Gregg Allman’s Widow Pens Open Letter About Lack Of Women On Wanee Lineup

first_imgYesterday, Shannon Allman, the widow of the late iconic Allman Brothers Band rocker Gregg Allman, took to Facebook, writing an extensive post addressed to fans as well as Live Nation Concerts, the organizers of the beloved Wanee Festival at Spirit of the Suwannee Music Park. After thanking fans for their support this past year, Allman shared an open letter written to Wanee Festival about the lack of women on its lineup, encouraging fans to share if so moved.Celebrate International Women’s Day With Our Tribute To Some Of Our Favorite Female MusiciansIn her open letter to Wanee Festival, Spirit of the Suwannee Music Park, Live Nation Concerts, and Live Nation Florida, Shannon Allman first detailed how she and her late husband had frequently discussed increasing female representation on festival lineups and as his opening acts, elaborating “Despite assumptions about his bad boy reputation and image, [Gregg Allman] was a feminist at heart, raised by an independent, widowed mother.” Before Gregg’s passing in late May, Shannon explained that she had been in conversation with promoters about getting Kaleigh Baker on the bill, noting it was a dream of Gregg’s, as he became captivated by the singer after Shannon showed him a number of videos featuring the songstress.Watch The Nostalgic Official Music Video For Gregg Allman’s Cover Of ‘I Love The Life I Live’Shannon Allman’s tone in the letter is one of reverence toward Wanee, noting that the festival, which she describes as “the Brothers’ baby which has matured into the most beautiful old soul,” has “her heart” and stands as her “all-time favorite festival, of the countless I’ve been to around the world.” Despite this, Shannon explains that after Wanee’s lineup announcement for 2018, she “couldn’t help but immediately notice the nearly nonexistent presence of women,” offering up Lisa Mackey of Dark Star Orchestra and Elliot Peck of Midnight North as the lone examples.Wanee Announces 2018 LineupChris Robinson To Lead “As The Crow Flies” At Wanee FestivalGiven “the recent eruption of an endless news cycle surrounding the systemic oppression and unlevel playing field our system has provided for women,” Shannon decided to speak out. However, later in the letter, she similarly recognizes that the lack of female representation is not specific to Wanee, reflecting, “I wonder sometimes how this type of (common) situation passes so many eyes without anybody acknowledging or recognizing this issue before presenting it publicly.”After noting that she recognizes the difficulties of booking large-scale festival such as Wanee and thanking the management for their hard work, she doubles down on why the lack of women on the lineup ultimately hurts the event. She explains, “Not only do I and many others want our souls stirred by the magical mysticism of female vocals and instrumentation, there is no shortage of badass female talent on the market or in Wanee-esque genres to not give these countless artists an opportunity. Not because they’re women. Because they rock.”You can read the entirety of Shannon Allman’s open letter to Wanee below, which was first posted in the Gregg Allman Fans Facebook group here.Thank you all for your ongoing love, support, and kind messages.Some day I will find the words to articulate how you’ve lifted me and provided light in my darkest moments.Thank you for loving Gregory and for showing me love simply for loving and having been loved by him. Taking care of and being taken care of by him has been my greatest honor.For now, I’d like to share this letter I openly penned to our beloved Wanee Festival in case anyone feels similarly and cares to share in hopes of catching their attention and seeing some women added to the lineup! (Make sure you tag the festival and Live Nation for them to see your thoughts and posts.)“Dear Wanee Festival, Spirit of the Suwannee Music Park, Live Nation Concerts, and Live Nation Florida,One of the songs that has gotten me through the loss of my husband, Gregg Allman of the Allman Brothers Band, is his self-penned “Dreams.”(Of “Dreams,” Gregory said, “I showed them ‘Dreams,’ and let me tell ya, they joined right in. We learned that song the way you hear it today, and I was in, brother.”)Witnessing the stunning version performed by family at the The Peach Music Festival tribute to Gregory and Butch Trucks brought me to my knees in tears of grief and gratitude. Lord knows, I’ve been “hung up on dreams I’ll never see” now that he’s gone.One of them, which we discussed often, was working together to increase female representation on festival lineups and as his opening acts.Despite assumptions about his bad boy reputation and image, Gregory was a feminist at heart, raised by an independent, widowed mother; a man who believed that equality for women was simply common sense, not something to debate or fight to take rights away from.I recall vividly one night, in a hotel room on the road, playing him about six or seven female artists, each one of which he sort of shrugged at and asked me to skip to the next, not feeling that their vibe aligned with his “blues flavored rock n roll.”After about 12 seconds of listening to Kaleigh Baker, he excitedly pointed at the screen and exclaimed, “YES!” We watched several more of her music videos.Many have described Kaleigh as a “bluesy Adele,” and while I can’t quite ignore the obvious similarities of their soulfulness, powerhouse vocals, and Kaleigh’s bone deep blues, I hesitate to compare women – or anyone. They are each their own extraordinary artistic selves.I immediately emailed Live Nation and multiple managers but the season was booked and, as happens, life and medical issues shifted our focus in other directions.Bringing Kaleigh on to open for Gregory is a dream we had to let go of.When I saw the lineup announcement for Wanee 2018, which will be my ninth, I couldn’t help but immediately notice the nearly nonexistent presence of women.(Lisa Mackey in Darkstar Orchestra, Elliott Peck in Midnight North, and…?)Recent news of Nikon hiring 32 men and 0 women to promote their camera came to mind, not to mention the recent eruption of an endless news cycle surrounding the systemic oppression and unlevel playing field our system has provided for women.I think of Wanee as the Brothers’ baby which has matured into the most beautiful old soul.It’s where I discovered myself, found family and friends, where I learned that there are others in the world who appreciate and experience music and life the way I do. This was a revelation for a small town Southern girl.Wanee is my all-time favorite festival, of the countless I’ve been to around the world, the memories of which have positively changed me forever.Occasionally, I thought Gregory might be tired of hearing me gush about my love for Wanee year after year, as he didn’t have the same fan-side experience, but, ultimately, i know how proud he was to have helped create something that he, I, and countless others look forward to all year.I loved to tell and he loved to hear stories of the silly antics, crowd energy, friendships and connections made, engagements, marriages, and even children conceived at the festival he and his lifelong brothers made possible along Florida’s Suwannee River.I know it’s impossible to please everybody. There will always be artists that some want to see that aren’t available or included and acts booked that others will complain about. Time slots will clash and people will gripe about the best possible problem — having two bands you want to see play at once.Thank you for all of the hard work, effort, and energy that goes into planning and executing this magical event year after year.I, for one, love most of the 2018 Wanee acts announced and am excited to discover the few I’m not yet familiar with.However, I think that the exclusion of women completely is an entirely different matter. Not only do I and many others want our souls stirred by the magical mysticsm of female vocals and instrumentation, there is no shortage of badass female talent on the market or in Wanee-esque genres to not give these countless artists an opportunity.Not because they’re women.Because they rock.Admittedly, I wonder sometimes how this type of (common) situation passes so many eyes without anybody acknowledging or recognizing this issue before presenting it publicly.There’s been back and forth discourse about whether this was an initial phase lineup or the final announcement. I’m holding my breath with many friends, anxiously hoping and waiting to see some of our talented sisters whose music we adore, crave, and are healed by added to our beloved festival. Our home.Wanee, you have my heart.Please continue to provide and make my sisters and me feel that we also have a safe, represented space like the other half of our music loving family.I’ll see you in April.Your friend and fan,Shannon Allman”[Photo: Benjamin Adams]last_img read more

