Deep Banana Blackout

However, “The downside is that a band our size starts to run into financial difficulties,” he said of the seven-piece funk outfit. “At this stage of the game, we need to get over the next hump and we’re going to need some money. Getting an outside party involved is going to be the only way we can do this, whether it’s a label interest or investor of some sorts. So we’re looking into that right now.”

The conflict Deep Banana Blackout faces is a classic example of a grassroots band caught at a crossroads. It can curve right and sign with a major label capable of mass marketing and distribution, and risk loss of creative freedom, or forge ahead with an independent operation, endure financial shortfalls and remain out of the commercial spotlight, effectively limiting its potential audience.

According to Fuzz, it’s not a difficult decision. “I think the majors with the way the pop market is right now don’t know how to market a band like us. And we’re working on being a little more marketable without sacrificing anything, but I think our sound is not that left field,” he said. “By being able to sell ourselves so easily, it’s proving that is the case because we’ve been able to win audiences over really quick. On a large scale, I think with the right push behind us, we could win the whole world over, goddamn it.”

With two records under its belt and a long list of musician supporters (including jazz guitarist John Scofield, Fred Wesley and Clyde Stubblefield of James Brown’s band, DJ Logic, and Merle Saunders) Deep Banana Blackout has made a name for itself without the help of the music industry machine. A mainstay at hippie festivals such as Gathering of the Vibes and High Sierra Music Festival, the group adheres to a strong touring ethic, which includes an average of 200 shows yearly, according to band manager Bob Kennedy.

“I remember one time where I happened to be out on the road with them and they were doing a frat party,” Kennedy said. “We drove like 12 hours overnight in the van. We got there and they opened up the van and started unpacking the gear. I mean, they didn’t even take a breath. And I was like, ‘Hey, man, we’ve been driving all night. Let’s go get some food. We can take a nap.’ And they were like, ‘We didn’t drive all this way to take a nap. We drove all this way to play.’ And that’s when I knew I liked these guys a lot. They have a good work ethic.”

The band plays an uplifting blend of funk, jazz and soul crafted by its seven multitalented members: Fuzz; Hope Clayburn, who sings and plays alto sax and flute; Rob Somerville, who also sings and plays tenor and soprano sax; bassist Benj LeFevre; keyboardist Cyrus Madan; percussionist Johnny Durkin; and drummer Eric Kalb.

“A Deep Banana Blackout show is a great party,” Kennedy said. “And above and beyond that, it’s a band full of outstanding musicians, and it’s not too often you get to see both of those in one package. If you’re just into dancing and partying and getting down, they’re a great band for that. And if you’re someone who really loves to get into it and listen to every nuance of the music how the guitar player interacts with the bass player and how the horns interact with the drums they’re a great band for that as well. I think that’s one of the things that really draws people out over and over again to see them.”

Catering to the fans is a priority for Deep Banana Blackout, which encourages the taping and trading of its performances by the audience. “Music is something that doesn’t have to be so concrete,” Fuzz said. “It’s like everyone liking that one version of ‘Purple Haze’ that you hear on the radio all the time. But there are so many great performances of that song. It’s great to see that the music can get out there and it’s an ever-changing, ever-evolving thing. It’s just good promotion for the band, too.”

Having just wrapped a monthlong U.S. outing, the group is focused on a string of dates in the Northeast, including a three-night stand at New York City’s Irving Plaza. “Those nights we’re going to have Bernie Worrell opening one of the nights and George Porter opening the other nights. So once again, we should be doing some cool musical interacting with some of these legendary figures,” Fuzz said of having the performers join the group onstage.

“It’s been great because we are such fans of that music and those people, and we’ve had the opportunity now to work with them; it’s been a reward. That’s one of the big rewards of what we’re doing right now.”