Lindley and Ingram blend global music at Buff |

Lindley and Ingram blend global music at Buff

Mere words do little to help describe the meandering and wonderfully convoluted musical path of multi-instrumentalist David Lindley, much less his fantastically colorful life (and those eye-poppingly garish shirts he loves to wear on stage).

But with a career that’s embraced the big time ” including several years spent in close association with Jackson Browne ” as well as probing the most remote corners of the African music scene to find new approaches to ancient music, Lindley is a performing force to be reckoned with.

Lindley and longtime musical partner Wally Ingram return to Colorado to host a wild evening of music Saturday at Buffalo Valley, playing material from their third collaboration of worldly tunes, “Twango Bango III.”

The duo, colorfully described as “the Beavis and Butthead of World Music” or, conversely, “Mr. Dave Meets the Wally

Llama,” have been gleefully blending musical traditions from around the world for a half decade.

Lindley’s own career goes back considerably further and has featured more twists and turns than a turn-of-the-century Russian novel.

He has had only a couple of brushes with overtly mainstream success (his is the falsetto voice heard on Jackson Browne’s “The Load-Out/Stay,” from Browne’s 1977 album “Running on Empty”), but with a list of performance credits numbering in the hundreds and more than a dozen albums of his own, he’s never found a shortage of work.

He’s also mastered instruments ranging from the bouzouki to the Turkish saz, bringing a very worldly sound to the table.

Raised in Southern California, Lindley discovered the banjo as a teenager and quickly excelled at the instrument, winning the Topanga Canyon Banjo and Fiddle Contest five times. His first foray into the professional music world was with L.A.’s late ’60s world music-influenced act the Kaleidoscope, with whom he released four albums between 1967 and 1970.

Lindley’s reputation as a skilled and amazingly inventive master of virtually every stringed instrument helped land him a job with Browne in 1971, and that connection has stretched into four decades. His affiliation with one of the 1970s’ biggest performers also allowed him to branch out to do session work with various parties in the music scene, including work with Warren Zevon (including appearances on Zevon’s final album, last year’s Grammy-winning “The Wind”), Linda Ronstadt, Crosby, Stills and Nash and Rod Stewart, as well as guest spots on albums by everyone from Iggy Pop to Bob Dylan.

He also enjoyed success with his own 1980s reggae-influenced rock band El Rayo-X (“Mercury Blues” still appears on radio from time to time).

With a lifelong love of international music, Lindley and fellow guitar eccentric Henry Kaiser traveled to Madagascar in 1991 to record six albums of indigenous music; the experience served to change Lindley’s musical directions and he’s concentrated on a more worldly sound ever since, including six years of work with Jordanian-born percussionist Hani Naser.

His most recent world music experiments have linked him with Ingram, a Madison, Wisc.-born drumming sensation who’s worked with Browne, Sheryl Crowe, Blues Traveler, Tracey Chapman and Art Garfunkel

Lindley has also set an important precedent in the music business by managing the release of his own bootleg albums ” even going so far as adding a note in his CDs asking anyone who’s ever downloaded his music from the Internet to send him $5 (the strategy, amazingly enough, apparently produces a few handfuls of fivers when he greets fans at every show).

A cover of Ry Cooder’s “Tokyo Bootlegger Man,” which appears on Lindley and Ingram’s newest CD, tells a bit of the story ” all you file-sharers beware.

The San Francisco Chronicle described Twango Bango III as further evidence of Lindley and Ingram’s surreal approach to music: “old time blues played on the banjo and set to a reggae beat; rip-snorting ZZ Top-style barbecue rock, backwoods Cajun with Middle Eastern motifs, and a nutty, self-effacing number called ‘When A Guy Gets Boobs.'”

Tickets are $21 in advance, $25 at the door and are available in Glenwood Springs at Watersweeper and the Dwarf and Glenwood Music, in Carbondale at Sounds Easy and in Rifle at Harrelson Music. Charge by phone at 963-1303 or 945-5297. (There is a surcharge on credit card purchases).

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