Lettuce & Main Squeeze Members, Top Chef Winner, & Neuroscientist Get Down At Cannabis-Infused Feast [Video]

first_imgWith Thanksgiving around the corner, The Dankquet might just be the newest thing that Coloradans have to be thankful for. But next time, we’ll need a bigger guest list! To stay up to date with future events from the guys at LOOPR follow them on Instagram and Facebook and check out their daily Bud Crawls on their cannabis friendly party bus on LOOPR’s website. It’s no secret that living in Colorado comes with an impressively long list of benefits: you have Red Rocks in your backyard, one of the most incredible live music scenes in the country, wintertime in the mountains, and (of course) legal cannabis just about everywhere you look. With all the things that the Mile High City already has going for it, maybe it’s not too surprising that every so often, an idea jumps out that makes you pause and go “YES”. Well, it looks like the guys at LOOPR got it down pretty perfectly with “The Dankquet”—the answer to the timeless question of what would happen if you put a bunch of our favorite musicians, a Top Chef winner, a neuroscientist, and a handful of our friends together for a cannabis-infused feast? The answer, of course, is one damn incredible evening.Lettuce Announces 2018 Headlining TourLettuce Reinterprets Miles Davis In New Live Album “Witches Stew”The first ever installment of The Dankquet features L4LM favorites Adam Deitch and Erick “Jesus” Coomes from Lettuce and Corey Frye from The Main Squeeze alongside Top Chef winner Hosea Rosenberg and some of the leading minds in the cannabis industry. As guests worked their way through a variety of infused courses like the “Lettuce Turnip The Beet” salad, escargot with arugula pesto, applewood smoked ahi, Chilean sea bass with Thai citrus dope sauce, and caramel chocolate s’mores, the group talked about everything from the importance of proper dosing when it comes to edibles to how they find inspiration in their craft through cannabis. Check out the recap video below and excuse us while we daydream for a minute…last_img read more

Musical Masters Young & Old Celebrate The Allman Brothers In Brooklyn [Pro-Shot Video/Audio]

