(Above: Mouth gets “Gnarly” at the Jackpot Saloon.)
By Joel Francis
The Daily Record
Fans wanting to pigeonhole Mouth’s music, do so at their own risk.
The three-piece Kansas City band combines elements of funk, jazz, pop, hip hop, electronica and progressive rock in their unique, dance-friendly instrumental songs.
“People have tried to make us either a jam band or a jazz/fusion band,” drummer Stephen “Gunar” Gunn says as guitarist Jeremy Anderson finishes the sentence. “Whatever genre people pigeonhole us as, they always complain.”
Talking with the band, which also includes bass player Zach Rizer, is like trying to catch a ping pong ball in a shower stall. The three are just as in synch in conversation as they are when playing. Words zip around as the three finish each other’s sentences and try to complete their own thoughts.
“I used to be afraid of being pigeonholed by the jam-band crowd,” Anderson says. “Honestly, they’re a lot more open-minded than anybody.”
They also provide a nice business model. Mouth tape all of their shows and try to saturate the market with recordings in hopes that the music will find its way out ahead of the band.
“These shows in Topeka and Wichita are the first time we’ve done two shows out of town in a row,” Gunn says of a recently completed road trip. “Right now we’re just trying to figure out how to play and get out on the road where we’ll at least earn near our gas money.”
Mouth – the name is a play on the fact that there’s no vocalist – perform in Springfield, Mo. on Saturday and will celebrate their first birthday on Jan. 29 at the Jazzhaus in Lawerence, Kan. One year ago the trio was playing a First Friday art exhibit and dipping their toe into the scene at the Jackpot Saloon.
“I don’t know if I’ll be able to get a cake in, but I want to make party favors, maybe put songs on a CD and give them out,” Anderson said. Several friends of the band, including guitarist Matt DeViney, who co-founded Gunn’s previous band Groovelight, and local MCs Reach and Phantom will also help celebrate with the band.
Although hip hop is now a staple of the band’s catalog and all three members were longtime fans, embracing the genre was purely a business decision. After six months of drawing meager crowds, Rizer looked at what was getting covered in the music press and where people were going and decided hip hop was the way to go. As soon as they made the switch, they attracted some attention in The Pitch. They also started growing unexpectedly as musicians.
“When you take anything from samples, you not only have to learn the parts, but you have to learn how to put them together,” Rizer says. “There are a lot of subtle things at work, like tambour and tone. The funny thing about hip hop is that DJs will play samples against each other you wouldn’t think to combine.”
For Anderson it was a chance to add his favorite elements of progressive rock – long, intricate parts – and incorporate them in a hip hop setting.
“Our songs are structured like progressive rock, but feel like hip hop,” he says. “We’re not playing prog hop, though. We’re playing hip hop.”
The members of Mouth grew up in musical families. Anderson’s little brother got a guitar, but never played it, so the 10-year-old started noodling on Steely Dan and King Crimson licks. Gunn grew up immersed in music. His dad was a drummer in the band Heat Index and moved out to California in his ‘20s to pursue a career in music. The white bass drum in Gunn’s kit was originally part of his dad’s rig.
“When I was 13, my dad didn’t want me to play because he thought it was bad for my ears,” Gunn says. “He put the kit away in the attic, but I kept getting it out and playing.”
Rizer’s father was also a musician. His dad and grandpa, both named David Rizer, were jazz musicians. Grandpa Rizer played guitar with Oscar Peterson and Charlie Parker. David Jr. plays trumpet, bass and sings and plays regularly with Everette DeVan at the Blue Room.
“My dad never pushed, but I was always surrounded by music,” says Rizer, who counts Bootsy Collins, Jaco Pastorius and Motown bassman James Jamerson among his influences. “I didn’t listen to anything rock-ish until I was older.”
At Shawnee Mission Northwest High School, Anderson introduced Rizer to rock and roll, while Rizer shared his love of funk, soul and jazz. Gunn, meanwhile, forged his own path, eventually performing at Wakarusa Music Festival with Groovelight in 2005.
“That show was kind of a turning point for me,” Gunn says. “At the time, I was into the whole progressive side, with odd time signatures. I was into Mahavishnu Orchestra and Return to Forever. At Wakarusa I realized people want to dance, not just listen. I used to play for the one guy who would appreciate us and tell us about that one measure 13/8. Now it’s come full circle to just wanting people to dance.”
One number the trio play is “Bad Wolf,” a new song that takes its name from Doctor Who. Anderson is seated, bent over his guitar, his nimble fingers dancing across the frets. When told his playing is reminiscent of Adrian Belew, he humbly replies “It should. I have his guitar and amp.” As Rizer’s groove takes over the melody, Gunn applies a hip hop/reggae rhythm on the drums. There’s very little eye contact; each musician lost in his own world.
“When we’re onstage, we definitely look at each other more,” Anderson said. “We’re constantly trying to push the boundaries of the song and include different elements.”
After a year together, Mouth has no future goals beyond continuing to push each other and trying to find a balance between the written and improvised.
“I’m looking forward to seeing where the music goes,” Gunn said. “We just pour ourselves into different scenes and see what happens.”