JamBase

Sat Eye Candy: Fleetwood Mac

Sat, 7 Nov 2009 15:51:00 PST

A SMATTERING FROM ONE OF ROCK'S GREATEST SOAP OPERAS

We don't really have a particular reason for choosing Fleetwood Mac this week. Maybe it's just the gypsy in our soul, but here's a handful of good ones from a band that's made an awful lot of swell rock 'n' roll since 1967, no matter what the lineup might be.

Let's jump off with a nasty classic from the early Peter Green led years, later covered by Jimmy Page and The Black Crowes during their short union.

Things changed radically in 1975 when Lindsey Buckingham and Stevie Nicks joined the Mac. Dark hued and driving, "World Turning" was an early collaboration between Buckingham and Christine McVie.

Speaking of heavy, this one penned at the height of intra-band squabbling, romantic and otherwise, is a model of restrained power with chorus full of stubborn strength. This version was captured during their 1977 tour of Japan.

Here's Stevie and Lindsey doing acoustic renditions of "Landslide" and "Big Love" at their induction ceremony into the Rock & Roll Hall of Fame in 1998.

One name in Mac's storied history lost to most outside their hardcore fan base is Danny Kirwan, who wrote some great tunes, played some pretty guitar, and sang with a pleasantly sweet 'n' sour tone. Here's a cool Kirwan number from 1969's Then Play On.

For some Fleetwood Mac enthusiasts, the songwriting department just hasn't been the same since Christine McVie retired from the group in 1998 and took sumptuous slow burns like this with her.

As kiss-offs go, this is a contender for all-time pop champ. Just think of a lover that's wronged you and belt it out!

Las Tortugas IV | 10.29-11.01 | Yosemite

Fri, 6 Nov 2009 17:50:00 PST

Words by: Dennis Cook | Images by: Chad Smith

Las Tortugas - Dance of the Dead IV :: 10.29.09-11.01.09 :: Evergreen Lodge :: Groveland, CA

Las Tortugas

More days than I care to admit, I find myself empathizing with the Devil, wondering if humanity is, at best, a flawed experiment run amuck. It's an unattractive perspective but one that's cropped up for me more and more in recent years as wars, tea-bagging, general pettiness, and greed whittle away at our shared humanity. But it takes only four days each Halloween weekend to bring me around to a considerably more copacetic, hopeful outlook. Turning off Highway 120 onto the ridiculously peaceful, verdant seven mile back road that leads to Evergreen Lodge and Las Tortugas - Dance of the Dead music festival one feels some of the world's weight lift almost instantly. The air is moist and green flourishes wherever your eye falls. Take the road slow and drink it in and the last leg of one's journey works like an elixir absorbed through the skin. Where you are going is not the "real world" but a happy, highly musical oasis where palpable community, good will, and great times abound. Yes, this is a gathering of bands and fans, but if one fully launches themselves into the experience there's a chance at something hearteningly humanizing that goes well beyond a badass set or blinding solo, though Tortugas IV had both in abundance.

Thursday, 10.29

One of the striking differences about Tortugas versus most other festivals is how immediate the transformation from workaday existence to exuberant shindig takes place. Thursday here feels like a Saturday at most fests, as the first of many costumes emerges, twinkling lights are strung, pumpkins carved, and seals on whiskey bottles are broken as virtually everyone in attendance stretches out their arms to everyone they see. It may come off as some sort of bunk hippie claptrap but just being in this environment for a short while triggers off a wave of general niceness and hospitality that runs through attendees, performers, and the exceedingly gracious staff that worked their butts off all weekend so the rest of us could revel without a care. Nothing is too far away from anything else, and as you wander past cabins and tents towards the music frothing in the distance you'll likely be stopped by someone you don't know and offered a drink, some candy, or all sorts of amusements simply because they felt like being kind and they liked your smile.

Bill Kreutzmann :: Las Tortugas

And don't just trust me on this. Listen up to Tortugas IV guest of honor Bill Kreutzmann, he of the Grateful Dead, BK3, The Rhythm Devils and more, who performed a couple quite epic sets with pal Papa Mali but also sat in with headliners Ivan Neville's Dumpstaphunk and Umphrey's McGee, amongst others. The man was a drumming fool, in the best sense, enlivening everything he touched with both his huge, deeply underrated percussion chops and general fabulous energy. So, Bill, did you have a good time Tortugas?

"Are you kidding? I had a GREAT time. It feels like a party," says Kreutzmann by phone a few days after the event. "Festivals are really fun because I get to meet the fans. I really love talking to the people face-to-face and let them know I'm a real person and get to know what's on their minds and what they're thinking about musically."

Izabella :: 8:00-9:15 p.m. :: Terrapin Big Top Stage

You couldn't pick a finer main stage opener than Izabella, a continually evolving Northern California unit that oozes positivity anchored to serious chops and strong songwriting. Archetypically "jam band" in nature, they encompass soul, rock, pop, and jazz as if all lived happily in one big bed. Yet, unlike many of their overly eclectic brethren, Izabella keeps refining their sound, which hums with ancestral echoes but ultimately carves their own path. "You all look pretty scary right now," remarked lead singer-guitarist-percussionist Brian Rogers, "and that's saying something coming from me." The lost Village Person, shirtless with a cowboy hat and feather boa, spoke the truth, as the first night's "Voodoo Circus" theme came to life with clown pants, duppy makeup, and other New Orleans/Ringling Brothers inspired touches. Izabella's set flowed so seamlessly that one wondered how they'd brought us from a slow prog ascent into country territory and out into full-on funk. There was a real "diamond in the back, sunroof top" feel to some sections, and their cover choices were sublime - a hallmark of Las Tortugas acts overall. Wilco's "Handshake Drug" rattled nicely and made Big Light groan because Izabella got to one of their picks first. Michael Jackson - a specter in many setlists - emerged with a solid rendition of "Billie Jean," and the set concluded with a way above-par stab at Queen's "Bohemian Rhapsody," complete with Wayne and Garth look-alikes rocking onstage with the band. In between originals like "Beauty In The Journey," a modern descendent of primo '70s Robin Trower, began our collective elevation in earnest.

Poor Man's Whiskey :: 9:15-10:15 p.m. :: Tuolumne Hall

BAG of Trix :: Las Tortugas

If there's a band that loves getting onstage more than Poor Man's Whiskey I've never met them. Yet, that seemingly sloppy enthusiasm hides some serious players who actually approach their craft with an earnestness that's endearing. PMW picked up the "groove energy" put out by Izabella and rolled it in something gritty, pumping out their Whiskey-fied version of "Whipping Post" alongside their crowd-pleasing originals. For these guys rock and twang are Siamese twins, and their psychedelisized freak show slapped us around good.

Nathan Moore :: 9:15-10:15 p.m. :: The Tavern

Moore was a blessed fixture at Tortugas all weekend, sitting atop tree stumps rolling smokes and dispensing gentle wisdom like the riverbank, backwoods Buddha many of us know him to be. He arrived with his voice a bit tattered, which gave his first performance in Evergreen's cozy bar a ragged, intense sweetness. He was bound and determined to give the people some songs and stories, and when Moore told us, "The world is really magic/ Nothing could be clearer," the words sunk deep, a truth penetrating past whatever rigmarole we still had clinging to us from our lives beyond the tall trees, clear moon-filled skies, and moist Yosemite air. Like every time I've seen him before, Moore reminded me of the acute power one man with a guitar and the right material can have.

BAG of Trix :: 10:15-11:45 p.m. :: Terrapin Big Top Stage

Three-fourths of ALO - Dave Brogan, Steve Adams and Zach Gill - cemented the festival vibe with a set that overflowed with sunshine and melody. These dudes are just SO enjoyable to take in, and it extends beyond the well-played tunes to their basic personalities, which positively glow through the notes. Dressed in fuzzy, indistinctly animal outfits - except for Gill's obvious bunny hat - BAG were playful as pups armed with nasty piano stings, undulating bass, and lock-tight drumming. Drawing from their large ALO and solo catalogs, they swung like an alien piano/organ trio on a mission to sonically smooch everyone in the tent. I appreciate their fearlessness with covers because of the utter sincerity with which they render some genuinely unhip material. So, as Gill crooned Wang Chung's "Dance Hall Days," one truly felt compelled to "take your baby by the heel and do the next thing that you feel." Rarely are serious musicians this playful, and it's always a treat to see what they have up their sleeves.

New Monsoon :: 11:15-1:00 a.m. :: Tuolumne Hall

Ivan Neville :: Las Tortugas

When one hasn't heard New Monsoon play in a while - and they're off the road a lot more of late - it's a lovely shock to hear their beautiful, wholly unique melange. Regardless of the time between gigs, something special happens when they assemble, and that feeling was particularly strong this night. Able to be merciless or smooth, equally convincing at both, they merge carefully composed songs (with increasingly strong vocals) and genre-busting instrumentals without apology. In some ways NM asks a bit more than your average band of its listeners, but, as stunning renditions of originals like "The Other Side" or covers like Zeps' "Poor Tom" showed, surrendering to their current always takes you somewhere cool.

