Hot Buttered Rum, a souped-up, left-coast string band, is the brainchild of five uniquely gifted musicians who weave their love of bluegrass, folk, jazz and soul into a riveting strain of Americana. String bass and five-alarm fiddle merge with guitar, banjo, mandolin and drums to frame the voices of its two contrasting writers, fueling a dance party with roots in Appalachia and its branches in California. It’s a sound that’s as tough to describe as it is easy to love. Nearly twenty years into its journey, HBR’s music, dreamed up in the backcountry of the High Sierra and the basements of San Francisco, has found its way into the hearts, minds and bodies of fans nationwide. The band continues to tour year-round in support of its many albums and social causes.
“Few things rejuvenate the soul like a warm fireside drink after an exhausting day in the snow. Hot Buttered Rum has that effect. Their original songs are instantly familiar and inviting.”
––San Francisco Chronicle
“As the band’s evolved, it has kept those [bluegrass] roots, but also incorporated the progressiveness of bands like Strength in Numbers and New Grass Revival, the looseness of a jam band like Phish, and the rock-and-roll edge of an acoustic band that opts to ad a drummer.”
“Stunning instrumental and vocal virtuosity.”
“It’s that working man regimen that ensures their consistency from one offering to another. That’s the kind of quality that makes Hot Buttered Rum always seem to go down so smoothly.”
– Bluegrass Today
double bass & vocals
Bryan began his musical adventure at age 10 with the cello. He grew up listening to mostly rock ‘n’ roll groups like Men at Work, Rush, Yes, and Led Zeppelin. It was in the Tamalpais High School Orchestra that he first met Aaron Redner, future fiddler for Hot Buttered Rum.
In college, Bryan began playing electric bass in the jamband Oversoul. While playing in Oversoul, Bryan became more interested in acoustic music; he eventually transitioned from electric to acoustic bass and never turned back. His musical influences include Old and In the Way, Edgar Meyer, Phil Lesh, Stanley Clarke, and Gonzalo Rubalcaba. Coming back to the Bay Area after college, Bryan played in some musical groups with the members of Oversoul, eventually connecting with Nat Keefe and Erik Yates.
Erik spent his Bay Area youth trying nearly every instrument and style he came across. Piano lessons, saxophone quartets, garage bands and folk songs had all weaseled their way into his life by the time he hit high school. College in Portland, OR, where he studied music and writing, brought new musical horizons, new conspirators (including classmate Nat Keefe) and a new project, Hot Buttered Rum, which would soon take over his life.
After enough time in the non-profit and teaching worlds to know that playing music was the world’s only sensible job, Erik hit the road with HBR to change the world “one bar at a time.” The group has become a platform for all his various trades, musical and otherwise. It pushes his banjo and guitar picking and his songwriting, which he now combines with his knack for wind instruments (flute and saxophones) to give HBR its unique musical palate. Erik has appeared with songwriters Peter Rowan, Tim and Nikki Bluhm, and banjoist Bill Evans (also his teacher). When not on the road with HBR, Erik can be found playing around Colorado and touring in support of his first solo album, Give it Time, out this year on Floating Records.
drums & percussion, mandolin
James enjoys bringing spirit and musical support to live performance and recordings. He performs on the drum set for Hot Buttered Rum, but he also plays bass guitar, guitar and vocals in a variety of musical settings. He has lately taken an interest in the mandolin, too. He has studied music extensively and graduated from California State University Sonoma’s jazz program. An early member of Groundation, he had the pleasure of performing with some wonderful artists including the late Mel Graves, George Marsh, Randy Vincent, Bobby Vega, Phil Lesh and Peter Rowan as well as warming up the stage for Diana Krall and Robben Ford. The lessons he’s learned over the years are exercised at every performance and he always strives to bring high quality musicianship to any project. James believes that music offers a unique opportunity to convey emotion through sound; providing this experience can foster happiness, inspiration and a rewarding a sense of community.
Hammond B3, Piano, Wurlitzer, Rhodes
Jeff is a soulful player who lives to serve the song, and a skilled and versatile improvisor.
As a band member, Jeff’s touring and studio work includes hundreds of appearances with:
Poor Man’s Whiskey | Big Light | Izabella | The Sleeping Giants
guitar & vocals
Nat’s panoramic songwriting and baritone vocals play a defining role in Hot Buttered Rum’s sound. In the course of a decade of playing professionally, Nat has written hundreds of songs, including collaborations with Zach Gill & Dave Brogan (ALO), Brett Dennen, Tim Bluhm (Mother Hips), Fred Torphy (Big Light), and his bandmates. He’s produced nine albums of his own and others’ music. He’s produced almost a dozen Concert Carnival variety shows, bringing together artists to create new work. Most importantly, he’s performed over a thousand times, singing and playing guitar to the best fanbase in the world.