first_imgOn Saturday, September 23rd, an all-star collective of musicians gathered at Brooklyn Bowl to pay homage to fallen musical heroes Gregg Allman and Butch Trucks. “The Road Goes On Forever: Celebrating The Music Of The Allman Brothers” was Brooklyn Comes Alive‘s tribute to those two iconic musicians and the incredible music that they created, and it featured an impressive and diverse array of musicians from across the improvisational music universe.Helmed by the longtime musical director of Gregg Allman Band and local New York favorite, Scott Sharrard, the band was rounded out by Al Schnier and Vinnie Amico from moe., Bernard “Pretty” Purdie, Nate Werth of Snarky Puppy, Joey Porter from The Motet, and Sharrard’s Gregg Allman Band bandmate Brett Bass. The band was joined by a number of amazing guitar players along the way, with Eric Krasno (Soulive/Lettuce), Rob Compa (Dopapod), Roosevelt Collier, Dave Harrington and Brandon “Taz” Niederauer all jumping on stage throughout the two-hour set.Watch Eric Krasno, John Scofield, George Porter Jr., Cyril Neville, & More Jam In Brooklyn [Pro-Shot]When the band took the stage, Sharrard announced a surprise, that the band would be performing a re-creation of The Allman Brothers Band’s 40th Anniversary show at the Beacon Theatre from March 26th, 2009. The setlist featured back-to-back renditions of The Allman Brothers Band’s first two albums: The Allman Brothers Band and Idlewild South. Featuring undeniable classics and cherished b-sides, the setlist was an ambitious choice that this group of players handled with ease. The band came hot out of the gate with fiery renditions of  “Don’t Want You No More” and “It’s Not My Cross To Bear”, with Amico, Purdie and Werth linking up to imitate the Allman Brothers’ unique percussive sound, Porter emulating Allman on the organ, and Sharrard and Schnier nailing the band’s iconic dual-guitar approach.With the audience sufficiently warmed up, Sharrard brought out the first guest of the evening, Connor Kennedy, who helped out on guitar and vocals on several songs throughout the night. Kennedy’s passionate vocals were showcased on “Black Hearted Woman” and “Trouble No More”, which also featured Compa. When Compa joined the band, Schnier moved from electric to acoustic guitar, adding a studio-like-quality to the performance. The night was filled with amazing guest appearances, with improvisational upstart Dave Harrington, who was on hand for a performance with his Merry Pranksters later that evening, harmonizing on with him perfectly on “Every Hungry Woman”, and then turning in one of the standout performances of the evening with an out-there version of “Dreams.”Following Harrington’s appearance, fourteen-year-old Brandon “Taz” Niederauer strutted on stage, and the anticipation in the room was palpable. Taz is a Brooklyn Comes Alive vet, having stunned audiences at last year’s event during the Earth, Wind & Power set orchestrated by The Nth Power. He spent the past four years being mentored by Allman, Trucks, and improvisational guru Col. Bruce Hampton, so needless to say emotions in the room were running high when Taz took the Brooklyn Bowl stage. The iconic bassline of “Whipping Post” began, and Sharrard and Niederauer took the excited audience on a journey of epic proportions. Taz was just incredible, nailing the song’s spacey rhythm guitar while Sharrard took his solo. When it was Taz’s turn to solo, he was patient, slowly building up in speed and intensity until he exploded, unleashing what can only be described as a ferocious attack on his guitar. The pure joy on Niederauer’s face was undeniable, and he truly shared his love for the Allman Brothers music with everyone in the room. Anyone in the room that night that witnessed this version of “Whipping Post” can attest, Brandon “Taz” Niederauer is one of the best guitarists in the live music community.Next up, Kennedy returned, and with him, he brought Eric Krasno and Roosevelt Collier to the stage. The trio helped the band with an uplifting “Revival”, the first song on, Idlewild South. Collier stayed on stage for the classic song “Don’t Keep Me Wonderin’, before the house band delivered a stirring version of “Midnight Rider”, with Schnier picking up his acoustic again while Kennedy and Sharrard nailed the song’s vocal harmonies.After that, Krasno returned the stage for the rest of the night, starting his portion of the show off with a fantastic rendition of “In Memory Of Elizabeth Reed”. The fourteen-minute version showcased exactly why Krasno is one of the most in-demand guitar players in the live music scene today. He and Sharrard were both on fire throughout, playing off each other and showing a real love and dedication to the music. Their intense solos got crazier and crazier, and the band latched on for some really powerful moments throughout the song.Krasno stayed on stage and took lead vocals on “Hoochie Coochie Man,” before Collier and Niederauer were summoned back on stage for the night’s finale,  a wild four-guitar dual on “Leave My Blues At Home”.One of the great parts of Brooklyn Comes Alive is how rare and unique each set is, and everyone in the room that night knew that they would never see this group of musicians playing this awesome music together again–it made the night all the more special. Sharrard and his rag-tag band of musicians gave it their all and put together a fitting tribute to the Allman Brothers, and it’s something no one in the room that night will ever forget.You can enjoy the full audio below, as recorded by Eric McRoberts.The Road Goes On Forever: Celebrating The Music Of The Allman Brothers | Brooklyn Bowl | Brooklyn, NY | 9/23/2017Don’t Want You No More > It’s Not My Cross To Bear, Black Hearted Woman*, Trouble No More*@, Every Hungry Woman#, Dreams#, Whipping Post$, Revival, Don’t Keep Me Wonderin’%^, Midnight Rider*, In Memory Of Elizabeth Reed^, Hoochie Coochie Man^, Leave My Blues At Home$%^*  w/ Connor [email protected] w/ Rob Compa# w/ Dave Harrington$ w/ Brandon “Taz” Niederauer% w/ Roosevelt Collier^ w/ Eric Krasnolast_img read more