Dumpstaphunk :: 1:00-2:30 a.m. :: Terrapin Big Top Stage

There's a lot of kinds of funk out there, but if you love, if you crave the stuff that's sticky 'n' stanky, well, there's none better than Ivan Neville and his hard-nosed bunch. Decked out in robber masks, they launched into a ferocious performance that gathered up ALL the loose booty in a five-mile radius. On their best nights - and this was surely one of them - funk is a mission for this band, and their pursuit of it is exhilarating. If you were able to keep your limbs from flailing rhythmically during this set I'd suggest you pick up a defibrillator pronto. What further separates Dumpsta from the pack is how everything isn't bullet fast (or obviously derived from touchstones like Funkadelic, James Brown or Sly Stone), as exhibited by their molasses slow ease into a blinding cover of the Stones' "Sympathy For The Devil" highlighted by Ian Neville's jagged guitar cuts and the focused, endlessly exciting drumming of Raymond Weber. Their vocals, as a group, have matured, so it's not just Ivan rockin' the mic, and they've developed into excellent showmen, particularly the winking, leaping Tony Hall, who switched between bass and guitar with ease all evening. Towards the end of the set, they took us to church, Ivan exhorting us to gather up all the crap and trouble and worry and stress we'd brought into the woods with us and "put it in the dumpsta." It's a regular bit but there was a holy roller intensity here that made hundreds shout, "Put it in the dumpsta!" over and over and over in a way that really did liberate us.

Continue reading for Friday's coverage of Las Tortugas...

Friday, 10.30

Las Tortugas

We woke to bucolic weather, hovering in the low 70s during the day and low 40s at night, which held throughout the fest. Gone, but not forgotten, were the torrential rains of Tortugas III, and the difference meant a lot of grateful, fully engaged folks who switched colorful outfits more often than a Cher concert. And it wasn't just youngsters suiting up. Tortugas is a truly multi-generational gathering, where Steve Adams - always a sartorial treat at festivals - rolled alongside his painted up parents, who had as much fun as anyone here. There's something, dare I say, a bit more civilized about Tortugas than most festivals. While not everyone had a cabin, the front porches and indoor plumbing were shared pretty freely and provided an extended, relaxed party atmosphere that wasn't completely focused on the central area or what was happening onstage. One felt safe and able to freak as much or as little as their heart desired. Some of my favorite moments occurred while watching the parade of laughing, giddy people flow past my cabin.

Zach Gill :: 3:30-4:30 p.m. :: Terrapin Big Top Stage

A solo set in name but Gill invited a few friends from New Monsoon and ALO to join him in one of the most disarming, honestly sweet sets this year. Looking like a comedia clown without the long-nosed facemask, Gill opened with a short, centering ohm chant, and then announced, "This song is about breaking through the ice." The covers this round included Billy Joel's "Vienna" (done straight and true for all the crazy children that needed to slow down for a bit) and Huey Lewis & The News' "The Heart of Rock & Roll," which Gill explained afterwards, "Huey Lewis was the first concert I chose to go to, begged my parents to buy tickets to. Then I saw Kenny Rogers. He wore a silver jumpsuit and threw out Frisbees. And how I tried to catch those Frisbees." That Gill sounded genuinely wistful describing what seems like a cornball moment strikes to the center of his music. His cover choices and originals that more than hold their own against established masters speak to his ambitions and loves, and whether behind a piano, squeezing an accordion, plucking a ukulele or just swaying to a melody, Gill exudes talent and goodness in a way one would be stupid and rough spirited to refuse.

New Monsoon :: 4:45-6:15 p.m. :: Terrapin Big Top Stage

Zach Gill :: Las Tortugas

In many respects, NM is the quintessential Tortugas band - stellar musicians and serious composers yet not a household name. This fest celebrates talent and drive, with a distinct slant towards working bands making music because something in them demands it AND won't allow them to slack off in carving out their own identity, regardless of the easier, perhaps more quickly profitable paths open to them. NM exhibited a melodic flow that slipped between genres/styles in a way that bolsters the idea that there is simply music and all of it - past, present and future - longs to converse in a living conversation. Standouts this time included an expansive "On The Sun" and a gliding version of the Talking Heads' "Slippery People" that seemed lubricated with K-Y it was so smooth.

Poor Man's Whiskey :: 6:15-7:15 p.m. :: Tuolumne Hall

Dressed as Spinal Tap, the boys rollicked through "Big Bottom," "Sex Farm Woman" and more, down to a tiny foam Stonehenge that was discarded for a bottle of whiskey. Control and abandon did a square dance onstage, making one feel like they'd wandered into a carnival ride of some sort. They wrapped the exuberant set by unplugging and playing Dr. Hook and the Medicine Show's stardom loving "Cover of the Rolling Stone," with the audience hooting the chorus with infectious glee. This band just knows how to put on a show that leaves one wanting very little in its wake.

Dun Four :: 6:15-7:15 p.m. :: The Tavern

Big Light and Nathan Moore teamed up for their folk-rock Voltran configuration, the Dun Four. With Moore's voice on the mend, they still played in a way that made one lean in. One is keenly aware that they are part of what's unfolding when this group plays, and with ringmaster Moore urging us through hoops and tickling us with feats of magic (the man made his own head disappear!) one wants to join in. The carefree character of Tortugas was well represented as they juggled their songs and played musical catch with wide grins and easy flowing laughter. This is a real peanut butter & jelly combination that's only likely to get tastier with future outings.

The Mother Hips :: 7:15-8:30 p.m. :: Terrapin Big Top Stage

The Mother Hips :: Las Tortugas

Blasting out like caged rock beasts, the Hips went right from zero-to-sixty with "Time-Sick Son of a Grizzly Bear" and "Third Floor Story." Working in their comfort zone, they quickly assimilated into full festival mode and it seemed as if they'd already been playing in their minds and the audience had to just catch up. Anchored to the slinky, complex bass of Paul Hoaglin (dressed in Steve Adams' Thursday furry suit and looking like the rockingest Ewok ever) and the relentless drumming of John Hofer (sporting black rim glasses with a penis nose), singer-guitarists Tim Bluhm and Greg Loiacono raged mightily, particularly on new ones "White Falcon Fuzz" and the rangy "Pacific Dust," the title track from their new album released last week, which takes their early wild jam sensibilities and marries them to something more structured and ultimately more satisfying. Whatever they touched, it seemed their group throttle was wide open, which left many of us dazed and happily confused as they plowed into the giant size finish of "Can't Sleep At All," with the guitars racing all the way up to Heaven. My lord, what a tremendous rock 'n' roll band.

Dumpstaphunk :: 9:30-11:00 p.m. :: Terrapin Big Top Stage

A touch smoother and more relaxed than the nicely battering energy of Thursday night, Dumpstaphunk again got us to toss our woes in the dumpster, and showed they really know how to work Stones material when they put "Miss You" on low simmer and cooked it to perfection. Highlight of this set was a spirited sit-in by Bill Kreutzmann. It was hard to tell who was smiling the most - drummer Raymond Weber, Ivan Neville or Kreutzmann - but their musical chemistry put some serious fizz into the whole evening.

"They're pretty cool, huh? Me and Raymond got along great and played good together," says Kreutzmann. "Playing with Dumpstaphunk is quite challenging. You gotta be a pretty heavy hitter to hang out with those boys."

Blue Turtle Seduction :: 11:00-12:30 a.m. :: Tuolumne Hall

Jake Cinninger - UM :: Tugas

Wrongly viewed by many as just another jam band, Blue Turtle have far more in common with The Pogues, The Clash, and other rowdy, intense uniters of the people. This set overflowed with bonhomie, wickedly played instruments, nicely barking vocals, and a feeling of vibrant engagement with music (and perhaps life as a whole) that made the throng inside Tuolumne literally bounce and leap with uncontrolled pleasure.

Umphrey's McGee :: 12:30-2:30 a.m. :: Terrapin Big Top Stage

Not overly familiar with Umph's oeuvre, I tend to take them in experientially, as if battered and tossed about by a powerful storm system. Their technical acumen is jaw-dropping, or put more colloquially by Blue Turtle's Jay Seals as we stood stunned side stage, "These guys are a total Shredzillas." True dat, and you could hear all the rehearsals and hours of solo practice that precede their performance, yet they managed to shake off the academic tang that can accompany such high end musicianship to create something that throbbed and breathed heavily in the moment. You can't rightfully call what they do prog rock or jam music, yet those are in there. But so are the more violent, stimulating parts of modern classical music, jazz-fusion, deep reggae, goofy mainstream pop, and whatever else floats into their purview. With one solid block of time to work with in their Tortugas debut, Umphrey's - bathed in the most exciting light show all weekend - ranged through familiar material (opener "Pay The Snucka" flipped our collective switch FAST and last tune "Partyin' Peeps" sent us into the night festive as fuck) and an excellent cover of The Police's "When The World Is Running Down...," but it was the tidal rise and fall of the intercut "Utopian Fir" that most revealed what a powerhouse act they are today. As Tortugas continues to raise its bar on headliner talent, Umphrey's McGee were a great fit that left the majority hungry for their Halloween night sets.

