Al: Terry, our drummer, was originally the "front man" lead singer for the band (long before my time), and there was a different person playing drums. I wish I could have seen that - wonder if he did back flips or wore spandex or something!

Chris: We played a show at the Last Days Saloon, in San Francisco. It must have been two years ago now. Huey Lewis showed up at the suggestion of an old friend who worked with us. Now I love The News and I loved all their big hits from the eighties even today. Huey's appearance was kept on the downlow, I never met him, he came and went while we were onstage. But I'll always be thankful for my friend Dano who may or may not have been on several hits of acid, and may or may not have placed his purple feather boa around Mr.Lewis' neck and made him pose for several quick photo's before running away forever scarred. I want a new drug, indeed!

How has the Minnesota music scene treated you guys?

A: As the band had been virtually a cover band exclusively for the first 4 or 5 years, and wasn't playing mildly major venues in the Twin Cities area, it was ignored, then eventually dismissed by the media as yet another "hippie dippie" band trying to capitalize on Jerry's death. Not the case - the band started in late 1991- early 1992. The originals started flowing about 1996 and it's taken quite awhile for any twin cities media types to warm up to the fact that we have good songwriters in the band.

There aren't many bands out of Minnesota, save the Jayhawks or Low (and not counting Prince!), that draw the way we do here with original music, and eventually some media persons may acknowledge that we've built something pretty strong. We tour the whole country, we've taken great steps to ensure our latest studio recording can compete sonically and artistically with anything out there, and the crowd we draw is, I think, a nice cross section of the population....we're lucky to have 'em. I am not sure what other musicians in the area think of us, as we're not here that often anymore. I haven't had any opinions offered me, and I am not into soliciting them. So, in the Minnesota scene many fans like us, employers like us, metropolitan reporters are still trying to look the other way (while non-metro media have been pretty good to us), and I don't know what musicians think.

C: Minnesota is a small place really, and I live a big small town - minneapolis. The slow deliberate construction of a scene in the Twin Cities (minneapolis, St.Paul) had as much to do with us being decent fellas than it did being in a good band. We were always welcoming hosts to everyone at our weekly shows, and folks responded with faithful attendance. Once that was established, we infiltrated their minds with our easygoing tunes. Everyone was happy! And our plan of crafting an army of mindless minions to unquestioningly carry out our will was set into motion. Stay tuned my children, stay tuned.....

Who are your primary influences, and whose styles come out most notably in your music?

A: The band is drawn to American roots, probably rural rather than urban, so obviously it was influenced by the Dead, some Allman Brothers, blues, country. I was the last to join - I hear they were into Phish too in the early days. I knew nothing about Phish. But everyone in the band has their own influences and when they're all brought to the table it's like eating a meal with all the food groups. Chris is into old time country and bluegrass, as well as blues or roots rock players like Stevie Ray Vaughn - I think he and Jeff Austin from YMSB wish they were twin brothers....Andy's a metal guy, Ozzy or early Metallica for instance, and he likes Neil Young and the Who, maybe because their rebellious nature mirrors his own....Terry likes country and bluegrass, and jazz, especially Wes Montgomery - he's the quiet guy in the band, but I think I hear a little Fishman in his drumming.....and I grew up on blues oriented rock such as the James Gang, Little Feat, Clapton, Rory Gallagher, along with acoustic artists including earlier Bruce Cockburn, Joni Mitchell, Michael Hedges.

.I like innovation in the musicianship, as opposed to being drawn to the songwriting. Maybe that's why I don't sing much. It was after I joined the band that I first started listening to the Dead on a certain level - the main thing I learned to appreciate about them, besides their songwriting, sense of community, and adventurous ensemble playing, was a sense of priority in resurrecting or preserving old songs and pay homage to roots. I think it's great to find old musical treasures and keep them in the ears and minds of listeners.

C: Our influences are popular music that, willingly or not, subverts the mainstream. In my case, however, I relish pop candy. It used to be quite an artform, but its getting harder and harder to translate ("H" to the izzo?) Examples, Al's a big Little Feat fan. Miller is a follower of Frankie Zappa. Terry digs Roy Rogers (not the singing cowboy but the alt-country bay twanger). And I expose myself......(sorry had to scratch my neck) to as much KFAI twin-cities community radio as possible. Public radio is true radio.


