member. Even though the performance is in a cinema rather than a club, there’s a similar symbiosis.

“The energy and relationship that the band has with the audience is what creates the tone,” she said. “Seeing a live band play to a movie is an experience.”

$20, 7 p.m., Tuesday, Oct. 4, Alamo Drafthouse Park North, 618 NW Loop 410, (210) 677-8500, drafthouse. com.

music listings

Wednesday, September 21 Accept

I Prevail

Post-hardcore quintet I Prevail rose to fame with a 2014 cover of Taylor Swift’s “Blank Space,” which went on to be certifi ed platinum. Since then, the group has gone on to earn a Grammy nomination and tour the globe. Its return to San Antonio on the True Power Tour comes with support from emo rockers Pierce the Veil, melodic metalcore outfi t Fit for a King and Australian pop-punk band Yours Truly. There’s something for everyone in this mixed bag of a lineup — assuming you already scored tickets or get one from a scalper. Sold out, 7 p.m., Tech Port Arena, 3331 General Hudnell Dr., (210) 600-3699, techportcenter.com.

— Enrique Bonilla Thursday September 22

Beach House

Masters of stylized and delicately layered soundscapes, vocalist Victoria Legrand and guitarist Alex Scally make up the Baltimore-based duo Beach House. The duo’s sound has evolved over the past 18 years, but at its core, Beach House remains an intoxicating combo of shoegaze and dream pop. Flaming Lips frontman Wayne Coyne called Beach House’s 2012 release Bloom one of the 10 albums that changed his life. Need a six-minute escape from reality? Dive into the dreamy “Superstar” from Beach House’s recently released Once Twice Melody. $31-$61, 8 p.m., Tech Port Arena, 3331 General Hudnell Dr., (210) 600-3699, techportcenter.com. — Danny Cervantes

Friday, September 23

Pepe Aguilar

The son of multi-platinum singing icons Antonio Aguilar and Flor Silvestre, Mexico’s Pepe Aguilar has emerged as musical force all his own. He’s a popular singer, songwriter and producer who’s earned four Grammys, fi ve Latin Grammys, 19 Lo Nuestro Awards and a star on the Hollywood Walk of Fame. The singer’s Jaripeo Sin Fronteras tour brings an authentic taste of Mexico to the audience. Jaripeo refers to the Mexican tradition of mounting angry bulls. $40-$875, 8 p.m., AT&T Center, 1 AT&T Center Parkway, (210) 444-5000, attcenter.com. — EB

Saturday, September 24

Little Jesus, Divino Niño

Little Jesus hails from Mexico City and mixes rock en español with indie pop fl avored by Beatles-esque harmonies and hooks. Co-headlining group Divino Niño is based in Chicago, but its origins are Colombian. The members describe their new album as partly inspired by “falling in love again with [instrumental hiphop wizard] J Dilla.” That reference, along with the group’s Latin sound and reggaeton infl uence, suggest attendees may want to bring along their dancing shoes. $18, 8 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — Mike McMahan

Legs Diamond, Moxy, Lita Ford and more

There are bills that will do well in San Antonio, and then there are bills that are custom-made for the city. This one is the latter. Proto-metal act Legs Diamond got its break here after catching the ear of legendary KISS-FM DJ Joe Anthony, and its signature song “Woman” got so much airplay it’s practically in our DNA. Hard rockers Moxy developed a similar local following thanks to heavy play on KISS. And don’t sleep on Lita Ford, who also found success in the ‘80s via hits like “Kiss Me Deadly” and was a member of legendary girl group the Runaways. Jack Russell’s Great White, Kingdom Come and local act Jessikill round out the stacked bill. $35-$65, 5 p.m., Tech Port Center, 331 General Hudnell Dr., (210) 600-3699, techportcenter.com. — MM

Monday, September 26

$uicideboy$

The members of hip-hop sensation $uicideboy$ went from SoundCloud fame to owning and operating their own record label G*59 in fewer than 10 years. Whether it was this duo of cousins’ ultra-depressing lyrics or stylized verses about drug abuse, something clearly resonated with fans. Currently one of the most popular outfi ts in underground rap, the ’boy$ have breached the Billboard charts and collaborated with rock band Blink-182. $143$470, 6:30 p.m., Freeman Coliseum, 3201 E. Houston St., (210) 226-1177, freemancoliseum.com. — Brianna Espinoza