Umphrey's McGee setlist
Pay the Snucka, Andy's Last Beer > The Bottom Half, White Man's Moccasins, The Triple Wide* > Syncopated Strangers, When the World Is Running Down You Make the Best of What's Still Around, Utopian Fir > Glory^ > Utopian Fir > Masoka Tanga > Utopian Fir, Plunger
Encore: Women Wine and Song, Partyin' Peeps

Notes:
* with Rhiannon teases
^ with Ivan Neville on keys

Continue reading for Saturday at Las Tortugas...

Saturday, 10.31

Big Light :: 3:00-4:15 p.m. :: Terrapin Big Top Stage

Big Light :: Las Tortugas

What finer, more succinct compliment can one give a band than to say that they're a bit better every single time you see them? Big Light is surely that, and within a few short years they've developed into one of the most consistently enjoyable modern rock acts going. Their jam roots are pretty much behind them, especially with lead guitarist Jeremy "Swordfish" Korpas endlessly needling them forward into tougher, gnarlier terrain. A well-sauced bohemian youth asked me, "What is this? I like it but couldn't say what it is." I told her, "It's rock that pops, pop that rocks, and rarely does it settle for doing things as they have in the past." There's a restless jitter to Big Light that recalls the basement jams of the Velvet Underground, except they play songs with considerably more heart and compassion than Reed, Cale, etc. Umph's Joel Cummins manned the keys for most of the set, and his piano rolls and sumptuous fills beefed up the Light's sound and revealed a simpatico comrade in Cummins, who is, in my opinion, the secret weapon in Umphrey's McGee, where he slips between the many notes of the guitarists to provide gorgeous texture and a unifying glue that's essential to their overall mojo.

Counter Clarkwise :: 4:15-5:15 p.m. :: The Tavern

So loose and fearlessly silly, this side project of Tea Leaf Green's Josh Clark reminded me a huge amount of The Modern Lovers if they played their instruments better. Ditties for a smiling tomorrow offered with crooked grins. I'll take it!

Hot Buttered Rum :: 5:15-6:30 p.m. :: Terrapin Big Top Stage

Hot Buttered Rum :: Las Tortugas

Dressed as wild rag dolls, HBR presented a particularly fluid mixture of musics past and present, hot jazz snuggling with exploratory, highly modern acoustic music, hay wagon hick shaking hands with bubblegum pop. And underneath it all rode Matt Butler (Everyone Orchestra), the invisible drummer so marbled into the musculature of this music that you don't often notice there's a drummer at all. All of them are finding more and more ways to serve the songs and cut back on spotlight soloing, which just makes their open-armed sprint towards WHATEVER music turns them on work better and better.

Nicki Bluhm & The Gramblers :: 5:15-6:15 p.m. :: The Tavern

Dressed as a prima bonita senorita, Nicki belted 'em out with the power and naked appeal of obvious touchstones Bonnie Raitt and Linda Ronstadt, looking especially happy next to her Sergio Leone cowboy husband, Tim Bluhm. There's so much blues power soul to the Gramblers, and words simply sound better falling from Nicki's tongue. Good songs and good players, they kick up real dust on their lonesome roads and homeward bound journeys. Love seems always on the edges of what they do, and in this way it always feels warm and familiar even if you're hearing the tunes for the first time. Throw in the slow hand glide of guitarist Deren Ney and the whole shebang rocks.

Pimps of Joytime :: 6:30-7:30 p.m. :: Tuolumne Hall
New Fangled Wasteland :: 6:30-7:30 p.m. :: The Tavern

As the sun fully set, we had our choice of two varieties of funky soulfulness, either the polished, unbelievably tight, endlessly rolling grooves of the Pimps or the Beck-inspired swing of New Fangled Wasteland, which includes TLG's Trevor Garrod, ALO's Dave Brogan and Steve Adams, and holy-jeez-this-guy-is-amazing guitarist Chris Haugen. You couldn't lose no matter which path you chose, and not a few of us kept sprinting back and forth between the two, finding that the proverbial "good foot" lay on our left and our right. Both bands offered up something fresh in a field that's frequently tired as can be.

The Mother Hips :: 8:45-10:00 p.m. :: Tuolumne Hall

Umphrey's McGee :: Las Tugas

Easily one of the hardest, heaviest Hips sets ever, and this coming from someone whose total exposure is swiftly moving towards triple digit attendance. In a smaller room and Halloween infusing a pervasive mischievousness in most folks, the Hips absorbed that vibe and issued forth a dirty sweet exhibition that had guitars rattling, drums nailing us in the gut and the bass taking the feet out from under us. I said it aloud a few times during this set, but it bears repeating here: The Mother Hips are a perfect classic four-man rock outfit. The material is as good as it gets and they play with a rich skill that doesn't refuse the immediate inspiration of the moment. I and others screamed ourselves hoarse throwing in on gems like "Rich Little Girl," and if you weren't already in love with them it was almost a sure bet you were by the end of this barnstormer.

Umphrey's McGee :: 10:00-11:15 p.m. & 12:15-1:45 a.m. :: Terrapin Big Top Stage

Umph's split two-set Halloween show was more focused and overtly clever than Friday night, with a plethora of smarty-pants mash ups, both in the music (see setlist below) and their costumes, continuing a tradition started last year on Halloween. However, it was the second set that really put the hammer down, the sort of performance that doesn't wait for you to join in but instead just grabs you by the collar and screams, "You're coming along NOW, motherfuckers!" So intense, so heavy that I can only say I felt vaguely violated in a fine way. And Kreutzmann jumped up to get a piece of it, and though a somewhat odd pairing it seemed all were having fun jostling about together. Umphrey's are the sort of technical wizards that Guitar Player Magazine readers adore, but their willingness to hang their asses out, both for a laugh and the thrill of it, makes for music that totters on the edge of collapse almost constantly but rarely if ever really crumbles. Cool.

"The more work that people put into their music the easier they are to play with," says Kreutzmann on playing with Umphrey's. "Years ago I was playing in a jam session at this guy's barn in Kauai and I kept listening for songs or melodies until finally I said, 'Do any of you guys know ANY songs?' and not one of them did. So, the opposite is quite preferred."

Umphrey's McGee Set I: JaJunk% > 2x2& > Q*Bert& > 2x2, Cemetery Walk, Padgett's Profile, All In Time%%, Cemetery Walk II, Sweet Sunglasses*
Set II: Jazz Odyssey > Nothing Too Fancy > Hangover > Night Gambler** > Nothing Too Fancy, FF > Professor Wormbog^, JaJunk, Mulche's Odyssey, Land of Wappy$
Encore: 40's Theme, Nemo's Fat Bottomed Good Times$$

Notes:
% with Smooth Criminal > Heartbreaker jam
& with Late In the Evening jams
%% with Wanna Be Startin' Somethin' jam
* mash up of: Sweet Dreams (Eurythmics) + Sunglasses at Night (Corey Hart) + Electric Feel (MGMT)
** mash up of: The Gambler (Kenny Rogers) + Night Fever (The Bee Gees) + Rapper's Delight (The Sugarhill Gang) + Bring the Noise (Public Enemy; with Andy on vocals)
^ with Bill Kreutzmann on drums
$ mash up of: Wappy Sprayberry + Land of Confusion (Genesis) + Seek & Destroy (Metallica)
$$ mash up of: Nemo + Fat Bottomed Girls (Queen) + Good Times Bad Times (Led Zeppelin)

Sean Leahy :: 11:15-12:15 a.m. :: The Tavern

Papa Mali :: Las Tortugas

What a goddamn tone master is Sean Leahy! His guitar work throbs with the massive fullness of blues greats like Freddie and Albert King, where things build and build and are then sliced 'n' diced with sharp slashes and wicked, finger-cramping runs. Playing in a neat trio setting with a crisp, intuitive drummer and bassist Mark Calderon, one of the hardest working men at Tortugas, performing with even more bands than Steve Adams (which is saying something), Leahy was a fount of good rockin' after midnight (even before the clock chimed 12) and secured a spot on my list of "Under-sung Musicians" that I will continue to champion. The dude was every bit the player of anyone who picked at six-strings all weekend, satisfying in a really visceral way. And his songs are damn catchy and he sings well, too. So there!

