An Orrall (and others) history of Poi Dog Pondering

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The music group Poi Dog Pondering

POI DOG
PONDERING — ‘TALE OF tWO CITIES’

† 9 p.m. Dec. 2 — The Austin Years

† 9 p.m. Dec. 3 The Chicago Years

† Metro, 3730 N. Clark

† Tickets, $26—

† (800) 514-ETIX;
metrochicago.com

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Updated: December 1, 2011 6:12PM

It’s complicated, but it’s all right.

Getting the sprawling musical family that is Poi Dog Pondering together for a reunion weekend is a Herculean task. Frank Orrall, the band’s paterfamilias and grand poobah, says the time is right.

“It’s the 25th anniversary of the band,” he says. Then he starts worrying me. “It just feels like the time to do it,” he says. “People are having kids, their work or other projects are taking them in different directions, they’re going through different things in life. It seemed like an important time to document who we are while everyone is still here. It’s getting harder to go out on the road. People have commitments.”

This isn’t a swan song, is it?

“No, we’re still totally vitally strong and present as a band. But we don’t move like the gypsies we once were. We just need to sit for a musical portrait while we can.”

So Friday and Saturday the band reassembles for two reunions — the band’s Austin lineup (1987-1992) on Dec. 2 and various incarnations of its Chicago existence (1993-present) on Dec. 3. The shows will be recorded and filmed for CD and DVD.

Austin-era bassist Bruce Hughes agrees about now being the right time for this reunion.

“Everybody is still extremely active in music,” he says. “It’s not like it was a little blip in college rock and now we’re a bunch of accountants, paunchy and dejected, saying, “Hey we should get the band back together again.”

The members from Austin have been rehearsing — they haven’t played together in 18 years — and getting nostalgic.

“People are losing weight, growing mullets back out,” violinist Susan Voelz says. “I was gonna get a perm.”

We spoke with four members from throughout the band’s lifespan for this brief oral history of how the band gelled in Austin and eventually transported to and transformed itself in Chicago:

ALOHA, HONOLULU

Poi Dog Pondering originally came together in 1986 as a small nucleus of buskers and film enthusiasts in Honolulu including Orrall, singer-songwriter Abra Moore, guitarist Ted Cho and drummer Sean Coffey.

Frank Orrall (singer): We started meeting in Hawaii and traveling, spending a year going across the mainland in sleeping bags, busking our way from Los Angeles to New York. That was the original gypsy creed of the band.

As the band traveled the mainland, they started to stick — musically and physically — in Austin, Texas. A few local players were attracted to their spirit and sound.

Bruce Hughes (Austin-era bassist): The Austin origin story verges on mythology. I know I saw Frank and Abra and Sean come through and play. The way I remember it: At the time, I was hanging with a bunch of musicians that included Alejandro Escovedo, hanging out on Avenue D [near the University of Texas campus], making barbecue and playing music. Ronnie Lane of the Small Faces had moved to town. He was sick with multiple sclerosis and wanted to get away from L.A.. Alejandro put a band together to help Ronnie play music and got me involved. Susan Voelz, too — I already knew her from a band we were in together with Arthur Brown. The Ronnie Lane band was the Seven Samurai, and one night at the Continental Club this little band opened up for us.

Susan Voelz (violinist): It was a Tuesday at the Continental Club. It was raining. I didn’t even dress up. I just wandered over and played the gig. But that was a transformative show. I was playing with good musicians, plus Poi Dog — they were coming through and I happened to see their show, and I remember meeting Frank that night.

Hughes: They had a little wooden marimba and acoustic guitar and a snare with brushes, and accordion and penny whistle — Frank, Abra and Sean. I remember listening to them and seeing all this joy on stage. I thought, “I love these guys! It looks like so much fun!” They had so much spirit and joy and freedom. I ended up meeting Frank through another friend of mine, and we kept in touch.

Voelz: Later, they called and said, “Come play violin!” . . . I hadn’t intended to join the band. They were very open in the studio, and I liked that. They invited me to play live with them at the Texas Union ballroom. I walk in, and it’s already this big Poi Dog show, lots of energy and enthusiasm in the room. I was like, “Oh, that’s what this is about.” I liked the fire.