When not touring, rehearsing, and recording with HBR, Nat lives in the Hayes Valley district of San Francisco. Outside of music, Nat enjoys the same things he’s liked since he was a boy: flyfishing, backpacking, backcountry skiing, urban-adventure bikeriding, and SF Giants baseball.
Recently, Nat lead a group of American musicians to Ghana, West Africa and produced a ten-day program of workshops, jam sessions, and recording with Ghanaian music and dance masters. The resulting recording is Girl Thursday. It features Bonnie Paine (Elephant Revival), Kate Gaffney, Erik Yates & Lucas Carlton (HBR), Jeff Coleman (Big Light), Simon Kurth & Murph Murphy (Huckle), in collaboration with the Local Dimension Highlife Band and Ocherema Praa. This was Nat’s third trip to Ghana, and second recording project there.
1) “Swing and Sway”
2) “Bells Under Waves”
(purchase CD here)
Another of Nat’s ongoing extra-curricular endeavors is the Nat Keefe Concert Carnival. The NKCC is an annual multi-media variety show, and has become a Bay Area holiday tradition. The goal is to bring together artists from different bands and different mediums to create new work in new ways. Past shows have featured all kinds of acoustic and electronic music, burlesque dance, film, circus arts, trick dogs, hula hoop, body percussion, tap dancing. The NKCC recordings feature musicians from the Mother Hips, ALO, the Peter Rowan/Tony Rice Quartet, New Monsoon, Everyone Orchestra, HBR, and much more. Music and video samples are available on YouTube, and CDs are available here.
(purchase CD here)
Also produced by Nat Keefe:
1) “Hard Times”
2) “Lloyd’s Song”
New Old Cavalry – Carry Me Out This Way
1) “Carry Me Out This Way”
2) “Lonesome Road”
The She’s – Surfer Boys
(San Francisco, CA)
Ghana BOKO Paa 1999
(Field Recordings of Ghanaian music)
1) If You Have Millet and Don’t Share, You Will Die (gyile xylophonist Rallio Kapakpul)
2) Water (sound collage)
3) Goodbye (jam session with the women of Nandom)
(purchase CD here)
Nat Keefe – Music for Ordinary Motion (2001)
1) Spouting Violets (piece for soprano, baritone sax, and piano; ee cummings text)
2) Gahu Elegy (piece for symphony, based on Ghanaian traditional rhythms)
3) Clean as Key Soap (part of a 5 movement piece for 2 marimbas, based on Ghanaian gyile xylophone music)
4) The Crest (earliest studio recording of Hot Buttered Rum)
(purchase CD here)
Nat was inspired at an early age by musical parents and began playing guitar at age 11 and electric and upright bass at 16. The next year, guitar teacher Tony Khalife pushed Nat to study tabla – the north Indian drums. The rhythm section of the high school jazz band formed a rock band called STEW, in which Nat played bass. When Nat turned 18, his uncle Rodney Bolloni took him to Las Vegas for a crash course in the art of songcraft; Nat still cites his uncle as one of his biggest influences.
Instead of returning to sophomore year of college, Nat traveled to Nepal and India. Hiking and climbing in the Himalayas, Nat found that his passion is writing songs and singing for people. Nat returned to Lewis & Clark College, met Erik Yates, and formed the Foggy Notion Boyz, a stringband dedicated to the almighty Yeehaw Factor. Wild weekends with the Foggy Notion complemented long hours of study as Nat earned a degree in Composition and Ethnomusicology under teachers such as Joe Waters, Nora Beck, Vincent McDermott, Gil Seeley, Obo Addy, and Dan Balmer.
In three trips to Ghana, West Africa, Nat has studied polyrhythmic drumming, 14-key xylophone, and palmwine guitar. In 1999 a grant allowed him to travel there and produce a CD of field recordings (GHANA Boko Paa), a CD of original compositions (Music for Ordinary Motion), and a paper about the development of highlife music. He returned in 2001 to make a short film (Dances and Music of the Awudome Villages), and again in 2011 with twelve American friends to produce another CD (Girl Thursday).
Influences: David Lindley, Jimmy Cliff, Beatles, Rush, Ralph Stanley, Hot Rize, Gillian Welch, Rodney Bolloni, D’Gary, Oliver Mtukudzi, John McLaughlin, Zakir Hussain, Django Reinhardt, Igor Stravinsky, Charles Ives, Grateful Dead, Phish, Mother Hips, John Zorn, Bela Fleck, Mike Marshall, The Sweet Snacks.