13 Days Of Phishmas 2017: Baker’s Dozen Night 10, The “Holes” Show

first_imgAfter “O Holy Night,” Trey kicked into “Taste” for the first time since Texas last Fall. The “Taste” jam provided a second bona fide improvisational highlight for this thrilling second set, quickly moving into a charge reminiscent of the “Mike’s Song” jam that preceded it, continuing the considerable momentum it had established. Mike and Page bought the jam to a slow, rolling boil, which bubbled over into bright major-key ambiance. Trey picked up the reins from there, using single, solitary, sustained notes to sing sweet songs and pierce through the static like only he can, before bringing the jam to a close with a blues-rock peak.Watch fan-shot footage of the tail end of the “Taste” jam below courtesy of YouTube user LazyLightning55a:“Wingsuit” floated in on the pulsing Fishman fills that closed the Type II “Taste.” Hitting hard as always with a pretty piano jam and towering riffs from Trey, “Wingsuit” eventually landed on a brief “Sneakin’ Sally.” Finally, the band resolved the set-spanning “Mike’s Groove” with “Weekapaug,” before taking an encore victory lap through a widely-predicted cover of Sgt. Pepper favorite “A Day In The Life.”Remember 2012? When we wished longingly but skeptically that Phish would revive the “Mike’s Song” second jam? When we wished they would dig deep in the catalogue, play the “white whales,” try out new and adventurous covers? When we longed for just one 20-minute jam, but reluctantly recognized that those days may have been behind them? The Phish we all wished for 5 years ago pales in comparison to the Phish we now get on a nightly basis in Summer 2017, and it only keeps getting better. Thank Icculus for the Baker’s Dozen![Cover photo via Chad Anderson]Hot Takes From Night 10:Repeat Watch: As Fishman says, “DUH.” The Universe is a donut, and the Phish will play no repeats at the Baker’s Dozen…Today’s Donut: “Holes” [“Way Down In The Hole” (Bonus Points: “When you walk through The Garden…” opening line); “Buried Alive”; “Heavy Things” (“two holes in my face”); “O Holy Night”; “A Day In The Life” (“although the holes were rather small…”)]We Tired Yet?: …Yes. Home stretch! Who’s got my 8/5 and 8/6?! (For real, though, shoot me a message…)SETLIST: Phish | Baker’s Dozen Night 10 | Madison Square Garden | New York, NY | 8/2/17SET 1: Way Down in the Hole[1], Buried Alive, Kill Devil Falls, Guyute, I Didn’t Know, NICU, Meat, Maze, Ginseng Sullivan, Waiting All Night, Heavy Things, Run Like an AntelopeSET 2: Mike’s Song > O Holy Night[1] > Taste > Wingsuit > Sneakin’ Sally Through the Alley > Weekapaug GrooveENCORE: A Day in the Life[1] Phish debut.[Cover photo via Chad Anderson Photography]We’ll see you back here tomorrow, as we continue to re-sample all the donuts on our way back to the Garden for New Year’s Run 2017-2018. For a list of pre-show plans and late-night after-parties, check out our guide here.13 Days of Phishmas 2017:Night 1 – “Coconut” – 7/21/17Night 2 – “Strawberry” – 7/22/17Night 3 – “Red Velvet” – 7/23/17Night 4 – “Jam-Filled” – 7/25/17Night 5 – “Powdered” – 7/26/17Night 6 – “Double Chocolate” – 7/28/17Night 7 – “Cinnamon” – 7/29/17Night 8 – “Jimmies” – 7/30/17Night 9 – “Maple” – 8/1/17Night 10 – “Holes” – 8/2/17 In just 4 days, Phish will make their triumphant return to Madison Square Garden in New York City for their traditional 4-night New Year’s Run at the world’s most famous arena. To date, the band has played the storied midtown Manhattan room 52 times–usually surrounding New Year’s Eve–and among those 52 are some of the more exciting and memorable performances they’ve ever turned in. In 2016, we counted down the days until New Year’s Run with “The 12 Days Of Phishmas,” a festive collection of our favorite Phish shows at the Garden over the years. But that list was made before the Baker’s Dozen, Phish’s unprecedented run of 13 straight shows at MSG featuring nightly donut-based themes, surprise covers and bust-outs to cater the setlists to the flavor du jour and, oh yea, NO REPEATS, culminating with a “championship” banner being raised to The Garden’s rafters on a day officially designated as “Phish Day” by the Mayor of New York. The Dozen was a different kind of beast: It’s difficult to pick apart the individual shows and rank them among the band’s other 39 MSG performances because these 13 shows were so inextricably linked. Those 17 summer days in the City almost felt like one long show, and so it only felt right to extend this year’s Phishmas by an extra day and relive the Baker’s Dozen as a complete set–sampling one donut at a time, the same way it was originally tasted. By the time we’re done going back through the Baker’s Dozen spoils, we’ll all be primed and ready to add four more shows to the list, rounding out 17 in ’17–the biggest, baddest year of MSG Phish we’ve ever seen. Our Official Guide To Phish New Year’s Pre- And Post-PartiesAt this point in our Phishmas retelling of the Baker’s Dozen saga, we’re in the final stretch of the run: 4 shows left; one more “regular” MSG run, if you will. The Baker’s Dozen was now a thing, and seemingly everyone had something to say about it–from style magazines, to city and national news outlets, to your thoroughly un-hip Aunt Martha, to passersby asking what all the donuts were about and why everyone had their fingers in the air (note: I usually went with “We’re doing a flash mob”). The secret had gotten out: something very special was happening at The Garden. In the blink of an eye, each of the remaining shows–all of which had tickets available at the box office at the start of the run–were sold the f*ck out, and the horde of restless fingers in the air on 7th Avenue was steadily growing each night. Fans eagerly awaited the announcement of a new donut each morning, and made their calculated theme predictions for each successive show in kind. And with 9 shows down and not a repeat in sight, the list of songs still on the table grew shorter and shorter each night. In hindsight, the second half of the Baker’s Dozen was, in many ways, the most “predictable” stretch of shows Phish has ever played. More so than ever before, we went into those shows knowing loosely what to expect. But of course, that didn’t stop Phish from continuing to exceed our expectations anyhow…So much fantastic ground already covered, yet still so much to come–the second half of the Dozen was uncharted territory in the Phish Universe, boldly going where no run had gone before. Come along, relive that (not so short) trip with us, and remember that euphoric feeling of being in the thick of the Baker’s Dozen. Merry Phishmas to all!NIGHT 10: Holes8/2/17Review by Andrew O’Brien Last night, Phish took the Baker’s Dozen into double digits with their 10th performance in 13 days at Madison Square Garden. Unlike Tuesday night’s “Maple” theme, which predominantly left fans scratching their heads until