Poi Dog Pondering’s self-titled debut appeared in 1989 on the independent Texas Hotel label. PDP released two more albums in a contentious relationship with Columbia Records — 1990’s “Wishing Like a Mountain, Thinking Like the Sea” and 1992’s “Volo Volo.”

NORTH TO CHICAGO

Restless spirits all, the band began contemplating a move north. Only three core members make the move: Orrall, Voelz and multi-instrumentalist Dave Max Crawford.

Orrall: I enjoyed Austin, but I didn’t plan on living there. I really had a strong interest in urban music and dance that wasn’t in the forefront in Austin, or even happening at all. I wanted to live in a bigger city, either Chicago or New York. I planned to go to New York, but I had a lot of friends in Chicago so I stopped to visit on the way. I ended up staying, and it was the totally right choice.

Voelz: I was tired of the heat and really missed the snow. I grew up in Wisconsin. And I wasn’t ready to be done with Poi. It was musically rich for me. Right away, we met really great players and went into this whole other dimension.

Hughes: Family ties — I had a lot of reasons to stay in Austin. . . . One of the reasons the band moved there was because we had so many fans there already. The groove thing had already started happening in Poi Dog, and Chicago picked up on it immediately and embraced it like no one else.

PDP began picking up new players to round out the now Chicago-based collective.

Dag Juhlin (Chicago-era guitarist): Frank, Dave Max and I were already working together at Milly’s Orchid Show to back up noted chanteuse Syd Straw, and they very casually asked me if I wanted to be part of their first Lounge Ax show. I said yes. . . . Somewhere along the line, Frank and Dave Max had decided to put together a new Poi Dog made of Chicago players.

INTO THE GROOVE

In Chicago, in the mid-1990s, house music was literally booming. Orrall began steering the band in that direction. PDP’s next album, 1995’s “Pomegranate,” shows the clubby influence on their otherwise earthy sound.

Orrall: I didn’t realize how strong the Chicago house community was. I started realizing the impact it had on everything I liked, including the Manchester stuff, Stone Roses, Happy Mondays. They were all inspired by Chicago.

Voelz: I loved what we were doing [in Chicago] from the get-go. Thinking back around “Pomegranate,” you can really hear Chicago in that record.

Orrall: In Chicago, the full-on house stuff became part of Poi Dog Pondering — to the chagrin of some fans and even band members. We went through a shakedown. Some people weren’t happy with the incorporation of that. . . . It was too jarring a change.

Juhlin: I had resisted the stuff like “U-Li-La-Lu” [from “Wishing Like a Mountain”], but I fell immediately for “Pulling Touch” [from the debut]. It had this insistent, four-on-the-floor kick drum and sidestick that absolutely hypnotized me. Once I started getting further into the catalog, I realized how much heart was in the music. Chicago was a town of punk snobbery, and [Juhlin’s band] the Slugs, god bless/help us, were standing in the fringes of that nonsense. I let go of the posturing and was proud to be part of Poi Dog and the type of honest, soul-searching music they were making. I think the “hippie” tag that the band got slapped with is just really dumb, cooler-than-thou shorthand.

Hughes: When I heard Poi Dog getting into real deep house culture there, I was not surprised. I knew Frank was heading there. There’s a lot of that stuff going down on “Volo Volo.” … There’s a lot of equatorial influence, not necessarily Hawaiian, in Frank’s music. It’s music from all over the Caribbean, from zouk to some deep Samoan stuff going on. Anything that was exciting and energetic and spiky, African pop, Caribbean pop. The groove was there, even if you couldn’t hear it right away.

PONDERING THE FUTURE

Orrall is working on his first solo album, likely a set of instrumental, Brazilian-inspired tunes.

Voelz has completed a 50-minute orchestrated suite for Thai yoga. She also promises to finish a long-delayed record of Prince covers. “I’ll never put that out. No, I think I will next year,” she says. “That’s such a lie. I’ve been saying that for four years. Maybe a show with Robbie Fulks. He’s got his Michael Jackson covers record out. OK, that for sure will happen next year.”

Hughes has played with numerous others (Cracker, Bob Schneider, Jason Mraz). He is currently finishing his third solo album and leading his own band, Bruce Hughes & the All Nude Army.

Juhlin reunited the Slugs for one show last year. He now leads an inventive local covers band, Expo ’76.