Calexico and The Kirk Five...
Growing up playing jazz when I was in high school, I was really into playing jazz so much...that I got the Louis Armstrong award. It really meant a lot to me. Our high school jazz band won some competition among the other high schools, and we got to play at the Playboy Jazz Festival, where I got to meet Charlie Haden, Jaco Pastorius, Ray Charles’ bass player, and Diana Reeves. It was really cool. It really kind of shaped me growing up, being part of a huge festival with all these heavy jazz musicians. And in jazz, there’s that southern element, that Latin influence, Bossa Nova, Afro-Cuban influence.
Joey Burns
Spoke (1997) signed by Joey Burns, John Convertino, Jacob Valenzuela, Paul Niehaus
For me, especially, I have this ghost orchestra sitting on my shoulders, which is always in the background. So if I’m laying down something with... John Convertino – and the majority of the songs written are dependent on the two of us in a room, making something up – and those basic tracks are really crucial to the sound and feel and mood. It’s got to have that vibe, it’s got to have some kind of vibe that we can build things on to. Or choose not to build arrangements and instruments on top of. So it kind of varies. It’s a treatment of songs and phrases with the approach of giving things, whether they be lyrics or melodies, space. That’s my approach, and I think it’s John’s too. John comes from a very jazz-oriented background as well... That’s one of the things where I’ve really benefited from working with John... He’s got great aesthetics, he’s really not dialed into listening to latest new indie rock stuff at all. He tends to kind of skirt between some world music, blues, jazz – especially a lot of jazz... since he is a fan of that era of drums as well. And players like Elvin Jones, Max Roach.
Joey Burns
Hot Rail (2000) Joey Burns, John Convertino, Jacob Valenzuela,
Making a record is like going to a storage locker every now and then, and either dumping off things or picking up something that you've been missing for a while. Then, several months or songs down the road, you have a collection of ideas and you make sense [of them] afterwards.
Joey Burns
Descamino (2000) signed by Joey Burns, John Convertino, Jacob Valenzuela
I think we float on the periphery and we do these different projects, and our music means different things to different people at different times. I love that. I love the fact that we're not just a one-sided band or style of music. It's got this complexity to it, and we're able to blend where and when needed. It comes from having played a lot of music over the years in different projects and in different situations.
Joey Burns
Feast Of Wire (2003) signed by Joey Burns, John Convertino, Jacob Valenzuela
Ennio Morricone is a whole other category. His music is really quite exceptional and has been for a really long time. Personally, the music was more attractive than the actual films. I don't know a whole lot of westerns. I know some, but I'm more a fan of the maestro's work. They call him the maestro over there in Italy. He just reminds me to appreciate all those beautiful mistakes, whether it's live or in the studio. That's the approach we take when we go into the studio: Let's just see what we can create without much planning and thought. Let's just throw some shit against the tape machine and see what sticks, rather than try to replicate some demo that we made. As soon as you have demos, it's over. Everybody gets that demo stuck in their minds-- and I'm guilty of it, too-- you get it stuck in your mind and you can't let it go. Our demos are our albums. That's how we've been doing it for a while now.
Joey Burns
Toolbox (2007) signed by Joey Burns,John Convertino, Jacob Valenzuela
Formed by Joey Burns and John Convertino in 1997, Calexico is one of my favorite bands in any genre. Fortunately, they inhabit and transcend almost all genres. Named after the California town that borders Mexico, Calexico's wide, musical palettes are desert washed, sepia tones flecked with country, folk, jazz, mariachi, punk, and even spaghetti western, a seamlessly stirred sonic stew. The two principals, Joey Burns, classically trained on double bass at University of California-Irvine, and drummer John Convertino, met in 1990 and John suggested they join forces to complete the rhythm section in Howe Gelb's Giant Sand. Joey left school, relocated to Tucson and toured extensively with Giant Sand over the next several years. Next came a brief stint fronting the aptly named Friends Of Dean Martinez, a Southwestern spin on electronica with lounge instrumentals of original songs and pop kitsch covers of "I Will Wait For You", "Misty" and "The Shadow Of Your Smile."