What music are you currently listening to?

A: I can't speak for the others. Right now I'm listening to Little Feat "Waiting For Columbus" as I write, the newer double disk set from that classic live release, with some killer outtakes that didn't make the final cut to the original album. And I wonder why they were cut! They're great. Brings me back to the old days - throw together one of my heros, Lowell George, with a band of players like that - my gosh, Billy Payne is a great keyboardist, and Richie Hayward is a drummer's drummer. I love all those guys. Why in the hell aren't they called a "jam band"??!! Check out songs like "Day at the Dog Races" or "The Fan"(from another release). Sick playing! I also found a cassette of Little Village that I'd forgotten about - John Hiatt, Ry Cooder, Nick Lowe and Jim Keltner thrown together as a stress relief band, a la Traveling Wilburys. I remember liking the sound of it - I think good mastering or something. They don't stretch much, but I had been drawn to the sound, and to the bluesy influences.

I don't remember the last CD I've bought, either the Flaming Lips or Wilco - life's been a little hectic and I haven't had time to sit and listen to much of anything lately. I'm more likely to get a CD of a band we work with on the road and spin it while we're touring to learn their musical tendencies, as I'm a whore for sitting in with any band that'll put up with me. Watch out, Tea Leaf Green!

C: Our stage tech, Wil brought the Toy Story 2 sountrack on the road this time, its all done by Riders in the sky, Real Coyboys! I love it. I bought a Lonnie Smith CD called Drives for one dollar at a garage sale and now I feel guilty because the grooves are so heavy and they change the rhythmic feels throughout the album. Damn, that one's good too. This week I need to go buy a Louvin Bros. disc.

With Jason Fladager having departed the band, how has your sound changed and where do you guys feel you are headed in the future musically?

A: First, many of the songs had been written around two-guitar lines, and these are a little more difficult to accomplish now. As we tour, we're learning which lines we can get away with using one guitar and which lines need me to double on keys. It's caused Chris and me to listen more closely to what we're doing, but oddly it's easier to listen to now. There's not so much information competing in that mid-range region, as we had with three polyphonic instrumentalists. Our assignments are different now for some songs, but it's also allowed us to decide where to trim the extraneous stuff in many cases. Do I keep the flesh going on the Hammond, or do I sneak in a little edgy wah work that Jason used to do on guitar? Things like that. It's still evolving, but it's fun.

The newer songs that come down the pike will be written specifically for this current lineup, so that will make things easier too. Also, Jason contributed much more than his guitar playing - he wrote a handful of songs, including a couple of very strong ones, and there is some internal debate within the band whether to play them. For the time being, we won't. And his vocals were maybe underrated. The band was originally built on both the twin guitar lines and three part harmonies, and Jason was a big part of that. Their voices just naturally fit into certain ranges. Chris is usually in the middle, and his instincts draw him to the melody line - his range is not real high, and Terry can always go get those high notes. Terry sneaks in a little soul in his vocal sometimes, either bluegrass bends or Stevie Wonder. Jason fit underneath Chris - he's a big guy, about six five, and he could push enough air to hear and feel the lower notes that had to slip under the melody line. That's not easy to do - I think an upper harmony is easier to find than one underneath, and these guys worked together for years. Andy's singing a few tunes now, but he hasn't had experience with harmonizing and blending his voice with others.

So I'm singing some of the harmonies - I prefer to sing higher, so some of the harmony stacks are changing. My problem is I can't play the way I like to do and sing at the same time. I could hum the line or scat or something, but when I try to string some verbage together it messes with my music flow somehow. Can't remember lyrics, then when I do I can't move my fingers! Too many concussions, or maybe it's because I'm a lefty.....

As for the future - I'm excited for the change, even though I miss Jason's presence. I'm excited to work on new material that's tailored for this lineup. I think there's a good chance I'll be playing some electric guitar in the very near future, so some of the twin lines may come back. I used to play guitar in a road band in Canada quite awhile ago. Some songs we currently play with me on keys will have a different personality as a two guitar song. And the 4 piece has been increasingly accepted by listeners as the lineup of choice, versus adding another person. It's been working well. Chemisty is important in this band, and the four of us have worked together since mid 1996.