Tuesday, September 27

Andrew Bird, Iron & Wine

If whistling was an Olympic sport, Andrew Bird would be in medal contention. He’s best known for the song “Sisyphus” from 2019’s aptly titled and Grammy-nominated My Finest Work Yet, which highlights both his whistling and wordsmithing abilities. A violinist with a degree from his hometown Northwestern University, Bird specializes in a brand of indie rock that incorporates infl uences as diverse as Claude Debussy and Fats Waller. Iron & Wine showcases the intimate, stripped-down vocals of Sam Beam, whose songs are born of deeply revelatory vignettes and remain popular on movie soundtracks and in co eehouses. $40.50-$84.50, 7:30 p.m., Tobin Center for the Performing Arts, 100 Auditorium Circle, (210) 223-8624, tobincenter.org. — DC

Collective Soul, Switchfoot

Atlanta-based band Collective Soul has sold nearly 10 million albums, and its Grammy Award-winning songs have been covered by the likes of the great Dolly Parton. The outfi t’s current tour celebrates its 30 years as a band, and fellow Grammy Award winners Switchfoot are along for the ride. The headliner recently released it 11th studio album, Vibrating, a pop-rock record several years in the making. $49.50-$225, 8 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-3333, majesticempire.com. — EB

Delvon Lamarr Organ Trio

Featuring drums, keys and guitar, the Delvon Lamarr Organ Trio — sometimes known as DLO3 — evoke memories of funky ensembles such as the Meters and Booker T. and the M.G.s. Even so, the group isn’t afraid to step outside the patterns of the past. On the track “Cold As Weiss,” for example, the chord changes and playing may feel like a traditional organ trio, but the beat ropes in a feel more akin to contemporary electronica. $16.50-$70, 8 p.m., Sam’s Burger Joint, 330 E. Grayson St., (210) 223-2830, samsburgerjoint.com. — MM

Courtesy Photo / Accept

The Birthday Massacre

Appropriate to October’s approaching spooky season, the Birthday Massacre is steeped in eerie gothic tones. The band leans towards dark wave with plenty of memorable synth melodies. Dress in your fi nest black for this night of fun graveyard shenanigans — and bring along your clove cigarettes, if you’re so inclined. $25-$30, 7:30 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — BE

Wednesday, September 28

Diana Krall

An exceptional jazz singer and pianist, Diana Krall has more musical skill in her left pinky than most people do in their whole body. She’s had eight albums debut high on the Billboard Jazz Albums chart, and thanks to her pop-crossover appeal, she’s raked in multiple Grammys and Juno Awards. Her musical approach resonates because she’s able to sound contemporary while channeling the swinging elegance of a bygone jazz era. $59.50-$250, 7:30 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-3333, majesticempire.com. — BE

Bone Thugs-N-Harmony

The key word in ’90s rap sensations Bone Thugs-N-Harmony’s name has always been “harmony.” Beyond being able to spit verses with machine-gun ferocity, members Bizzy Bone, Wish Bone, Layzie Bone, Krayzie Bone and Flesh-N-Bone also have a knack for melding their voices together. After successfully auditioning for Eazy-E’s label in a backstage dressing room in their hometown of Cleveland, the group broke out big with 1994’s summer anthem “Thuggish Ruggish Bone.” Despite a variety of departures and solo projects over the years, the original fi veBone lineup reunited in 2018. $30-$65, 8 p.m., Aztec Theater, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre.com. — DC

Thursday, September 29

Knoll

Memphis’ blackened death-grind sextet Knoll has been shaking up the world of underground metal with a brutal and shockingly vile sound that could be compared to later era Full of Hell yet retains its own unique style. The band’s spastic and violent live sets are also likely to win over fans of the heavy stu . Local acts including Decimate, Incisor and Closed Casket round out the bill. $12-$14, 6 p.m., Vibes Underground, 1223 E. Houston St., (210) 255-3833, facebook.com/vibeseventcenter. — EB

Halestorm, Pretty Reckless

Pennsylvania-based alt-metal act Halestorm is touring behind its fi fth studio album, Back from the Dead, recently released by

music listings

Atlantic Records. The group’s 2012 Grammy win for Best Hard Rock/Metal Performance with the song “Love Bites (So Do I)” made vocalist Lzzy Hale the fi rst woman to win in the category. And make no mistake, Hale’s powerhouse vocals are one of the band’s key selling points. The Pretty Reckless and New Year’s Day round out the tour package. $35.50-$71.50, 7 p.m., Tech Port Center, 3331 General Hudnell Dr, (210) 600-3699, techportcenter.com. — EB Mexican rapper C-Kan and acts MC Davo and Dharius all bring their individual spins to the growing realm of Latin hip-hop. C-Kan has been cranking out socially conscious gangsta rap since the early 2010s but stayed away from the United States while Trump was in the White House. Now that the anti-immigrant reality show president is out of o ce, C-Kan is again touring north of the border. $19-$58, 8 p.m., Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre.com. — BE