Garden Ruin (2006) signed by Joey Burns; John Convertino, Jacob Valenzuela, Paul Niehaus
During this time, Joey and John became a sought after rhythm section and they did studio work for indie rock mavens Richard Buckner, Neko Case, and Barbara Manning. Recently, they have done studio work with artists as diverse as Arcade Fire, Charlotte Gainsbourg, Iron & Wine, Roger McGuinn of The Byrds, Willie Nelson and Nancy Sinatra. Yes, even Ol' Blue Eyes' daughter has recorded under their rapturous spell! The duo released Spoke in 1997, and subsequently, they have issued more than twenty-five studio albums, EPs, tour CDs and soundtracks in their burgeoning discography which reflect their insatiable appetites as music omnivores. Whether covering the 1960s psychedelia of Love's "Alone Again, Or", the Los Angeles speed metal of The Minutemen's "Corona", the traditional folk of "All The Pretty Horses", the industrial doom of Joy Division's "Love Will Tear Us Apart", or the English chamber folk genius of Nick Drake's "Clothes Of Sand", Calexico puts their irrepressible stamp and transforms these songs with their musicality and irresistible South West swagger.
Carried To Dust (2008) signed by Joey Burns, John Convertino, Volker Zander
The original songs and instrumentals of Calexico have an evocative and cinematic feel, so it's not surprising that the band and their music have appeared in the film Collateral in 2004 with Tom Cruise and Jamie Foxx, the ruminative Bob Dylan centered film treatment I'm Not There, starring Kate Blanchet, Richard Gere, and Heath Ledger, and scored the documentary Circo in 2010 and The Guard in 2011, a film starring Don Cheadle. In a recent interview, Joey delineated between the different mediums: "The music business has its one dimension: It's about putting out records. It can be sleazy at times, it can be exhausting, but the film business is just plain crazy. You really have to be demented and just crazy, overly passionate, and drink lots of caffeine or something. It's a lot of hours and hoops to jump through, but I love it. I love movies, and I love music in films." Calexico's music has also appeared on the (not so) small screen in the television series Breaking Bad ("Banderilla") and The Sopranos ("Minas de Cobra"). As Joey Burns wryly observed, "It's interesting to hear a song that you've written pop up as background, while Tony Soprano does psychedelics with some young girl in the desert." So far, Calexico has amassed thirty-eight credits according to their IMDb filmography, an impressive oeuvre, which reflects their curiosity, industriousness and indefatigable work ethic. Joey noted, "We don't really count on any one thing as the be-all-end-all, not so much for the monetary aspect but more for the creative fuel it gives you. The satisfaction of working on different things with different people. I do a lot of jobs...I guess you could call it work, but I don't charge people. I just like getting involved." Oh, they get involved, especially on stage and in concert.
He Lays In The Reins (2005) signed by Joey Burns, John Convertino,, Jacob Valenzuela, Sam Beam, Paul Niehaus, Martin Wenk
They are a riveting live act. "Some of the guys who have been playing with us for ten years, it drives them crazy when they hear 'the part-time members' or 'the added musicians.' These guys-- Martin Wenk, Volker Zander, Jacob Valenzuela, and all-- are a huge part of what we do," Joey admitted, "They make it that much easier to get these ideas on record, take them out on the road, and transform them live. That's my favorite part-- taking that studio version and asking, 'What can we do to make it work in a live setting?' For me, it's night and day. We're playing a studio and it's very quiet and studious. It's like a library, with all these instruments lined up against the wall and they're staring at you saying, 'Play me! Over here! Don't forget the banjolin!' 'Next record, I promise.' " No, there are no library cards needed or accepted at a Calexico concert. Seven (sometimes more) gifted musicians perform their unique sound led by the virtuoso multi-instrumentalists Joey Burns - skilled on guitar, bass, double bass, accordion, cello, organ, mandolin, banjo, vibraphone, melodica - and John Convertino - equally dexterous on drums, percussion, accordion, piano and vibraphone. In fact, I'm not sure that either musician is not adept at any instrument, their talents are so vast. Band member and bassist Volker Zander once told me after a show, "Joey can play anything. He is always showing me new and interesting instruments to play. In the studio, he plays everything so well that he doesn't really need me, or anyone."
