by Rich and Laura Lynch

The California Guitar Trio (CGT) are multi-cultural as well as multi-musical. Paul Richards is from the state of Utah, Bert Lams hails from Belgium and Hideyo Moriya heralds from Japan. Their complex compositions are a blend of acoustic, blues, jazz, progressive, surf and world.

To date CGT has released 12 albums, which feature originals, interpretations of classical music (Bach and Beethoven) and live recordings. They have shared the stage with many notable musicians including King Crimson who they have a long term relationship with. The three meet at one of Robert Fripp's guitar craft courses and when available Tony Levin (bass/Chapman Stick) and Pat Mastelotto (drums) perform with CGT.

California Guitar Trio and Stick Men appeared at the legendary B.B Kings on June 22, 2009. The club is an intimate space located in the heart of Time Square in New York City. For seated shows, drinks and a fine selection of cuisine are available. There is plenty to do and see in vicinity of the venue.

The California Guitar Trio promptly took the stage at eight armed with acoustics and effect pedals. Paul began the first song - "Punta Patri" - utilizing the treble technique enhanced by effects. Bert and Hideyo added pretty plucking and rich rhythms to the mix. The piece meandered through many changes before ending with lush leads and furious fret work.

"Unmei" featured spirited string work with compounding chords conversing. The combinations were concise and colorful augmented with effects. Originally a Japanese folk song the CGT version blended elements of classical and surf music into the mix. Paul introduced the band as Hideyo snapped a photo of the crowd.

"Cathedral Peak" was imposing with its tall notes transitioning into intricate sound structures that built up to enticing ethereal effects before ending with faster and more flashy fret work.

For their fourth song the trio took possession of "Tubular Bells" and made it their own with their dynamic and delicate digits dancing over the strings. Yet, the music was dense as the piece progressed into a slower softer mood with forays into funky fret work. CGT's soundman walked on the stage playing a hand held keyboard with a mouth piece. He added even more punch to the piece.

CGT's instrumentals are experimental and expansive. They can interpret a wide range of music with multiple layers of leads, melody and rhythms. Hideyo started off "Walk Don't Run" making full use of the whole fretboard before the others joined in the jaunt.

Paul told the attentive audience that they have been touring a lot and some times writing in their hotel rooms. The next song that CGT played was called "Portland Rain" and was penned in Portland, Oregon. The chords cascaded into each other flowing from gentle rains to stormy strumming. "In The Middle of Nowhere, In The Middle of Texas" was written in Texas and had a western flair washed in effects that ranged from intricate to intense among an array of changes.

"Before we moved to LA to form the band we studied circulation with Robert Fripp where thirty or more players would sit in a circle and pass a note," Paul explained adding how this exercise taught the trio how to listen to each other. The next composition CGT performed was based on this concept of notes circulating as bass and melody were added. The piece progressed from pensive to peppy.

For their first encore fans were treated to the familiar strains of Pink Floyd's "Echoes" and CGT no doubt felt the appreciation from the crowd reverberate back to them. Towards the end of their set Tony Levin - armed with a black bass - joined the CGT adding beguiling bass lines to the trio's multi-layered leads. The song ended with a brief solo from Tony.

Drummer Pat Mastelotto played on "Melrose Avenue" - a faster paced piece with progressive elements. Pat was very animated on his kit supporting the agile acoustic guitars and aggressive bass grooves.

Michael Bernier sporting a Chapman Stick took the stage and all jammed on "Block Head" - an edgy and energized instrumental. This was the transition for CGT to depart and Stick Men to step up. The Stick Men trio's set was heavy on rhythm with the drums enhanced with some effects and two Chapman Sticks.

The first song had lots of strange spooky sounds punctuated by percussion. The plunks were haunting and harrowing. Tony was speak-singing some words before the piece moved into racing rhythms rotations and rapid fire drumming.

"What a night, what a treat for us," said Tony who commented on being back at B.B Kings for the first time since last year's historic Liquid Tension Experiment reunion show. "Sasquatch" was a newer tune and featured big, bold sounds combined with dynamic drumming.

"We have a lot of music to play for you," enthused Levin as they played the third piece with its spacey sounds moving into bold bass lines. Tony was singing in very low tones. At some point, Michael and Tony were strumming bows across the strings of the Sticks and Mastelotto was doing the same on his cymbals. Weird textures and tones were emanating before Stick Men returned to a more rock like format.

The set featured many tricky technical combinations from all three players who are proficient at their instruments. The music has experimental elements with lots of rhythms. Both Levin and Bernier utilized various techniques to get the most from their Sticks. Approaches ranged from punchy plucking, fast fret work and tap touching. Pat made full use of his effects, kit and pads adding additional menacing meters and moments to the music.

Stick Men's set was innovative and unique with the focus on rhythm, although the Chapman stick does have higher note strings adding more range to the compositions. Stick Men are currently touring and working on a new album.

Monday was an evening of expansive, exploratory music by both California Guitar Trio and Stickmen. The contrasting band styles were eclectic and engaging. Seeing the two groups on the same bill was a treat and will not be soon forgotten.