showtime, Wednesday night’s donut, “Holes”–you know, like “donut holes”–immediately spawned a litany of guesses. Phish is at their best when their creativity is at its peak, and just like Sunday’s “Jimmies” donut, “Holes” was another clever, off-kilter flavor choice, allowing the band to stretch the thematic boundaries and check another chunk of songs off their ever-shorter yet still expansive list of remaining songs. Fans quickly scoured all the tunes still in play for the Baker’s Dozen, from originals to staple covers to outlandish guesses (which, on this run, are just about as likely as even the most often-played Phish songs), putting together a comparatively long list of potential picks.Many of the calls turned out to be correct, the band clearly having designated them for “Holes” night from the start (“Buried Alive,” “Heavy Things,” “A Day In The Life”). But Phish still wound up proving the majority of their fans’ guesses incorrect. This fan was convinced that “Holes” night would finally signal the return of long-lost tongue-in-cheek ditty “In A Hole,” which was referenced at Dick’s Sporting Goods Park on 8/30/14, but has not been played in earnest since December, 1989. Of course, this fan turned out to be wrong. That’s how it works with this band: Whenever you’re positive Phish is going to “zig,” the smart money says they’re actually plotting to “zag,” and last night’s “zags” far exceeded any pre-conceived ideas of what “Holes” night would entail; Who really wants to “zig” anyway? “In A Hole” is so 1989, and you can bet that these days, most fans would take high-concept, creatively finessed, fully realized 2017 Baker’s Dozen Phish over late-80’s goofiness any day of the week. There’s a Golden Age comin’ round…The surprises got started early, as the band led off with their live debut of Tom Waits‘ “Way Down In A Hole” (which, for those keeping track, meant that the show began with the line “When you walk through the Garden”). While many in the crowd were understandably unfamiliar with the new and relatively obscure cover, the song’s opening notes sent what looked like about half the crowd into a frenzy. The cheering fans, no doubt, were the ones who have watched universally acclaimed HBO crime drama The Wire. The show used a different rendition of the song under its opening credits for each of its five seasons, including the original Waits recording and versions by The Blind Boys of Alabama, The Neville Brothers, DoMaJe, and Steve Earle. [Note: To the other half of the crowd that didn’t recognize the opener: Watch The Wire, already. Seriously, what are you waiting for?]Watch the band’s surprise “Way Down In A Hole” opener below via LivePhish:A fire-starting “Buried Alive” came next, quickly bringing the rowdiness that seemed to be missing at Tuesday’s “prettier” Maple performance. “Kill Devil Falls” followed, growing into a chugging Type I groove and, finally, a satisfying early-show peak, despite a handful of flubs from Red. Any KDF flubbery was quickly forgotten as the band moved into rare original “Guyute.” While the complicated composition wasn’t perfectly played, the “ugly pig” still pulled through, retaining his patented power and shadowy grit.“I Didn’t Know” came next, as Trey coaxed Mr. Henrietta Fishman to center stage with a nod to the “Jimmies” night “Universe-As-Donut-‘Harpua’” (“You know what they say about holes: The more holes, the more complicated…the vacuum cleaner!”). Fishman’s vacuum chops can always be classified in varying levels of cringe-worthiness, and this attempt was no different. But the vacuum had yet to make an appearance at the Baker’s Dozen–where Phish is sure to pull out virtually everything in their bag of tricks at some point or other–and the antics served as an amusing interlude.A brief and bubbly NICU followed, prompting big cheers with its “look back on those days when my life was a haze” line before giving way to Mike Gordon-led jaunt “Meat,” Fishman masterfully keeping the jive and stride alive. The song gave the crowd its first Type II taste of the evening, building into a twangy, plodding roll (Note: An actual  Type II “Taste,” coincidentally, would pop up til later in the night, but more on that later…).“Maze” finally punched its Baker’s Dozen ticket after “Meat,” as the band conjured a dissonant, avant garde atmosphere, augmented by spectacular light work from Chris Kuroda. The “Maze” jam reached not one, but two giant white-light peaks, the second of which featuring added sonic girth by a 60%-ish throttle Mike bomb (good money says he’s saving up the big boys for the monster “Tweeprise” that looms on Night 13). “Ginseng Sullivan” and “Waiting All Night” followed before ceding to the hole-referencing “Heavy Things,” depleting some of the energy in the room with a run of slower tunes. However, the audience quickly riled up once again as a mighty “Run Like An Antelope” closer set the gear shift back to “high,” where it would remain for the rest of the performance.The set break chatter centered largely on “Way Down In The Hole,” as fans of The Wire nerd-ed out over the reference. The tune was all too appropriate for the Baker’s Dozen. The Garden has had a certain similarity to the notorious “Hamsterdam” over the course of the residency: With mischief-seeking fans traveling from all over to a dedicated area to indulge their societally frowned-upon proclivities, and the venue staff generally cultivating a permissive atmosphere for such behavior (as long as you’re in the agreed-upon space), the connection was hard to ignore–whether or not it was intended. [Note: For those who don’t get that clever, hilarious reference: don’t worry, it’s not a spoiler. It’s just one more reason you really do need to watch The Wire].When the second set began with “Mike’s Song,” the Garden crowd knew they were in for a ride–but none could have predicted just how wild that ride would be. From funk feathered with gorgeous beams of blue, purple, and green; to a bright, foamy bounce; to a breezy, echoing vamp; to dark and murky cocktail lounge fare and a patiently realized and chill-inducing peak, this “Mike’s” went “out there” like no “Mike’s” has in almost a decade. This “Mike’s Song” broke the 20-minute mark for the first time since ’97, and marked just the third elusive “second jam” in the modern era. For now, let’s call this monster “Big Mike,” and imagine he’s a musical beer hall brawler who’s never lost a fight. As “Mike’s” dissipated, the fog machines came alive, billowing smoke across the stage over an ambient rumble. A choral refrain began to build. It took a few moments of unsure recognition to understand the play: Holiday season staple (and appropriate “Holes” night anthem) “O Holy Night.”Watch pro-shot video of “Mike’s Song” (via LivePhish) as well as fan-shot footage of Phish’s haunting “O Holy Night” from “Holes” night at the Baker’s Dozen (courtesy of YouTube user rdeal1999) below:last_img read more