C: Without Jason we have become smaller and more manueverable musically. Jason's a very talented guitar player but I've had a wonderful chance to improve my skills and Al and Andy have both expanded themselves to fill in when needed. But part of good music is the spaces, the noteless moments, those can be dramatic. The singing is better that ever, the musical engine of which we all are a part, is more tuned up than ever. Care for a ride?

Can you describe your current gear setup?

A: For touring I use a chopped Hammond A-102 (essentially a B3) played through either a Leslie 122 or a 147; a Korg T2; an Alesis QS8; a Minimoog, these three going line in through active DIs and folded back through the monitor system; and a Chandler lap steel played through either a 1957 Fender Deluxe or a newer Fender Blues Junior tweed that looks a lot like my Deluxe. I have a few Lee Oskar harmonicas that I make terrible sounds on (it's the player, not the instrument), and LP egg shakers that I throw at the audience on occasion. My minimoog is one-owner - bought it when I was a kid, and thank goodness it was one of the few things I didn't get rid of and regret later. I play the Moog through a phase shifter, flanger, and delay.

The lap steel sees a compressor, chorus, distortion, volume pedal, and delay at the end of the chain. I use a wah for the T2, primarily the clav sounds - we set up the T2 mono to accomodate the mono wah pedal, and the QS8 is always stereo. The set up is always evolving, and as a result I'm always in severe debt, but it's fun. Would always consider endorsements! Are you listening, Bob Moog? Fender? (Love to play a Danny Gatton Tele....)

C: I, having recently said goodbye to my favorite guitar (a causulty of war) my '68 Gibson SG, now have with me a early 70's Gibson E-330 (recently revamped by genious mind, Ted Vig) and a '78 Antigua Fender Stratocaster. I amplify through a '68 Fender Super Reverb amp and the new Reverend Hellhound 40/60. My effects are limited to an Ernie Ball Volume pedal, Rat Distortion, Ibanez Tubescreamer, MXR phase90, Boss Chorus, and tuner.


When the venue you are playing at has the capability for a light show, special sound effects, projection screens, or anything above and beyond the PA and the stage, to what extent do you use those and how do you incorporate them into your live shows?

A: We have a guy touring as part of our crew, Wil Simon, who's constantly learning how to program different lighting systems. He seeks out and works with lighting directors at venues to get these special visuals into the shows whenever the opportunity presents itself. And Wil's valuable in that he's been with us for awhile and really knows the music, where the jams might go, who's soloing....he's pretty passionate about the music. So he'll get a copy of a set list template (we call audibles a lot!), and design lighting around the songs that are expected to be performed that night. He knows where the musical "homeruns" are (and the foul balls), so he won't peak too early.

C: I know very little about production. But we have used the Intellabeams sucessfully with traditional cans. We usually rent heady PA's for our own Big Wu Reunion festival. New Years Eve 2001, was the biggest and best. There was a giant suspended ring hanging from the ceiling. it looked like a trampolene and it would move up down are rotate with filtering lights through the white netting that covered the ring. Usually I'm a less is more guy when it comes to production but there is something to be said for the lights at a Phish show.

Where are some of your favorite places to play?

A: I've had many favorites - not counting our Minneapolis area some indoor faves would include the Barrymore in Madison WI, Bash on Ash in Phoenix AZ, La Zona Rosa in Austin TX, The Palladium in Worcester MA, Crystal Ballroom in Portland OR, Bear Tooth Theater in Anchorage AK, Parish Room (or ANYWHERE!) in New Orleans LA, 930 Club in Washington DC, Park West, the Skyline Stage at Navy Pier and the Vic Theater, all in Chicago IL, Great American Music Hall in San Francisco CA, the Galaxy Theater in Santa Ana CA, The Gothic Theater in Denver CO, the Roxy in Los Angeles CA, Irving Plaza and Wetlands, both in NYC, and finally a couple smaller places run by some special people - the Free Bird in Jacksonville Beach FL, Quixote's in Denver CO, and the Stanhope House in Stanhope NJ. Can't forget the Pour House in Raleigh NC either. Of those, the shows at the Barrymore always seem to be off the hook.