Years To Burn (2019) signed by Joey Burns, John Convertino, Jacob Valenzuela, Sam Beam
Erin and I have seen some memorable Calexico shows over the past fifteen years: the Allen Room at Jazz at Lincoln Center with its floor to ceiling windows and the gorgeous back drop of Columbus Circle amid the swirling bustle of New York City below, the Webster Ballroom in New York City, an historic venue where Sinatra recorded bobby soxer bliss in the 1950s, and the fabled Fillmore West in San Francisco. Probably the most memorable Calexico concert we saw was at the Tarrytown Music Hall in Tarrytown, New York on November 15, 2008. The Tarrytown Music Hall, opened in 1886 with maybe nine-hundred seats, is one of the oldest theaters in the United States. Renowned for its acoustics, artists as myriad (and old) as Antonin Dvorak, B.B. King, Sonny Rollins, Mae West and even Presidents Woodrow Wilson and Theodore Roosevelt have graced its hallowed stage.
Travelall (2000) signed by Joey Burns, John Convertino, Jacob Valenzuela
Erin and I decided to take our kids, Kendall (eleven), Brendan (nine), and Camryn (seven), to expose and extend their musical education. We had dinner at a local Tarrytown restaurant and then enjoyed a short, brisk walk to the theater. Along the way, we noticed a bus parked near the back of the theater. We went over for a closer inspection, and I handed Kendall a Calexico album and told her to knock on the bus door. Usually, we don't pimp our kids to get autographs (although it did work beautifully with reggae icon Frederick "Toots" Hibbert of Toots & The Maytals fame a year or two earlier) but Kendall was more than equal to the task. She knocked resolutely on the door, and Volker Zander answered. "Can you sign my album?" came her firm request. "Why yes, I would be happy to," said Volker as he signed a couple of records. After introductions were made to Brendan and Camryn, Volker asked, "Would you like to meet the rest of the band?" 'Yes, if it's not too much trouble. We don't want to be disruptive,' I offered. "No, it's no problem at all, follow me," was Volker's generous reply. So we went with Volker to the back stage door, he opened it, and he introduced us to Joey, John, Jacob and the entire band as they were milling about. There was no Guns 'n' Roses bacchanalia in evidence, just thoughtful musicians in preparation for a creative musical experience. We exchanged pleasantries and they could not have been more gracious as they signed the vinyl.
The Edge Of The Sun (2015) Joey Burns, John Convertino, Jacob Valenzuela
I told Joey that Erin and I had seen them perform with Iron & Wine and Sufjan Stevens at the Webster Ballroom in 2005, and I loved their version of the Velvet Underground's "All Tomorrow's Parties", 'Milt Jackson meets Lou Reed in the desert!' I exclaimed, 'You need to record that.' Joey laughed, "Yes, that's a great song. We had a lot of fun touring with Sam (Beam). He is a great songwriter, a great musician and a good friend." I talked with John Convertino about their remarkable performance at the Allen Room, part of Jazz At Lincoln Center's acclaimed American Songbook series. John and Joey appeared on stage and played "Convict Pool" as a duo with Joey on nylon string classical guitar and John only using his mallets on drums. It was a stunning performance as they played songs throughout their impressive discography, which culminated with over fifteen musicians on the stage for the encores, including the horn section from indie wunderkind band Beirut. I told John that I heard a lot of jazz in his percussion, his use of brushes, cymbals and mallets were unusual for a rock drummer. "Thank you. I listen to a lot of jazz. My heroes are Elvin Jones and Max Roach. I will never forget when I saw Elvin, he was amazing," John confided. 'Yes, I saw Elvin a bunch over the years. Was the band wearing Elvin Jones Drum Machine t-shirts?' I asked. "Yes, they were," he laughed. 'That always cracked me up, grown-ass men, phenomenal musicians wearing matching t-shirts on stage, like they were in an elementary school band. I never quite understood that,' I said. I also mentioned that I heard jazz drummer Billy Higgins in John’s cymbal work. "Oh, that's high praise, thank you. I don't know if I can accept that. Billy is another of my heroes." We thanked them for their time and generosity, and as we were leaving, I told Volker that Brendan was studying bass and was taking lessons. "Oh, that's great, after the show, you'll have to join us on stage. I'll let you play mine." 'Well, we're sitting in the third row, so it will be easy to find you,' was my casual and offhand rejoinder.