Friday September 30 Monday October 3

The Flaming Lips

Led by ever-creative genius Wayne Coyne, the Flaming Lips has travelled from its punk-era formation in Oklahoma City to the outer reaches of psychedelic pop and back. Along with winning three Grammy Awards, the group has recorded several fulllength cover albums of iconic bands including Pink Floyd, the Beatles and the Stone Roses, bringing along friends including Henry Rollins and Miley Cyrus for assistance. The surprise breakout of “She Don’t Use Jelly” in 1994 pushed the eclectic group into the mainstream. In the throes of the COVID-19 pandemic, the Lips performed a concert in which the band and the entire audience were each individually encased in plastic “space bubbles.” Expect a delightfully trippy performance. $47.50-$59.50, 8 p.m., Aztec Theater, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre.com. — DC

Sunday, October 2

C-Kan, MC Davo, Dharius KMFDM

Led by founding frontman Sascha Konietzko, German fi rebrands KMFDM have been delivering a pulsing soundtrack to our quickly approaching dystopian future since the 1980s. The group is best known for industrial dance music tinged with metallic guitars and packaged with propaganda-inspired cover art — a formula that hasn’t changed much over the decades. But that’s not to say it’s gotten stale. The band’s latest album, Hyëna, seems to tap into a surging power source deep in the matrix. $30, 8 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — DC

Tuesday, October 4

“Weird Al” Yankovic

Sorry to disappoint if you’re hoping to hear Yankovic play a setlist full of song parodies such as “White & Nerdy” and “Like a Surgeon.” This tour will reportedly focus on original works spanning the quirky singer-accordionist’s 14-album discography. The performance comes exactly a month before the Nov. 4 release of the forthcoming biopic Weird: The Al Yankovic Story, in which Daniel Radcli e — Harry Potter himself — will play the musician and humorist. $39.50-$59.50, 7:30 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-5700, majesticempire.com. — BE

Knocked Loose, Bitter End, Creeping Death

Combining a metalcore sound with a hardcore punk spirit, Knocked Loose is known for venue-leveling live performances and spry dual-guitar harmonies. Recommended for folks who enjoy being pummeled by the likes of Code Orange — especially those who enjoy the breakdowns that drive the kids straight into the pit. Last fall, Knocked Loose surprise-dropped the EP A Tear in the Fabric of Life, so expect to hear material from that release. $29.50-$32, 7 p.m., Vibes Event Center, 1223 E. Houston St., (210) 255-3822, vibeseventcenter.com. — MM

Accept, Narcotic Wasteland

Germany’s Accept became U.S. hitmakers with the 1983 smash “Balls to the Wall.” If you remember that one, you know the formula it’s largely adhered to for fi ve decades. Led by guitarist and sole original member Wolf Ho mann, the band continues to specialize in Marshall-fueled metal that shifts between anthemic rockers and breakneck scorchers that set the template for speed metal. Openers Narcotic Wasteland, on the other hand, skew toward a modern death metal sound. If the vocals sound familiar, that’s because mainman Dallas Toler-Wade used to front Egypt-inspired musical punishers Nile. Narcotic Wasteland became his main project since he parted ways with his previous band in 2016. $30, 7 p.m., 1902 Nightclub, 1174 E. Commerce St., (210) 890-1265, 1902satx.com. — MM

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Technical Product Manager III – Information Technology - Rackspace US, Inc. - San Antonio, TX. Works with Product Manager to build product roadmap, write user stories, elaborate requirements & assist in the development of acceptance tests. Req’d: Bach deg in Tech, Engineering, Business or rel fl d + 5yrs agile software dev or rel tech project mgmt exp, including exp in 1 or more phases of prod dev life cycle OR Master’s deg in Tech, Engineering, Business or rel fl d + 3yrs agile software dev or rel tech project mgmt exp, including exp in 1 or more phases of prod dev life cycle. Send resume to: careers@rackspace.com, Ref. 26251.

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September is Hunger Action Month, a month where people all over the nation mobilize and take action in the fight against hunger.

Because of the ongoing Covid pandemic and inflation on the rise, the San Antonio Food Bank has grown to serve 100,000 individuals each week across Southwest Texas.

GIVE HOPE by donating Food, Time, Money, and Voice to create opportunities for individuals and families in our community to GET HOPE.

Learn all the ways you can take action this month by visiting safoodbank.org/ham

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