Outdoor venues to choose from are more limited, but certainly the Bonnaroo experience was great. The Somerset WI concerts with String Cheese the last couple years were run well, but both times were impacted by weather - severe heat the first time, storms the second time. Summerfest in Milwaukee is a great time. I think in our own home area, places like Harmony Park in Geneva MN, the Ampitheater at the Minnesota Zoo in Apple Valley MN, our own festival at Black River Falls WI, they've been favorites.

C: I love playing anywhere people appreciate music. The more mixed the crowd is the better. Different ages, different backrounds. I love playing at bars that are condusive to having a good time (there's a concept!) Where people can get a drink, where there is room to dance and the staff know how to deal with all kinds of people: The Cabooze and First Avenue in my hometown, The 9:30 club in D.C., Fox Theatre in Boulder, CO., The Barrymore Theater in Madison.

How did the Big Wu Family Reunion festivals come about and what sort of things should we expect for this year?

A: The first event was an idea for a fund raiser for us to afford to go on our first road trips, in 1998, and also to throw a party for our local fans to thank them for their support as we started the transition from local band to occasionally-touring band. Because our fans were so close knit, and because they were primarily friends of ours, new and old, we had the idea to make name tags for everyone, sort of like a summer camp thing - think we called it "Camp Winnemukwu" or something. Everyone who ordered a support ticket, which was maybe 5 or 10 bucks, was listed at the door, and when they arrived at the party they were presented with a name tag that might have said "Uncle Mike Lahti" or "Cousin Anne Erickson". The gig was played in the warehouse that we had recorded our basic tracks in for our first CD, and the owner agreed to allow people to bring tents and camp outside. The warehouse was on a small lake, and the owner graciously brought a huge load of firewood for the bonfire on the lakeshore.

It quickly grew into a full scale 3 day festival at a larger location, with around 20 bands, most of them touring nationally, top notch production, vendors, and anywhere from 3000-6000 people. The idea was still to bring an appreciation party home to our fans and share with them some of the great bands we'd work with on the road, that magic place they helped send us off to after that first festival. Nobody up here had heard of Yonder Mountain String Band until we brought them to our 2000 festival, and we invited them after working with them at Stafford Lake High Sierra, fall 1999. The audience has long been transformed from a local crowd to a national crowd. Last year we were forced to raise ticket prices substantially, as the festival property had been sold and we had to forge a new relationship with the buyer. We had to pay much higher land rent. Then Bonnaroo was announced, and when people compared the prices between the two events, it seemed to concern them. But they are completely different - one's massive, one's intimate. We have to cap ours at 6000 tickets or so, as we aren't set up for more. And we'll stack our sound reinforcement against anybody in the country - we don't cut corners with our sound. We feel we choose great music each year. So we have disproportionate costs involved with our festival as opposed to many of the larger ones. But it works! We've been able to go with our gut, and with our experiences traveling with, working with, hearing other bands. We just have to take some of them home with us in May.

Everybody who's played our fest wants to be back. Anyway, this year we were able to cut a better deal with the land owner - and we're in discussions with prospective band candidates. We'll initiate talks with more bands as things flesh out. So what you'll see this year is a ticket price that's about $20 lower than last year, same killer main stage and PA, a larger second stage than in years past, and an exciting band lineup that should be announced sometime in February. There will be award-winning Pioneer Beer varieties again, including their amazing Oatmeal Stout, at the friendly beer tent, and those proceeds will help the Black River Falls Chamber of Commerce. There will be another food shelf drive to stock the area food shelves, as in the past. There will be a free shuttle bus that will travel between the festival site and the town of Black River Falls for supply runs (or hotel rooms for non-campers). There will be many great-smelling fires burning. And there will be thousands of people there that feel like family.

C: Its hard to be objective about the Family Reunion. Its a big deal to us. We care about it and we get very anxious as we prepare for it. It is a much fun as you could possible imagine and there's not an overwhelming amount of people there to make one uptight. Its a outdoor party, northern style. Its only summer up here for a few weeks so you can bet you last cash dollar we do it right. I dare you to be dissapointed.