Papa Mali featuring Bill Kreutzmann :: 3:30-7:30 a.m. :: Terrapin Big Top Stage

With a delayed start, a decent amount of the crowd had dissipated by the time Papa and company took the stage. Bone weary and tired of my costume, I made it through the first wave of thick, off-footedly funky swamp music, and it was only sheer fatigue that made me leave. With eyes rimmed by cool makeup, Kreutzmann swings in a different way with Papa's music, and even the Dead covers sprinkled throughout their set have an organic newness to them despite their familiarity. They began playing as if the music had been hanging in the air waiting for them to deliver it. No warm up, no ascent, we were just suddenly sky high and flying fast. By all reports these blues-rock-jazz-Dixieland explorers stayed near this altitude until the sun was firmly in the sky, digging into songs only Papa Mail knew by Van Morrison and others, with the ensemble thrusting ahead with a shared confidence that they could pull off whatever they tried.

"This all came about because Aimee [Kreutzmann's significant other] introduced me to Malcolm's [Papa Mali] music. I'm from New Orleans, and she knows I love the music. My mother was born there. And then lo and behold - it's now two or three years ago - we were playing the Oregon Country Fair and he was one of the headliners on the main stage. I heard him and went, 'Uh huh,' and went up and introduced myself and we didn't part until the end of the Fair. We were connected at the hip. We actually closed that weekend playing from 1-4 in the morning, though we outdid that at Las Tortugas 'cause I hear we didn't finish till 7:30 in the morning," chuckles Kreutzmann, who with Papa Mali showed more raw stamina than even most of the hardened festival vets this year. "Music does that to you. It kinda gives this energy to keep on playing, keep on going, especially when it's not a job and you've been in the band for 40 years and you've done it over and over and you're still playing the same old songs. Then you don't get the energy from it."

Continue reading for Sunday at Las Tortugas...

Sunday, 11.01

The slow exodus began this morning, and while there was considerably less flailing and exotic dancing on Sunday, there was one of this year's overall strongest days of music, with a distinctly Dead-y undercurrent unifying things. Where the final day at many small festivals feels like a cobbled together afterthought, Tortugas consistently delivers MANY great reasons to stick around for the full load.

Trevor Garrod :: 12:00-1:00 p.m. :: Terrapin Big Top Stage

In what's become a Tortugas tradition, the Tea Leaf singer-keyboardist kicked off the main stage's final furlong with heartbreaking originals and an unerring instinct for deep covers that suit him to a tee. A tender, exposed artist in this setting, his willingness to parade emotionally naked before us generated more than a few tears amongst the lounging, largely shagged out troopers sticking around for Day Four. If Tom Waits sang 'em sweet instead of sour it might come out sounding a bit like Trevor solo.

Tracorum :: 1:00-2:00 p.m. :: Terrapin Big Top Stage

A somewhat classic jam band, Tracorum wandered through styles looking for what truffles they could find. While rangy as hell, they artfully explored whatever avenues turned them on, and acquitted themselves well in the blues, reggae and traditional rock areas. Gospel touches kept cropping up, and they delivered a particularly melancholy reading of Dylan's "You Ain't Going Nowhere." Against all belief, Kreutzmann hopped onstage and knocked it out of the park during his sit-in. If he slept after his arrival on Friday afternoon then few of us knew when.

Guitarmageddon :: 3:00-4:00 p.m. :: Terrapin Big Top Stage

Full-on groin thunder 'n' lightning is what the Josh Clark/Sean Leahy led Guitarmageddon delivered with one of the best surprises all weekend, a set of nearly all AC/DC covers (capped by a blistering assault on Iron Maiden's "Aces High"). Opener "Sin City" seethed like The Stooges of "Down In The Street," and like most of their takes on AC/DC's tunes, they put subtle spin on fairly straight renditions, making things just different enough to tickle your ear but sacrificing none of the lusty, nasty pleasure of the originals. "Dirty Deeds," "Jailbreak," slow blues deep cut "Ride On" and "Whole Lotta Rosie" (both with make-ya-scream shredding from Big Light's Korpas), and a ballsy "Highway To Hell" amped up our flagging Sunday energies and made a number of us act the fool at the lip of the stage as we punched key lines and threw the horns with real abandon. Little touches like Clark's Survivor (the band not the TV show) t-shirt and Leahy's Thrasher Magazine shirt planted their tongues firmly in their cheeks, but the music was all muscle backed by one of the most powerful rhythm sections all weekend. At one point between songs, Leahy further added to their classic rock cred, saying, "I walked into a wall and gave myself a black eye last night. Good times." I was glad to offer up the bottle of Jack Daniels in my cabin for their onstage lubrication.

Dave Brogan Band :: 4:00-5:00 p.m. :: The Tavern

Front Street featuring Stu Allen :: Las Tortugas

Hands down, one of the most baldly, immediately enjoyable sets at Tortugas IV. With TLG's Scott Rager laying down a clean, sharp drum line, Garrin Benfield ripping up lead guitar (including some mouth watering slide runs that compared favorably to Derek Trucks... really), and Brogan (ALO) out from behind the kit with an acoustic guitar, the whole combination just worked. Brogan's got a classic pop voice and killer falsetto, and he used it on his very winning originals and a splendid, appropriately sleepy cover of the Stones' "Waiting On A Friend" that hit the spot on our final afternoon. This was the dance party that filled our limbs and heads with enough new fuel to push on through to Tea Leaf's late night finish.

Front Street featuring Stu Allen :: 5:00-6:30 p.m. :: Terrapin Big Top Stage

Comprised almost entirely of well-chosen Grateful Dead tunes, the JGB guitarist-vocalist shined away from Melvin Seals, running his handpicked band through their paces and radiating a sort of liquid sunshine to a crowd that drank in every ray they beamed out. This was the "comfort set" of the weekend, and it continued Tortugas tradition of honoring Jerry, Bobby, et al. and their cornerstone position in this scene. "Truckin'" was pure pleasure and came across with the same bravado it had when first recorded. "New Speedway Boogie" followed, bolstered by yet another sit-in from Kreutzmann, who flowed with easy confidence, each stick strike exactly where it should be, the man flowing with the music and in turn bringing everyone else's game up. Superb takes on "St. Stephen" and angry Bob classic "Throwing Stones" took this one over the top and made the old slightly new again.

Kreutzmann with Dumpstaphunk

"I like doing a few Dead tunes, especially in BK3 because we do them so outrageously different, but I don't like doing a whole night of them," says Kreutzmann. "My favorite stuff that's coming up is with Malcolm and it's called Seven Walkers, and it's all brand new [Robert] Hunter songs. We have all the basics recorded except for one. We're just putting on the final touches. It'll be called Seven Walkers and that's also the name of the band. We'll still play as Papa Mali but we'll have this other band that plays Hunter songs. These songs are terrific. I read 'em and they brought tears to my eyes they're so terrific."

"I guess I hogged the stage a little bit [laughs]. I love playing with other musicians. I play all kinds of music; it just depends on the musicians I'm playing with" continues Kreutzmann. Over here [in Hawaii, where he lives] I play with a lot of jazz musicians. I loved playing with all the bands [at Tortugas], even not knowing their material unless they were cover bands, and that was even fun playing in the Grateful Dead cover band [i.e. Front Street]."

Tistrya And Friends :: 6:30-7:30 p.m. :: The Tavern

Beginning with an a cappella version of traditional "I'll Fly Away," Tistrya proved a folksy songbird of great, simple potency, inviting pals from many bands to sing and sway with her, delving into heart warming original material and inviting covers. This was music to gather around and absorb with a smile. Real nice stuff.

Hot Buttered Rum :: 7:30-9:00 p.m. :: Terrapin Big Top Stage

Papa Mali & Friends featuring Kreutzmann

"Bye, bye grey skies/ Everybody's ready for the blue." HBR sang what many of us were thinking and delivered another top notch commingling of elements that on paper don't gel but in their hands move together with the solidity and swiftness of mercury. They exploded their thing to include a nifty mid-set Everyone Orchestra interlude with Matt Butler as the hopping conductor out front. And few in attendance will forget the gaggle of Dolly Parton costumed gals who joined them during a cover of "9 to 5." A very Talking Heads style take on "Take Me To The River" furthered the sense one was at a slightly naughty revival meeting.

Papa Mali featuring Bill Kreutzmann :: 10:00-11:30 p.m. :: Terrapin Big Top Stage

When Reed Mathis finally arrived from the Bay Area, Papa's quartet that's been recording in Austin blindsided us with one of the strongest, most gripping 90-minutes this year. Backed by perhaps the most conversational drummer of all time - yes, Kreutzmann keeps marvelous time but his sure cymbal strikes and dancing tom strokes are in constant chatter with his bandmates - they developed a kind of voodoo swing, going deep into freaked out caverns and outwards onto riverboats full of jazz bounce. Garcia faves "Deal" and "Goin' Down The Road Feelin' Bad" were offered up with serious gusto, and the music danced with us and the musicians making it. New Hunter composition "New Orleans Crawl," about the heel dragging post-Katrina though decidedly more joyous than that sounds, was marvelous and makes one hungry to hear the whole lot of new Hunter tunes performed by this group. Overflowing with bounteous soul and blues dirtiness, Papa Mali and his band knocked it out the park late in the game.

