The gates to Seattle Center open tomorrow at noon, beginning the three-day musical smorgasbord that is Bumbershoot. Some of the main stage headliners are new-school impressive: Band of Horses, Black Keys, Neko Case, T.I. Others are old-school confounding: the Offspring? Stone Temple Pilots? Superchunk? Does anybody care? There are far more interesting '90s holdouts to bank on (Beck, for instance, who headlines tomorrow). Such divergent quality is the nature of the music festival that tries--and mostly succeeds--to be all things to all people.
As usual, it's the densely-packed undercard that holds up the rest of the hubbub. One of most interesting performances of the weekend happens tomorrow afternoon. I've never seen Darondo or Nino Moschella, but friends who have, including Rhapsody hiphop guru Sam Chennault, can't rave enough.
Darondo's backstory is fascinating. The man born William Pulliam touts a resume that includes cable TV host, physical therapist, import/export, and opening a San Francisco show for James Brown in the mid-'70s, from which he drove home in his custom white Rolls Royce. (Some would add "pimp" to that litany, but Darondo denies ever working in The Business.) It was during that era that Darondo was a minor fixture on the Bay Area R&B scene. He recorded three 45s that ranged from string-laden Al Green-ish love ballads to syncopated, sinuous floor-fillers a la Sly Stone. Then he retired from music to live the rest of his life.
That kind of mythology is hard to come by today. As unique as his story is, Darondo's music speaks loudest. Peep "Let My People Go"--a dark, reverb-drenched stab of minimalist funk, a liberation manifesto wrapped in a dead-on slinky groove. In 2006, L.A.-based vinyl archaelogists Ubiquity Records reissued the track and nine other '70s Darondo tunes as an album of the same name. It's unbelievably hot stuff.
Somehow, Nino Moschella is not the household (ok, warehouse loft) name that Jamie Lidell has become. Moschella trades Lidells' techno-noise pedigree for a California hippie upbringing, but the end results are similar: wicked, blue-eyed electro soul. Moschella's stellar Ubiquity debut The Fix came out the same year as Darondo's record. Both remain largely unknown.
These days, Moschella and his band the Park back Darondo, though they play very rarely, and usually only in California. It's a super-special, cross-generational funky thing that stands as one of Bumbershoot's most unique offerings.
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