The Tthread That Keeps Us (2018) signed by Joey Burns, John Convertino, Jacob Valenzuela
We found our seats and the show did not disappoint. Calexico never does. Their performance was mesmerizing as the skilled musicians were able to traverse all the music food groups, from folk to punk to jazz to country to mariachi to rock and roll, and back again, all within two hours. It was quite the musical journey, and my kids really enjoyed the show. As the show ended, Erin said, "What do you think? Should we go on stage to see Volker?" 'I don't know, they were so kind to us before the show, maybe we should just leave them alone. Besides, the kids have to go the the bathroom.' So I took Brendan to the men's room (no line!) and Erin took the girls to the women's room (big line!). As Brendan and I left the bathroom near the theater entrance, Volker came bounding up the aisle towards us. "Hey, did you like the show? Do you want to go onstage before they break down everything?" I looked for Erin and the girls but I didn't see them, 'Yes, we would love to,' so Brendan and I followed Volker to the stage where he gave Brendan his bass and plugged it in. Just then, Brendan hit a massive chord which resonated throughout the theater. You could feel the power and electricity surge. The few remaining patrons turned around to see if there was going to be a stealth encore. Brendan flashed a huge smile and Volker sensibly turned the amp volume down from eleven to two. Fortunately, Erin heard the bass throbbing deep in the back of the theater. She looked to the stage, saw a small boy in a Red Sox jacket cradling the bass, and now, Erin, Camryn and Kendall quickly joined us on stage. It was time to play the vibraphone with John Convertino. The roadies were none too pleased, the breakdown of the equipment would have to wait, as The Kirk Five were now exploring sounds with Calexico. John gave instructions to Kendall and Camryn, handed them the mallets and soon they were playing the vibraphone and making a joyful noise. It was an extraordinary night of music with an extraordinary group of musicians, and if we didn't have pictures, I don't think I would have believed that it had happened. I still don't quite believe it... perhaps it was just a dream?!
Fillmore June 16&17, 2006 signed by Joey Burns, John Convertino, Jacob Valenzuela
Thank you Calexico for your music and kindness, especially Volker Zander and John Convertino for their incredible generosity and grace.
Brendan playing Volker’s bass
Tarrytown Music Hall, November 15, 2008
Volker Zander and Brendan…bass buddies for life!
John Convertino turns on the vibes, Kendall and Camryn ready to play!
Vibing with Volker Zander, Kendall, Camryn, Brendan on Tarrytown Music Hall stage
Choice Calexico Cuts (per BKs request)
https://www.youtube.com/watch?v=22lWrq1-XEE"Alone Again, Or" Calexico covers Arthur Lee's Love, Austin City Limits
https://www.youtube.com/watch?v=VFvTYwY9xBE"Minas de Cobre" with Radio Symphonieorchester Wien, Vienna 2012
https://www.youtube.com/watch?v=cN1ilMsJc3Y"Crystal Frontier" with Mariachi Luz de Luna Barbican 2004
https://www.youtube.com/watch?v=q4ZAOEpqt7Q"All Tomorrow's Parties" with Iron & Wine Triple Door, Seattle 2005Milt Jackson meets Velvet Underground and Lou Reed in the desert!
https://www.youtube.com/watch?v=iytkbMbahvY"All The Pretty Horses" Aerocalexico 2001
https://www.youtube.com/watch?v=3Jd2cdU4fA4"Dead Man's Will" In The Reins with Iron & Wine 2005
https://www.youtube.com/watch?v=SEhFUm5qy1w&list=RDSEhFUm5qy1w"Love Will Tear Us Apart" Joy Division cover
https://www.youtube.com/watch?v=L4qRv65sGq8"Burnin' Down The Spark" Nancy Sinatra sings, Calexico swings! 2004
https://www.youtube.com/watch?v=kpvchnmUdIQ"Guero Canelo" from Collateral 2004
https://www.youtube.com/watch?v=QHheS6jQ9Mk"Guero Canelo" Newport Folk Festival 2008
https://www.youtube.com/watch?v=SPeRVfbsHbQ
"Convict Pool" Convict Pool 2004
https://www.youtube.com/watch?v=DIcBSKMToIU
"Across The Wire" with Mariachi Luz de Luna Barbican 2004
https://www.youtube.com/watch?v=XiZT1IU4rrU
"Stray" with Takim Lizard Sound Sessions 2014
American Songbook Program February 1, 2007 Allen Room, Jazz At Lincoln Center, New York City
Calexico 2022 Fall Tour Poster signed by Joey Burns, John Convertino
Calexico and Los Lobos, The Fillmore, San Francisco 2006, signed by Joey Burns, John Convertino