Montana Slim :: 11:30-12:30 a.m. :: Tuolumne Hall

Like a modern day descendent of Dan Hicks and His Hot Licks or a contemporary aware cousin to the Cheap Suit Serenaders, Montana Slim are a primo string band that roams around way beyond the hills of bluegrass and folk low lands. There's flashes of humor, which is always appealing, but they play with seriousness and a real engaging sort of back-and-forth between players. They were a lovely way to simmer down after Papa Mali rolled over us, and set up the remaining festivarians nicely for the finale.

Tea Leaf Green :: 12:30-2:30 a.m. :: Terrapin Big Top Stage

Tea Leaf Green :: Las Tortugas

Beginning with Bowie's "Moonage Daydream" (likely in honor of the nearly full moon beaming down on us) and finishing the main set with Ziggy's "Starman," TLG proved the ideal closer for this festival. They are tight as hell right now, dovetailing beautifully together, and working up fine new material that speaks to a promising future for this lineup. Older faves like "Ride Together" had swaying hips in this set, and they attacked every cut like a headliner, pushing and slicing in ways that kept even the wobbliest of us on our feet.

Tea Leaf is always buoyant, bubbly even, but this night they were like a fizzy lifting drink, and I let myself float away from the crowd so I could wander the moon-lit grounds one last time before the alarm clock, duty filled world of home beckoned once again come sunrise. And in this stroll I felt something break loose inside me, in a good way.

For all the darkness and negativity of this world - the myriad things that have me empathizing with the Devil - I realized that human beings are also capable of something outrageously lovely like this festival. It's not practical or reasonable for such a thing to last more than a few days, but it's encouraging in a fundamental way that the collective efforts of many people could create this temporary paradise. Music is the unifying element, but it's so much more - days of extreme fullness and peace filled with stories and laughter and kisses and gentler things. Leaving Tortugas behind is always a bittersweet sting but that it happens at all, that four days can be made into this delightful thing, is reason enough to not give the Devil his due and strive to bring some of this magic home with us to share with others.

Continue reading for more images of Las Tortugas - Dance of the Dead IV...

Bill Kreutzmann
Tea Leaf Green
Dumpstaphunk
Bill Kreutzmann with Umphrey's McGee
Kris Myers - Umphrey's McGee
Brendan Bayliss - Umphrey's McGee
Joel Cummins - Umphrey's McGee
Ryan Stasik - Umphrey's McGee
Brendan Bayliss - Umphrey's McGee
Jake Cinninger - Umphrey's McGee
Vince Iwinski (manager) & Joel Cummins - Umphrey's McGee
Kris Myers & Brendan Bayliss - Umphrey's McGee
Bradly Bifulco - Big Light
Steve Adams - Big Light
Steve Adams & Nathan Moore - The Dun Four
Paul Hoaglin & Tim Bluhm - The Mother Hips











Dennis Cook - Your Fearless Scribe
Blue Turtle Seduction
Matt Butler - Hot Buttered Rum
Matt Butler
Jeff Miller - New Monsoon
Trevor Garrod - Tea Leaf Green
Reed Mathis
Poor Man's Whiskey
Bill Kreutzmann & Raymond Weber - Dumpstaphunk
Dumpstaphunk
Ian Neville - Dumpstaphunk
Zach Gill

JamBase | A Happy Place
Go See Live Music!

Hamsa Lila, Airto Moreira:
S.F. Green Fest After Party

Fri, 6 Nov 2009 14:12:00 PST

CHART-TOPPING WORLD MUSIC BAND HAMSA LILA TO PERFORM WITH AIRTO MORIERA
FOR OFFICIAL GREEN FESTIVAL AFTER PARTY BENEFITING COMMON VISION

Hamsa Lila

World music band Hamsa Lila will be returning to the San Francisco Bay area after a three year hiatus to headline a gala event benefiting Common Vision and featuring the legendary Brazilian drum master Airto Moreira. The event is an official Green Festival SF After-Dark event at the renowned Regency Ballroom on Saturday, November 14, 2009.

Hamsa Lila blew up the West Coast world music scene with their hypnotic world fusion sounds back in 2004, when their album Gathering One went to number two on both U.S. and Canadian world music charts. Their infusion of West and North African influences, and multi-lingual, trance-inducing songs had crowds dancing like never before at festivals like Earthdance, Sierra Nevada World Music Festival, and High Sierra Music Festival, as well as packing concert venues like The Fillmore and The Independent. Hamsa Lila's unique blend of traditional instruments and influences along with modern electronic elements brought them international acclaim as a pioneering band in the world fusion genre, who's membership have played with the likes of Paul Simon, Sting, Michael Franti, Ozomatli, Hugh Masekela, Mickey Hart, and many others.

The Brazilian musical legend Airto Moreira will be heralded as the super-star special guest, leading a group of world drum masters (TBA) in a rhythmic ceremony to kick off the evening, and then performing alongside Hamsa Lila throughout their set. Airto is a multi-instrumentalist/percussionist who has worked with some of the world's all time greats like Miles Davis, Quincy Jones, Herbie Hancock, Santana, Paul Simon, Smashing Pumpkins, Chick Corea, and a host of others. He's recorded numerous albums over a stellar career that spans four decades, and his recent release entitled Life After That (Narada - Virgin/EMI) has helped to win him the title as the best jazz/fusion percussionist of 2009 by DRUM! magazine.

Common Vision is a 501 (c) 3 organization that works with inner city schools planting fruit trees, traveling throughout California in bio-diesel powered coach buses and teaching young people about growing food and taking care of the Earth. To date the organization has worked with over 50,000 kids, and planted tens of thousands of fruit trees all over the state. Learn More about Common Vision here.

This special evening will be packed with guests, including Bill Rasaki, King Sunny Ade's Master Talking drummer for 25 years. Rasaki will be performing an opening set with Airto called Planetary Pulse. Additional Master Drummers will be announced soon.

Other acts to perform include Lynx & Janover, DJ Jef Stott (6 Degrees), and DJ Dragonfly.

The evening will also include visual projections by master artists and VJs and the world renowned National Geographic South American photographer Sebastian Belaustegui will be showcasing his African's in the Americas exhibit as well.

Tickets are on sale now here and here. Tickets are $22 in advance, $28 day of show, and $50 for special VIP passes.

Cascadia Yulegrass Dates
Anger, Nershi, Moseley, Butler

Fri, 6 Nov 2009 12:33:00 PST

Cascadia Yulegrass Tour: Inaugural Acoustic Holiday Bluegrass Celebration
Darol Anger to direct players including Sharon Gilchrist, Scott Law, Bill Nershi, Keith Moseley

Darol Anger

Looking for an alternative to traditional holiday entertainment this season? Acoustic holiday bluegrass visits the Pacific Northwest December 16-20 with the inaugural Cascadia Yulegrass celebration. Featuring world-renowned musicians and regional favorites including Darol Anger, Sharon Gilchrist, Bill Nershi and others, Cascadia Yulegrass is a contemporary, family-friendly, and affordable holiday alternative that doesn't involve cracked nuts or ballerinas.

Fiddle master Darol Anger will direct and perform. Exceptional among modern fiddlers for his versatility and depth, Anger has driven the evolution of the contemporary string band through his involvement with numerous path-breaking ensembles such as the Turtle Island String Quartet, the David Grisman Quintet, and his Republic of Strings. Today Darol can be heard on NPR's "Car Talk" theme song along with Earl Scruggs, David Grisman and Tony Rice, and is a featured soloist on dozens of recordings and motion picture soundtracks. For Cascadia Yulegrass, Anger is joined by Rowan/Rice, mandolin-player Sharon Gilchrist, regional guitar hero Scott Law, flat-picking master and String Cheese Incident guitarist Bill Nershi, and SCI bassist Keith Moseley. Nershi is coming off a diverse and successful 2009, including a performance at folk music icon Pete Seeger's 90th birthday party at Madison Square Garden. The event was recorded by PBS and is currently being broadcast nationally.

Cascadia Yulegrass also features special guest appearances by Hot Buttered Rum drummer/Everyone Orchestra founder Matt Butler and vocalist Jilian Nershi. Opening the event is feel-good artist Big Water.

Cascadia Yulegrass hits the following locations this season:
12/16/2009 - River City Saloon, Hood River, OR
12/17/2009 - Tractor Tavern, Seattle, WA
12/18/2009 - Wild Buffalo, Bellingham, WA
12/19/2009 - Historic McDonald Theatre, Eugene, OR
12/20/2009 - Wonder Ballroom, Portland, OR

Tickets priced from $10 - $22. A variety of VIP and seating packages are available. Tickets for all markets are on sale now at CascadiaYulegrass.com and venue box offices.