Galactic Welcomes Members Of Turkuaz & Lyrics Born For Winter Tour Closer [Videos/Photos]

first_imgLoad remaining images Photo: Josh Huver On Saturday, March 31, the legendary Warfield Theater in San Francisco held a heavyweight showdown that featured two top-class masters in funk entertainment, the world favorite Galactic from New Orleans, LA and Turkuaz from Brooklyn, NY.Wrapping up a winter tour that consisted of 30 shows in 34 days with 9,268 miles logged from coast to coast, Galactic is known for touring heavily to start the year. Turkuaz joined the tour for its final leg through California.Turkuaz is a non-stop touring machine that seems to thrive on crisscrossing the country “Coast to Coast”. A favorite night out for locals whenever they are in the San Francisco Bay Area, Turkuaz routinely hits the Bay at least three times a year either through festival appearances or a slot on tour.Fans tend to agree, the show is fun. The nine-piece rainbow clad band (more often than not) crams themselves onto stages not typically meant for bands of that size. But to avoid getting lost in the shuffle, each member has their own specific color-coded wardrobe and instrument labeling. Saturday night, the band had plenty of room to stretch their legs.At the Warfield, the Turkuaz horn section is anchored leftmost (from the audience) by saxophonist Josh Schwartz, clad in purple. It is a high honor to wear purple in a funk band, and Schwartz soars–not just with his baritone sax, but also with a rich baritone singing voice as demonstrated on a cover of The Bar-Kays’ “Holy Ghost”, an appropriate day-before-Easter pick. Next to Schwartz, in red, is tenor saxophonist Greg Sanderson belting fast-paced melodies and intricate flourishes. Chris Brouwers, in black, pulls double duty, often simultaneously playing the trumpet and a keyboard.In the center of the stage, lead vocalist and guitarist in blue Dave Brandwein is flanked on his right (audience left) by Shira Elias’ bright yellow ray of sunshine and on the left (audience right) by the equally stunning bubblegum pink aura of Sammi Garett. Behind them in a field of green sits drummer Michelangelo Carubba. At one point late in Turkuaz’ hour-long set, the band turned to Carubba for a drum solo which he began with only one arm, outperforming several drummers at their peak with two.Holding down the right side of it all are bassist Taylor Shell and dual instrumentalist Craig Brodhead on keyboards and guitar. Shell, decked in orange, is the most mobile member of the band, only attached to his bass guitar and no microphone. While Brodhead anchors the edge of the Warfield stage in white, Shell can be seen strutting from Garett to Carubba to Brodhead and back without missing a note.While the other band members rarely leave their zones, they keep the audience visually engaged with synchronized dance moves–head nods, knee bends, twists and kicks being some of the most common. Elias and Garett can be found running in place or executing more complex synchronizations, even with percussion instruments in hand. As evidenced in their final song of the set, “Everyone’s A Winner” when Turkuaz plays.By the time Galactic took the stage, the audience was hot-stepping like the floor was lava. The world-renowned funk band filtered out onstage, calm, cool and collected. From right to left, the band featured the stoic and statuesque Jeff Raines on guitar balanced by the slightly more animated Robert Mercurio on bass. Stanton Moore kept the fills moving forward and the tempo tight on drums (featuring not one but two different kick drums), while keyboardist Richard Vogel layered heavy blankets of organ over and underneath the sound of the band, taking flight in the transitions.Anchoring the left side of the stage again was the horn section. A two-tandem team between longtime saxophonist and blues-harpist Ben Ellman and newcomer Shamarr Allen on what appeared to be a compact, pocket-sized trumpet. The pair of blowers would trade licks over the rest of the group. Taking their time going on long runs of notes or holding one note for over a full 50 seconds, the band gave them plenty of room.Leading the band on vocals was neo R&B soul singer Erica Falls. Falls was dynamite on every bar. Coupled with a commanding stage presence, Falls took lead vocals on the classic “You Don’t Know” from Galactic’s 2010 NOLA funk masterpiece Ya-Ka-May. The crowd instantly fell in love with Falls, especially after she began conducting the audience.As true to Galactic’s widespread, “jam with everybody we can” mentality found on their records, they welcomed Bay Area rapper and producer Lyrics Born to the stage. They performed “Rock-Rock-Away”, a single from Lyrics Born’s 2015 album Real People and featuring Galactic. Later, they brought the Turkuaz horns onstage as well.Overall, the show Saturday night at the Warfield was one of the funkiest nights San Francisco has seen in weeks, as delivered in a way only Galactic, supported by Turkuaz could be delivered. Load remaining images Thanks the author, Joshua Huver of Must Have Media, for the videos of the performance as well as the photo gallery below.Galactic | The Warfield | San Francisco, CA | 3/31/18 | Photos by Josh Huver Photo: Joshua Huver Turkuaz | The Warfield | San Francisco, CA | 3/31/18 | Photos by Josh Huverlast_img read more

Syracuse Jazz Fest Cancelled For 2018

first_imgThe Syracuse Jazz Fest will not take place for the first time since its launch in 1982. Frank Malfitano, founder and organizer of the festival, announced on Thursday that event only raised $250,000—short of its goal of $400,000.The lack of funding for this year’s festival is mainly due to the loss of longtime sponsor M&T Bank. Sponsors like the bank are necessary to put on the Syracuse Jazz Fest, which has historically been free and open to the public.The Syracuse Jazz Fest celebrated its 35th anniversary last year with sets from Todd Rundgren, Rebirth Brass Band, Ramsey Lewis, The Mavericks, Marc Broussard and Asleep At The Wheel. During its 35 year history, the event has featured performances from legendary acts like Aretha Franklin, Ray Charles, Dizzy Gillespie, Dave Brubeck, Boz Scaggs, Sonny Rollins, Wynton Marsalis, and many more.The festival hopes to return in 2019.last_img read more

Take Me To The River Tour Taps 3 Generations Of NOLA Legends To Celebrate New Music Doc

first_imgThis fall, a number of iconic New Orleans acts will hit the road for the “Take Me To The River” tour, which will feature three generations of New Orleans musicians. The bill includes Ivan Neville, Ian Neville, George Porter Jr., Dirty Dozen Brass Band, Lost Bayou Ramblers, 79rs Gang, Terence Higgins, and Big Chief Monk Boudreaux.The “Take Me To The River” tour is in celebration of a new documentary, Take Me To The River New Orleans, an upcoming film due out later in 2018 on the rich musical history of the Crescent City. Take Me To The River New Orleans is a follow-up to Take Me To The River Memphis, a 2014 documentary on music in Memphis, Tennessee, that was released on Netflix in 2016. Both documentaries in the series are directed, produced, and written by Martin Shore, a Grammy-nominated musician and famed feature-film producer.Take Me To The River New Orleans explores the influences on New Orleans’ vibrant music scene. As described on the upcoming movie’s website, “The film will highlight 20 to 25 new songs, combining multiple generations of New Orleans musicians. The film Legacy musicians will collaborate with stars of today and students from the Tipitina’s foundation, under the guidance and tutelage of Donald Harrison.”As described on the website, the documentary will feature collaborations among a number of musicians within 100-miles radius to New Orleans, including The Neville Brothers, The Meters, Jon Batiste, Mystikal, Ani Difranco, Davell Crawford, Dr. John, Galactic, Anders Osborne, Big Chief Monk Boudreaux, Dumpstaphunk, Snoop Dogg, LG, Lost Bayou Ramblers, G-Eazy, Rebirth Brass Band, Donald Harrison, Christian Scott, Walter Wolfman Washington, Mannie Fresh, Pretty Lights, and many more.As for the “Take Me To The River” musical tour, it will span from mid-October to the beginning of November. After starting on October 12th in Milwaukee, the collection of celebrated New Orleans musicians will wind through the Midwest and Northeast. The “Take Me To The River” tour ends with a run down through the south, with final performances in Virginia, North Carolina, and South Carolina, finishing on November 3rd in Sandy Springs, Georgia.For more information and ticketing, you can head to the movie series’ website here.last_img read more

