A couple of songwriter in the round stye tours ended in Lethbridge, Dec. 9 on a high, not to mention early note.
As always, Geomatic Attic shows start at 8 p.m. almost to the minute and an outstanding show featuring Indio Saravanja, Bill Bourne and Scott Cook was no exception. The Tres Hombres,as they wer ebilling themselves, worked together like a well oiled machine.
Bill Bourne sat in the middle of the three and started the show with “Hand on the Plow,” one of the outstanding tracks from his latest solo CD “Songs From a Gypsy Caravan.” Indio Saravanja added a nice guitar solo to it, while Scott Cook was lost in concentration just soaking in the good vibes of the evening. Cook played one of his songs next, but didn’t identify it. He had a laid back vibe and a soothing baritone which still sounded a lot like John Wort Hannam. He sang an excellent song about people aways being distracted, in a hurry and not havng time for each other called “Time With You.”
Saravanja ’s first song was “El Camino Dreams, which he said he wrote while going through a bad time “stuck on Galiano Island” when he wanted an El Camino until he found out Daryl Hannah, who resembled his ex, had one.
Bourne added a subtle solo and stomped out a rhythm on a microphoned board placed beneath his feet. Cook added extra rhythm by tapping on the side of his guitar. Bourne tapped on his guitar for extra rhythm throughout as well.
Bourne played a really pretty song from the new CD, full of exotic arpeggios and chiming harmonics called “Dixie Waltz,” and the other two added extra solos and rhythm.
Cook shined on a song about being on the road called “Carving Stone” which he noted he wrote on the way to play Okotoks. He compared being a travelling musician to everything from being a stripper to being a farmer and a long distance trucker.
Bourne played another exotic, reggae tinged highlight from “Songs From A Gypsy Caravan,” called “We Animal,” an astute commentary on the foibles of mankind. He prefaced it by praising the Geomatic Attic’s hospitality, noting “it’s in the walls.”
Saravanja wasn’t to be outdone as he played an older, gripping story song he wrote when he was feeling down and out called “Northern Town,” adding it was a special version he worked up with Cook and Bourne.
Saravanja ended the first set by bring out an Argentinian Charango— a tiny, dew drop shaped 10 stringed instrument which sounded like a mandolin. He talked about moving to Lethbridge and upon having a baby, promising his wife he wouldn’t tour for three years, instead getting a “job I hate” she’d stay home and take care of the baby. He joked he wrote a lot of songs to woo his wife and three times as many when he needed to apologized. He encouraged the crowd to sing along with one called “Got Your Love.”