Don't Forget the Food Drive!
In a year when the need for emergency food boxes throughout the Oregon and Washington foodbank networks skyrocketed to historic highs, Cascadia and The Conscious Alliance is proud to announce food drives at each concert - with 100% of donations going to benefit local area food banks. Each patron who donates 10 non-perishable food items will receive a free limited edition Cascadia Yulegrass poster. The Conscious Alliance always encourages food donations to be low-sodium health food oriented products.

Cascadia Yulegrass from Jason Mastrine on Vimeo.

Gov't Mule | 10.31 | Philadelphia

Fri, 6 Nov 2009 12:08:00 PST

Words by: Jake Krolick | Images by: Jake Krolick & Allison Murphy

Gov't Mule :: 10.31.09 :: Tower Theater :: Philadelphia, PA

Gov't Mule :: 10.31 :: Philadelphia by Krolick

Chaos from the previous evening had yet to be stuffed back into the hole that it crawled out from. You could gauge the craziness of this year's Halloween in several ways. One way was hop into the back seat of a cab early the next morning and find it filled with the putrid stink of an evening of over-indulgence and what appeared to be the remains of some spooky rice dish regurgitated in the vilest of manners. The cabby apologized in a heavy Indian accent saying, "Crazy night in the city man." It's the kind of evening you would imagine Mick Jagger and Keith Richards shared more than once in their heydays. I'm sure that the band members from Gov't Mule had also danced with that kind of devil before, but you don't hear about Danny Louis snorting his dad's ashes cut with a line of coke. Sure, Warren Haynes is a stud on the guitar, but the ladies aren't exactly tossing their panties at him like they did with Jagger. However, what Gov't Mule lacked in quintessential Rolling Stones rock star unruliness they compensated for in their musicianship. It just made sense that Gov't Mule covered the Rolling Stones when you listen to how deeply both bands are rooted in American blues and R&B. No, it was not quite the death defying genre leap heard at previous Halloweens, but their performance was well executed and Matt Abts take on "Shattered" was more fun than a barrel of monkeys!

Greene :: 10.31 by Murphy

The setlist onstage gave away the trick before the treat. Someone had created it and then changed their minds. Instead of waiting to cover the Rolling Stones during the second set at the Tower Theater, they jumped right in and played the second set first. We were treated to 12 first time played Rolling Stones covers spanning from the classic 1971 album Sticky Fingers to 1978's Some Girls, and all that was around and in between. Lending Gov't Mule a hand was guitarist/vocalist Jackie Greene and saxophonist Steve Elson. The set they unveiled proved that all of the musicians onstage were capable of handling multiple duties.

Haynes and Greene tackled the intricate Keith Richards and Ronnie Wood manner of weaving rhythm and lead guitar, while both clearly expressed their own stylistic flourishes. Greene took Keith Richards' playing style and smoothed out the edges, while Haynes' slide work was more a cross between Brian Jones and Ronnie Wood. Mule's frontman was no Mick Jagger, and opener "Under My Thumb" lacked the song's classic kick as the show took flight. Boundless pompous rock attitude and stage swagger did not suddenly emerge from the relatively subdued Haynes, whose first set was strongly played but found him staying out of the limelight while he let two of his bandmates strut their stuff. The haphazard beginnings fell away by the fourth song when Danny Louis traded spots with Greene for "Can't You Hear Me Knockin'." Louis played a raw, gutsy guitar that was cranked full blast as he shimmied back and forth between Haynes and bassist Jorgen Carlsson. His Richards-like leg bends, power chords, and plethora of rock & roll faces were just the catalyst needed to get the Tower shaking.

Greene was good for a backing vocal on "Angie," as Haynes wrapped his patient tones around the chorus in his unique way of singing every word like each of us were a lone audience member and he was talking directly to us. Greene earned his keep on a majestic version of "Ventilator Blues" as he traded guitar licks with Haynes before switching gears to work the harmonica. The action shifted quickly as Louis traded trumpet blows with Greene's harp and Elson's sax. Louis' hands never left the keys as they did a dirty dance that really knocked our boots around. By all accounts, it's doubtful The Rolling Stones themselves sounded this good when they played the Tower in 2002.

Abts & Greene :: 10.31 by Murphy

By the middle of the first set all bets were off as Matt Abts ran out from behind his kit to play the role of Jagger on "Shattered." Carlsson rotated into Abts' spot on drums while Louis slapped the bass. Abts' imitation of Mick Jagger was so fucking awesome that if you just caught one song all evening it should have been "Shattered." Just seeing Abts do Jagger's chicken strut back and forth across the stage in his tight white pants and black kneepads was priceless. Sure, his singing wasn't perfect, but when he yanked a banana out of his crotch and sang, "Look at me, I'm in tatters," we lost our shit. It was comedic and rocking all at the same time, and it showcased some seldom seen musical abilities within Abts, Carlsson, and Louis.

Gov't Mule had teased "Play With Fire" the night before and they set aside their reggae take to keep the set steeped in the Stones' classic rock sound. Greene's added harmonies and Louis' bravado on keys matched the hard-hitting bass pokes that Carlsson was tossing out. The Carlsson-era Mule has all the crudeness and excitement of the Allen Woody days without sounding like a step in reverse. The balcony was swaying and bouncing hard as Haynes steered us into "Paint it Black." Drinks sitting on the edge of the balcony were actually sloshing in their cups. Haynes finished The Rolling Stones anthem with a simple shout to the audience, "This is what we call Mule-o-ween." If only Abts had stepped back out for "Bitch" then that old outspoken lady of a song would have spread her legs wide and our costumed crowd would have charged right in. No matter, the second Haynes and Louis got their hands on "Brown Sugar" all was good as they faked an ending and gave us another round of house light flashes, arm waves, and sing-a-long ("I say yeah, yeah, yeah, WOOO!) to finish the set.

The cheers started to dissipate as we wandered through a sea of red and white Phillies garb. Those who chose to put the game aside and live in the moment of the concert were the lucky ones. Gov't Mule's new album, By A Thread (released October 26 on Evil Teen Records), was fresh on the record shelves as Haynes and crew dug through six tracks, including an extremely inspired "Monday Mourning Meltdown." This new bit of Gov't Mule peculiarity featured everything from Louis' jazzy key work to Haynes' thickly textured, head-throbbing guitar. He extended a peaking jam in around the fifth minute of the song that made me wonder where his wild, howling Gibson guitar had been earlier in the evening. His left hand bent the strings as his right played out some acrobatic fly swats that set the jam on fire. It was the first real face-scrunch I had seen from his lion-like mug all night.

Warren Haynes :: 10.31 :: Philadelphia by Krolick

The extended intro to "Blind Man in the Dark" had a bit of a Dr. John "Walk on Guilded Splinters" echo, complete with Louis' eerie, Thriller-like sound effects. This was the longest, most experimental jam of the evening, and even though its predecessors would be more talked about, it featured some of the best playing buried within its well-constructed walls. Abts switched the grip on his drumsticks and started a snazzy little shuffle on his cymbals as Louis and Elson worked out a stellar bit of bebop that ached to be a new fangled Peanuts theme song. The backset trio ripped the center of the song clear out and jazzed up the jam proper.

"Going Out West" could have been spotted from miles away with its familiar, flamboyant sounding low end intro. Haynes' Peter Gunn tease was just more candy in the bag as he pummeled costumed fans with the Spy Hunter theme song. The crowd that had been perched out in the hallways watching the game now raced back in for the colossal encore as a cover of T. Rex's classic "Bang A Gong" launched us back into raucous Halloween fun. It wasn't a Rolling Stones cover, but the Chuck Berry inspired ditty fit well inside that realm of inspiration that drove The Rolling Stones. The transition back into "Going Out West" rumbled as Gov't Mule sent us out with a huge finale to another memorable Mule-o-ween filled with love and hope and sex and dreams.

Gov't Mule :: 10.31.09 :: Tower Theater :: Philadelphia, PA
Set I: (full set with Jackie Greene) Under My Thumb*, Monkey Man*, Doo Doo Doo Doo Doo*$, Can't You Hear Me, Knockin'*$, Angie*, Ventilator Blues*$, Shattered*$ (with Matt on lead vocal, Danny on bass & Jorgen on drums), Wild Horses, Slave*$, Gimme Shelter*$, Play With Fire, Paint It Black*, Bitch*$, Brown Sugar*$
Set II: Steppin' Lightly, Broke Down On The Brazos, Railroad Boy > Monday Mourning Meltdown > Forevermore, Frozen Fear > Brighter Days > Blind Man In The Dark$
Encore: (Encore with Jackie Greene) Goin' Out West$ (with Peter Gunn tease) > Bang A Gong (Get It On)$ > Goin' Out West$
* 1st Time Played
$ with Steve Elson

Continue reading for more images of Mule on Halloween...

Images by: Jake Krolick

JamBase | Philly
Go See Live Music!