Pigeons Playing Ping Pong Add New Fall Dates Including 2018 Halloween Show

first_imgOn Monday, Baltimore-based jam quartet Pigeons Playing Ping Pong announced a new batch of additions to their 2018 fall tour.The band will now mount a two-night run around All Hallows Eve, including a Halloween night performance at The National in Richmond, VA and a November 1st show at Charlotte, NC’s The Neighborhood Theatre, both featuring support from The Kitchen Dwellers. Then, over Thanksgiving weekend, the band will hit Rams Head Live in their native Baltimore for a pair of shows on Friday, November 23rd (with lespecial) and Saturday, November 24th (with Joe Hertler & The Rainbow Seekers).This latest addition to the band’s fall tour comes in the wake of the announcement of their first-ever headlining show at Port Chester, NY rock palace The Capitol Theatre.See below for a full list of Pigeons Playing Ping Pong’s upcoming tour dates. For more information, or to grab your tickets, head to the band’s website.Pigeons Playing Ping Pong Upcoming Tour DatesNewly added dates bolded8/30 – Garrettsville, OH – Summerdance Festival 20188/31 – Buffalo, NY – Town Ballroom9/1 – Ithaca, NY – The Haunt9/2 – Lake George, NY – Adirondack Independence Festival9/26 – Fayetteville, AR – George’s Majestic *9/27 – Dallas, TX – Granada *9/28 – Houston, TX – Last Concert Cafe *9/29 – Austin, TX – Mohawk *10/2 – Phoenix, AZ – Crescent Ballroom *10/3 – Solana Beach, CA – Belly Up Tavern *10/4 & 10/5 – Los Angeles, CA – Teragram Ballroom *10/6 – San Francisco, CA – Regency Ballroom*10/8 – Santa Cruz, CA – The Catalyst10/10 – Arcata, CA – Arcata Theatre+10/11 – Bend, OR – The Domino Room+10/12 – Portland, OR – Wonder Ballroom+10/13 – Seattle, WA – Neptune+10/14 – Missoula, MT – Top Hat Lounge+10/16 – Bozeman, MT – Rialto10/18 & 19 – Boulder, CO – Boulder Theater10/31 – Richmond, VA – The National *11/1 – Charlotte, NC – Neighborhood Theatre *11/2 & 11/3 – Atlanta, GA – Variety Playhouse11/16 & 11/17 – Philadelphia, PA – Theater of Living Arts11/[email protected] & 11/24$ – Baltimore, MD – Rams Head Live11/29–12/1 – Boston, MA – Paradise Rock Club12/12 – 12/16 – Puerto Morelos, Mexico – Holidaze1/26/19 – Port Chester, NY – The Capitol Theatre^ w/ moe.* w/ The Kitchen Dwellers+ w/ Andy [email protected] w/ lespecial$ w/ Joe Hertler & The Rainbow SeekersView Upcoming Dateslast_img read more

The Marcus King Band Releases New Song, “Goodbye Carolina”, From Upcoming Album [Listen]

first_imgThe Marcus King Band recently announced a new album, Carolina Confessions, due out on October 5th via Fantasy Records. Produced by Dave Cobb (Chris Stapleton, Jason Isbell, Sturgill Simpson), the new album showcases the 22-year-old frontman’s maturation as a songwriter, as King takes writing credit on all ten tracks, in addition to one co-written with The Black Keys‘ Dan Auerbach. The studio band features drummer Jack Ryan, bassist Stephen Campbell, trumpeter/trombonist Justin Johnson, saxophonist Dean Mitchell, and keyboardist DeShawn “D’Vibes” Alexander. The Marcus King Band has released the album’s final instant grat track, “Goodbye Carolina”, following the release of “Where I’m Headed”,  which premiered in September, and “Homesick” and “Welcome ‘Round Here”, in late August.About the new album, Carolina Confessions, King told Billboard:I wanted this record to focus a little bit more on songwriting and the structure of the tune itself.” King describes the ten-song catalogue as “the confessional side of things. Music, for me, is a way to say what’s on my mind and kind of a way to explain that — just like true confession, if you feel guilty and want to get some things off your chest. That’s how writing is and making music is for me.Listen to the newly released track, “Goodbye Carolina”, below:You can also watch Marcus King Band’s performance of “Where I’m Headed”, from their television debut on CONAN.The Marcus King Band – “Where I’m Headed” – 8/28/2018[Video: Team Coco]See below for a full tracklist, as well as Marcus King Band’s extensive tour schedule. For more information, head to The Marcus King Band’s website.Carolina Confessions Tracklist:“Confessions”“Where I’m Headed”“Homesick”“8 a.m.”“How Long”“Remember”“Side Door”“Autumn Rains”“Welcome ‘Round Here”“Goodbye Carolina”View Full Tracklist The Marcus King Band Tour Dates9.22 @ Bristol Rhythm & Roots Reunion in Bristol, TN9.23 @ Bogart’s in Cincinnati, OH**9.25 @ The Vogue in Indianapolis, IN**9.26 @ Thalia Hall in Chicago, IL**9.27 @ Amsterdam Bar and Hall in Saint Paul, MN**9.28 @ Gabe’s in Iowa City, IA**9.29 @ Kilbourn City Live in Wisconsin Dells, WI**9.30 @ Turner Hall Ballroom in Milwaukee, WI**10.5 @ The Marcus King Band Family Reunion in Black Mountain, NC10.6 @ The Marcus King Band Family Reunion in Black Mountain, NC10.10 @ La Cigale in Paris, France10.11 @ Café Charbon in Coulanges-les-nevers, France10.12 @ Arcadium in Annecy, France10.13 @ Avignon Blues Festival in Avignon, France10.15 @ Santeria Social Club in Milano, Italy10.16 @ Kaufleuten Festsaal in Zurich, Switzerland10.17 @ Rockfabrik in Ludwigsburg, Germany10.18 @ Batschkapp in Frankfurt Am Main, Germany10.19 @ Columbia Theater in Berlin, Germany10.21 @ Knust in Hamburg, Germany10.22 @ Paradiso Noord in Nieuw-amsterdam, Netherlands10.23 @ Doornroosje in Nijmegen, NL10.25 @ The Fleece in Bristol, United Kingdom10.26 @ Islington Assembly Hall in London, United Kingdom10.27 @ Night & Day Café in Manchester, United Kingdom10.28 @ Stereo in Glasgow, United Kingdom11.7 @ Cannery Ballroom in Nashville, TN*11.8 @ Songbirds South in Chattanooga, TN*11.10 @ Volcano Room at Cumberland Caverns in McMinnville, TN*11.12 @ Jefferson Theater in Charlottesville, VA*11.13 @ The Stone Pony in Asbury Park, NJ*11.15 @ Theatre of Living Arts in Philadelphia, PA*11.16 @ Irving Plaza in New York, NY*11.17 @ Pearl Street in Northampton, MA*11.18 @ The Sinclair in Cambridge, MA*11.21 @ Aura in Portland, ME*11.23 @ Higher Ground Ballroom in South Burlington, VT*11.24 @ Cohoes Music Hall in Cohoes, NY*11.25 @ Iron Works in Buffalo, NY*11.26 @ Phoenix Concert Theatre in Toronto, ON*11.27 @ The Club at Stage AE in Pittsburgh, PA*11.29 @ The Loft in Lansing, MI*11.30 @ Elevation in Grand Rapids, MI*12.1 @ St. Andrews Hall in Detroit, MI*12.2 @ Bluebird Nightclub in Bloomington, IN*12.4 @ Mercury Ballroom in Louisville, KY*12.6 @ 9:30 Club in Washington D.C.*1.20 @ Island Exodus 10 in Runaway Bay, Jamaica**w/ Bishop Gunn*w/ Ida MaeView All Tour Dateslast_img read more

