“Stunning instrumental and vocal virtuosity.”
–– Relix Magazine
“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, and their easygoing versions of timeless classics (the Beatles, Hank Williams) belie the intricacy of the arrangements.”
–San Francisco Chronicle
Hot Buttered Rum lives for a good time, and a mindful recklessness settles in whenever these five guys step on stage. From Anchorage to Miami, the group’s onstage chemistry fuels the lovefest that is a live Butter show. Rooted in the trajectory of west coast bluegrass, Hot Buttered Rum plays what has been described as California’s own acoustic music.
HBR’s years of touring have given the band the chance to work and play with a wide cross-section of musicians, people like Peter Rowan, Phil Lesh, Chris Thile, Brett Dennen, and Robert Earl Keen. Seasoned veteran Steve Berlin (Los Lobos), acoustic guru Mike Marshall, and left-coast rocker Tim Bluhm (Mother Hips, Nicki Bluhm) have all produced studio albums for the band. Each guided HBR towards the next step in its evolution. It’s a sound that is tough to describe and easy to love, and it has found its way to the most prestigious pop, folk, and bluegrass stages in the country: Telluride, Newport, Bonnaroo, Strawberry, Hardly Strictly, Kate Wolf, Horning’s Hideout, String Summit, Grey Fox, Merlefest, All Good, High Sierra, Wakarusa, and many more.
The next step in Butter’s evolution involves recording three 5-song EPs, each focusing on a part of music that Hot Buttered Rum loves and is inspired by, and each with a different producer. The first EP was recently recorded with Railroad Earth’s Tim Carbone and will be released this fall. The second will be a collection of Ralph Stanley old school bluegrass standards, to be recorded in September with producer Sally Van Meter. The third will be Hot Buttered Rum’s latenight throwdown music, to be recorded in November with SCI’s Kyle Hollingsworth. Together, the three collections of songs will explore Butter’s roots and express Butter’s present passions.
At the center of Hot Buttered Rum is the enduring camaraderie of old friends. The band was conceived on a backpacking trip of high school and college buddies in the High Sierra. What was dreamed up on mountaintops and around campfires has found its way into the hearts, minds, and bodies of thousands.
Aaron grew up in a musical household. A diverse array of music was a part of his environment throughout childhood. Aaron started playing the guitar at a young age and then switched to the piano. Formal lessons were rejected and sports took over his interest. Violin training began at the age of 10 but soon ended. Serious study of music didn’t begin until Aaron turned 16. Since that time, performance degrees were earned from the University of California at Irvine and the New England Conservatory of Music in Boston. Aaron bounced around the country until settling down in his beloved California where he met and joined Hot Buttered Rum. He enjoys the fact that the band gives him a medium to explore many genres of music. His hopes his music and songwriting will help open hearts and minds across the world.
Aaron feels blessed to have shared the stage with many of his musical heroes including: Bela Fleck, Chris Thile, Darol Anger, Peter Rowan, Tony Rice, Mike Marshall, and many more.
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 musical youth trying nearly every instrument and style he came across. Growing up in the auditory carnival that is northern California meant that this included just about everything: 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 brought new musical horizons, including studies with composers Vince McDermott and Joe Waters, flutist Nancy Teskey, editor John Callahan and poet Vern Rutsala. It also brought him new conspirators (including classmate Nat Keefe) and a new project, Hot Buttered Rum, which would soon gleefully take over his life.
After graduation and 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 the Bay Area in support of other local artists or with one of his many side projects.
Lucas began playing drums as a kid growing up on the central coast of California. Early on, he was influenced by his family’s long tradition of musicianship and his father’s stories of working for 1970s hit-makers, Three Dog Night. After attending a Grateful Dead show at the impressionable age of 13, Lucas began to consider how he could create a life that revolved around music.
Later, while earning his ethnomusicology degree at UC Berkeley, Lucas studied a variety of musical genres and their respective cultural significances. Performance played a big role as well; ranging from the Cal Marching Band, to an avant-garde jazz ensemble under the direction of Steve Coleman, to West African drumming with master Ghanaian percussionist CK Ladzekpo.
Toward the end of college, Lucas formed his first band, Wayside, and received his introduction to the local jam scene. He established himself as an area regular while playing with Bizar Bizaar, a jazz and funk ensemble that allowed him to perform with a talented cast of local musicians, including Paul Hanson, Mark Karan, and the late Martin Fierro.
Lucas spent the past several years recording and performing with Izabella, a soul-inspired rock band out of Sacramento, California. In 2008, Izabella opened a few shows for Hot Buttered Rum in Colorado. On that tour, Lucas sat in with HBR and a lasting connection was made.
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.