Friday Playlist: Beat Science

Fri, 6 Nov 2009 09:23:00 PST

WE DO GIVE A BLIP

This week we have a smattering of robot rock that clutch modernity and machine-mindedness with a certain degree of lustiness. Beginning with LCD Soundsystem's sly hipster mirror "I'm Losing My Edge," we run through a bit of inspired cymbal banging by Hot Chip, some classic electro from Morgan Geist, a nifty remix of a vintage Rockers Hi-Fi track, a flash of electrical imagination from BLVD, and wrap up with recent beat killers from Bomb The Bass featuring Jon Spencer and Asian Dub Foundation. May it lively up your blood a touch as this long week wraps up.

And check out last week's Halloween Playlist, with spooky spinners from The Misfits, Jay Brannan, Nellie McKay and more!

Playlist assembled by JamBase Associate Editor Dennis Cook, who contemplates the future of music far too much�

JAY-Z: BP3 2010 Tour

Fri, 6 Nov 2009 09:22:00 PST

JAY-Z BP3 CONFIRMS 2010 NORTH AMERICAN TOUR DATES
TICKETS GO ON SALE STARTING NOVEMBER 13TH

JAY-Z

In the midst of his first college tour, promoting his latest #1 album The Blueprint 3 and his recently released video game sensation "DJ Hero: Renegade Edition," the unstoppable JAY-Z confirms North American tour dates for 2010's BP3 tour. The second leg of the Live Nation-produced tour will begin on February 22 in Houston, Texas at the Toyota Center with more dates to be announced soon. JAY-Z will be joined by Grammy-nominated rapper Young Jeezy who will open all dates on the tour. Tickets go on sale beginning November 13 at LiveNation.com in select markets.

JAY-Z's BP3 North American tour will make a cross-country trek in 2010 stopping at arenas in major markets including Houston, Dallas, New Orleans, Atlanta, Greensboro, Washington, Boston, Pittsburgh, St Louis, Indianapolis, Denver, San Jose, Los Angeles and more. Additional day of show and on sale information will be announced shortly for stops in East Rutherford, Uniondale, Atlantic City and Detroit.

"JAY-Z is the greatest rapper alive. Anyone who was in attendance at his sold out KeyArena concert Saturday night can attest to that fact. Hova, Young Hov, Jigga, Hovito, whatever you call him Shawn Carter is on top of the rap game and there were no signs of him stepping down any time soon during his career-spanning two-hour show."

-Seattle Post Intelligencer (KeyArena Review), October 19, 2009

JAY-Z TOUR DATES
11/07/09 Sat Save Mart Center Fresno, CA
11/08/09 Sun Pauley Pavillion Los Angeles, CA
11/10/09 Tue Frank Erwin Center Austin, TX
11/12/09 Thu Assembly Hall Champaign, IL
11/13/09 Fri Vanderbilt University, Memorial Gymnasium Nashville, TN
02/22/10 Mon Toyota Center Houston, TX
02/23/10 Tue American Airlines Center Dallas, TX
02/25/10 Thu New Orleans Arena New Orleans, LA
02/27/10 Sat Philips Arena Atlanta, GA
02/28/10 Sun Greensboro Coliseum Greensboro, NC
03/03/10 Wed Verizon Center Washington, DC
03/07/10 Sun Scope Arena Norfolk, VA
03/11/10 Thu TD BankNorth Garden Boston, MA
03/16/10 Tue Mellon Arena Pittsburgh, PA
03/19/10 Fri The Scottrade Center St. Louis, MO
03/20/10 Sat Conseco Fieldhouse Indianapolis, IN
03/22/10 Mon Pepsi Center Denver, CO
03/24/10 Wed HP Pavilion San Jose, CA
03/26/10 Fri Staples Center Los Angeles, CA

CCR: The Singles Collection

Fri, 6 Nov 2009 09:12:00 PST

CREEDENCE CLEARWATER REVIVAL'S THE SINGLES COLLECTION
PRESENTING 30 SONGS FROM 1968 THROUGH 1972, OUT NOW ON FANTASY RECORDS

Creedence Clearwater Revival's golden era of hit singles (fall of 1968 through spring of 1972) rivals that of any band in rock 'n' roll history. The Southern-flavored quartet from El Cerrito, California, turned out 17 hits in a 44-month stretch, nine of them in the Top 10, five of them in the Top 5.

Fantasy Records have released The Singles Collection, a two-CD, one-DVD box with a slipcase, containing all of the band's U.S. singles - 30 songs in all. Top 5 smashes like "Bad Moon Rising," "Green River," "Down on the Corner," "Travelin' Band," "Who'll Stop the Rain," "Run Through the Jungle," "Up Around the Bend," "Long As I Can See the Light" and "Lookin' Out My Back Door" are joined by seldom-heard singles that never charted ("Porterville" and "Call It Pretending" on Fantasy's Scorpio subsidiary, and later singles "Tearin' Up the Country" and "45 Revolutions Per Minute [Parts 1 & 2]").

The 30 songs (which are presented in their original single mixes, many of them in mono - are making their CD debut) housed on two CDs, are joined by a DVD containing four never-before-available, long-pre-MTV music videos: "I Heard it Through the Grapevine," "Bootleg," "I Put a Spell on You" and "Lookin' Out My Back Door." Also included in the package is a poster featuring the dozens of international single sleeves, and a 16-page booklet with liner notes by former Rolling Stone editor Ben Fong-Torres, who lived and wrote in the Bay Area during CCR's golden half-decade.

Fantasy has also manufactured a limited edition collectors' version of The Singles Collection featuring a boxed set of 15 vinyl 45 rpm singles with reproductions of the original Fantasy label design and housed in their rare picture sleeves -- the ultimate holiday gift for Creedence fans.

Forty years later, the music sounds as fresh and vital as ever.

Taj Mahal/David Hidalgo: Album

Fri, 6 Nov 2009 09:00:00 PST

TAJ MAHAL AND DAVID HIDALGO COME TOGETHER
WITH ROOTS GROUP LOS CENZONTLES FOR AMERICAN HORIZON

Taj Mahal

Blues legend Taj Mahal and master guitarist/multi-instrumentalist David Hidalgo(Los Lobos) have collaborated with Mexican-American roots group Los Cenzontles (pronounced los senn-sont-less) to tell a timely story of hope, struggle and gratitude of the American worker. Traversing traditional Mexican, blues, cumbia and psychedelic rock styles, they create a distinctive, fresh and exciting sound. The November 3 release or American Horizon is available through ADA Distribution.

Taj Mahal is one of the most prominent and influential figures in late 20th century blues and roots music and a two-time Grammy winner. Starting his career more than four decades ago with American blues, he has broadened his artistic scope over the years to include music representing virtually every corner of the world - western Africa, the Caribbean, Latin America, Europe and the Hawaiian Islands. In American Horizon Taj explores the deep connections between his own cultural roots and those of Mexican American traditions.

Best known for his work with three-time Grammy winners Los Lobos, David Hidalgo has a musical trajectory that is broad and deep. As songwriter, vocalist, guitarist, accordionist and keyboardist he has delved into rock, traditional and experimental styles. His productions reflect the intimacy and creativity of Latino music and its place in the American cultural landscape.

Los Cenzontles (The Mockingbirds) are a group of musicians deeply bonded to folk roots while incorporating other styles and genres into their music. With fluid harmonies by Lucina Rodriguez, Fabiola Trujillo and Hugo Arroyo they incorporate a sound of California into everything they record. Their first collaboration with David Hidalgo in 2008, Songs of Wood & Steel, brought the group wider recognition from the press. Vintage Guitar magazine said, "The group has created an album that seamlessly incorporates rock and blues elements into traditional Mexican forms, smacking of neither academia nor compromise."

On American Horizon, Los Cenzontles, David Hidalgo and Taj Mahal share composing credits on this groundbreaking bilingual release. Los Cenzontles founder Eugene Rodriguez served as producer with Hidalgo. He and Hidalgo met when Rodriguez produced Los Lobos' 1995 children's album Papa's Dream, which was nominated for a Grammy.

Los Cenzontles (The Mockingbirds) evolved out of the Los Cenzontles Mexican Arts Center, a community cultural center founded in San Pablo by Eugene Rodriguez in 1989. An innovative group of musicians and dancers that amplifies the roots of Mexican culture, they are led by Rodriguez, who has been schooling them in arcane Mexican folk music styles since their youths. Through numerous CDs and DVD documentaries, Los Cenzontles adds an essential voice to the global conversation among cultural traditions, attracting collaborations with internationally recognized artists like Linda Ronstadt, The Chieftains, Ry Cooder and others. The Chieftains' Paddy Moloney said, "Meeting Los Cenzontles was just like meeting a medieval clan of wonderful musicians from the West Coast of Ireland. The fusion of their music with ours was something that just had to happen. It was inevitable." And Ronstadt enthused, "Los Cenzontles' gutsy rhythms and delightful voices reinvigorated my love of Mexican music."