Aqueous Releases Wave 2 Of New Album, ‘Color Wheel’, Including Its Title Track [Listen]

first_imgBuffalo-based groove rock quartet Aqueous has released the Wave 2 EP, following their Wave 1 release earlier this month. Wave 2 includes the fourth, fifth, and sixth tracks off of their new album, Color Wheel: “Split The Difference”, “Color Wheel”, and “Good Enough”. One more “wave” is set to come out before the formal release of the band’s LP on October 12th, marking the band’s first full-length studio effort since 2014’s Cycles.You can listen to the second “wave” of tracks, Wave 2, off Aqueous’ Color Wheel below:Aqueous – Color Wheel – Wave 2 EPAqueous shared the following about the second “wave” of tracks off Color Wheel:“Split The Difference” is our first official excursion into a more hip-hop/electronic-based feel; the band has long been inspired by artists like Kendrick Lamar, Nas, Daft Punk, Gorillaz, etc, and this track felt like a natural and exciting step in that direction. “Color Wheel” was written as a way to address the growing disparity between having an authentic human experience vs. the idealized version people present themselves as on the internet, and how unfulfilling and dark it can be for a person’s psyche. Musically, it was inspired a bit more by indie-prog bands like Incubus, Minus The Bear, and Muse.“Good Enough” is a reflection of recognizing and accepting one’s flaws and eccentricities, and trying to come to terms with them while realizing that those very characteristics are the root of a lot of the struggle in one’s life. There’s a feeling of optimism about being honest with one’s self, but also a sense of forlorn, because it’s an isolating, lonely feeling, too. Musically speaking, it’s the band’s first ever “ballad” and was inspired by music like Wings, Tedeschi Trucks Band, Fleet Foxes, and George Harrison.As guitarist Mike Gantzer previously explained regarding the band’s decision to present the new album with three waves of batched releases,There’s a certain continuity to this entire album, and it unfolds in a way that makes the track order important for the experience – there’s an underlying narrative happening throughout the lyrics and themes, and the overarching theme of the story is a strong sense of optimism through the struggle of the realities of life. For this reason, we wanted to release the album in waves, ultimately, to give people a chance to settle into each section of the album and digest it thoroughly before diving into the next.You can pre-order for Color Wheel on vinyl now via the band’s Bandcamp page here. See below for a full track listing:Aqueous Color Wheel Tracklist:1. Second Sight2. How High You Fly3. Realize Your Light4. Split The Difference5. Color Wheel6. Good Enough7. Half In, Half out8. Weight Of The Word (feat. Turkuaz Horns)9. Mandela Effect10. In It (For Me)View TracklistingIn support of the new record, Aqueous will embark on their most extensive headlining tour to date. The band has also announced two new tour dates in December including a play in Covington, KY at Madison Live! on the 14th and at Woodlands Tavern in Columbus, OH on the 15th. Tickets for these newly announced dates are on sale now.Find a full list of dates below with more information available via the band’s website. You can check out a list of Aqueous’ upcoming tour dates below:Aqueous Upcoming Tour Dates:10/6 – Roaring Ranch, PA – Liberty Pumpkin Ball10/19 & 10/20 – St. Paul, MN – The Palace Theater >10/24 – Hamden, CT – Space Ballroom ^10/25 – South Burlington, VT – Higher Ground Showcase Lounge ^10/26 – Cambridge, MA – The Sinclair ^10/27 – Albany, NY – The Hollow ^10/31 – Brooklyn, NY – Knitting Factory ^11/1 – Asbury Park, NJ – Wonder Bar ^11/2 – Washington D.C. – Union Stage ^11/3 – Philadelphia, PA – The Foundry at The Fillmore ^11/4 – Richmond, VA – The Broadberry #11/6 – Raleigh, NC – The Pour House Music Hall #11/7 – Charleston, SC – Charleston Pour House #11/8 – Orlando, FL – The Social #11/9 – Jacksonville, FL – Jack Rabbits #11/10 – Tampa, FL – The Crowbar #11/14 – Birmingham, AL – Zydeco #11/15 – Atlanta, GA – Aisle 5 #11/16 – Asheville, NC – Asheville Music Hall #11/17 – Nashville, TN – Exit/In #11/28 – Ann Arbor, MI – Blind Pig +11/29 – Chicago, IL – Chop Shop11/30 – Milwaukee, WI – The Miramar Theatre +12/5 – Ft. Collins, CO – Hodi’s Halfnote ^12/6 – Frisco, CO – 10 Mile Music Hall ^12/7 – Steamboat Springs, CO – Old Town Pub ^12/8 – Boulder, CO – Fox Theatre ^12/11 – Omaha, NE – The Waiting Room $12/12 – St. Louis, MO – The Bootleg at Atomic Cowboy $12/13 – Indianapolis, IN – The Hi-Fi $12/14 – Covington, KY – Madison Live!12/15 – Columbus, OH – Woodlands Tavern** w/ moe.* w/ ELM> w/ Umphrey’s McGee^ w/ Mungion+ w/ EGI# w/ The Heavy Pets$ w/ GooseView Upcoming Tour Dateslast_img read more