Lyrics and translations for American Horizon may be found here.

JamBase Hiring:
Online Advertising Sales Rep

Thu, 5 Nov 2009 19:33:00 PST

JamBase Hiring: Online Advertising Sales Rep - Music Team

JamBase is a leader in online music marketing, focused on the promotion of live music events. Our clients are nationwide and span a variety of categories. Our office culture is fun and relaxed, but also extremely dedicated and hardworking. We have been in business for 10+ years and we are profitable.

Job
We are currently seeking a driven, self-motivated sales account rep to join our successful online advertising sales team. The right candidate will have a proven ability to generate significant sales from a variety of music industry advertisers. He or she will combine the ability to achieve individual sales goals while being a relentless advocate for other team members and their goals and the Company as a whole. A doer and a thinker, the right candidate will have the vision and entrepreneurial drive to work with the team to achieve steep and sustainable sales growth.

Compensation
We offer a competitive base salary plus a bonus/commission plan and benefits.

Responsibilities

Develop, manage, sell and close inbound and outbound sales in a defined geographic region and/or category supporting a broad spectrum of music genres
Apply consultative sales strategy and supporting communication via phone, email and face to face
Understand music industry and current trends with a focus on the live music business
Understand clients' individual goals and needs and be responsive to those needs
Meet aggressive monthly individual and team sales goals
Nurture and manage existing sales relationships
Identify, develop, nurture and mange new sales leads
Work with team and VP Sales to develop sales strategy and goals
Work out of San Francisco based office with the ability to travel as needed

Skills and Experience

A proven track record in sales with at least three-years experience in consistently exceeding aggressive individual and team sales goals in online ad sales

Knowledge of current online advertising trends

Knowledge of music industry and concert promotion

Excellent written and oral communication and negotiation skills

Fluid office, email and web computer skills and versatile in Salesforce or like CRM

Ability to quickly establish rapport with clients over the phone or email

Proven team player

Goal-oriented individual with a passion to work hard to deliver results while maintaining a positive attitude

Ability to work efficiently and independently

Ability to analyze & solve problems quickly and effectively

Ability to successfully manage multiple projects and tasks

Understands the importance of establishing and nurturing relationships with peers, prospects, and clients

Application Deadline: NOW

To apply for the Online Advertising Sales Rep position: Please submit your resume along with salary requirements and a cover letter drawing attention to your skills and past job experience as they relate to the requirements of the job. In addition include how live music plays a part in your life. Send cover letter and resume to HR@JamBase.com. No phone calls please!

Johnny Winter: The Blues' Last Outlaw

Thu, 5 Nov 2009 19:30:00 PST

By: Jarrod Dicker

When Old Man Winter comes to town
He's got a special way of dropping in
And spreading cheer around
You know [the blues] is around the bend
And he won't let you down
When Old Man Winter comes to town

-Old Man Winter (Revisited) by The Moffatts

Johnny Winter

It's been a cold 40 years of Winter.

Since 1969 Johnny Winter has conquered all that there is to seize in the "blues race." He has been awarded Grammy accolades, performed at the original Woodstock festival, been recognized as one of the supreme guitarists of all time by Rolling Stone, and been inducted into the Blues Foundation Hall of Fame. He has collaborated, live and in studio, with myriad musicians of various genres, from Jimi Hendrix and Janis Joplin to Muddy Waters and B.B. King, even jamming with the young guitar proteges Derek Trucks and a href="http://www.jambase.com/Artists/Artist.aspx?artistID=7600">John Mayer. Johnny's ridden to hell and back, warding off a grave dependence on heroin and booze to continue his journey of manufacturing marvelous blues music. So, what's left to natter about concerning the fast-fingered blues legend?

Well, it's been an exceptionally hot year in the 65-year-old's wonderland. The two-disc The Johnny Winter Anthology, Johnny Winter Live Bootleg Series, Vol. 5, Johnny Winter: The Woodstock Experience, and the Woodstock: 3 Days of Peace & Music Director's Cut 40th anniversary DVD with never before seen live footage of Winter, were all released in 2009. And at the end of 2008 the DVD Live Through The 70's was received very well and we can look forward to the upcoming biography, Raisin' Cain: "The Wild and Raucous Story of Johnny Winter", expected release around May of 2010, covering anything and everything throughout the guitarist's entire career.

JamBase sat down with the Texas talent to discuss these recent events and also the nitty and gritty details that have made Old Man Winter the legendary bluesman he is today.

JamBase: It has been 40 years since you signed your first record contract with Columbia Records. Today, your new bootleg CD series, Volumes 1-5, have all charted top ten on the Billboard blues charts. How does it feel that after 40 years people are still listening, and, most importantly, purchasing your material?

Johnny Winter from MySpace

Johnny Winter: It feels great. I'm really pleased with how well my live series has been received. I had so much material from over the years and was very happy to find the right way to distribute it all. Also, it was great finding a label to release it as a series in such a way as it's being presented.

JamBase: It's also been 40 years since the original Woodstock festival. What were you able to take away from that experience, and what do you now cherish from it?

Johnny Winter: There is a saying that goes around stating that if you REALLY played Woodstock the memories are forever blurry. Let's put it this way, I don't remember a thing! At that time, to me, it was just another gig. But once I saw how it began developing I knew it was going to be a bigger and greater show than the 150,000 seaters we were already frequently playing. I knew then that this was something I had to be a part of. I played Jimi's original offered time slot on Sunday at around 12:00 midnight. There was no rain and it was absolutely packed. I will tell you that it's great that after all these years Warner released their Director's Cut of the 40th anniversary Woodstock DVD. It finally features my performance of "Mean Town Blues." Also, it's wonderful that Sony released my whole audio performance [Johnny Winter: The Woodstock Experience]. I guess, like most who were there, I'll always cherish the time spent and memories.

There is also a book pending publication on May 1, 2010 called Raisin' Cain: "The Wild and Raucous Story of Johnny Winter". Are you the writer and what will it cover?

I had a ghostwriter for this. The book covers my whole life, both private and professionally, my dealings with Janis Joplin, time on tour, musicians I've spent time playing with, my relationship with Muddy, I mean seriously, my whole life, all the ups and downs, everything! It was very emotional for me to read. The writer really nailed it. It's right on.

You specialize in American blues and have become a legend amongst both historic musicians in the Delta regime and modern performers such as Eric Clapton and Jack White. Who were your inspirations and encouraging artists while you were steppin' into the music world?

Johnny Winter

I've always loved the blues since I was a child. Listening to musicians like Muddy Waters, Robert Johnson, Jimmy Reed, Lightnin' Slim, Gatemouth Brown, Elmore James, Chuck Berry, T-Bone Walker, and B.B. King all influenced my playing from the start. To me, the blues is such a strong musical style that I don't feel it will ever go away. The blues adds to every musical style. That's why it's necessary to have a blues background in whatever style of music you play.

I've read that your parents pushed you and Edgar [Winter, Johnny's keyboard/sax playing younger brother] to participate in music. What did they casually play around the house? How else were they motivating to yourself and Edgar?

They didn't exactly push us. We just really wanted to play music and they were very supportive. Daddy played sax and banjo in college. He taught me my first chords on a ukulele when I was young. Momma played piano. So, they were both very musical. Secretively, I think they really wanted me to be a lawyer [chuckle].

How is your current relationship with Edgar? Do you two still collaborate musically?

Our relationship is great! We're good friends. We still do shows together from time to time. I just recorded on the song "Rockin' the Blues" on his latest album, Rebel Road.

One of your first big breaks was when Mike Bloomfield invited you to sing and engage in the Super Session jam at the Fillmore East in New York. What was this experience like for you? Did you maintain a relationship with Mike Bloomfield?

Continue reading for more on Johnny Winter...

I am and forever will always be on the road.

-Johnny Winter

Photo by: Rod Snyder

It was a lot of fun. I don't remember who the other musicians were other than Mike and Al [Kooper]. Like I said, my early introduction to the blues was through listening to Muddy Waters, and this was primarily one of the main reasons why I eventually made the trek to Chicago. I only stayed there for about a year, and that's where I first met Mike Bloomfield at a club called The Fickle Pickle. I wasn't too happy there in Chicago, so I soon went back to Texas. But yes, through meeting Mike it later led to him also helping to officially launch my career.

After that you signed what was then the largest advance in the history of the recording industry at Columbia Records, $600,000, did this unlock an overwhelming amount of musical opportunities for you?

Johnny Winter

Oh yes, for sure it was nonstop from there. Sadly, this also led to many of the problems I dealt with with drugs. I'm happy to say I'm all over with that now. The credit is all thanks to my other guitarist Paul Nelson. He is an amazing player and is the one who helped me guide my career back on track. It's all good now and I feel great!

You are notorious for your cover of Dylan's "Highway 61 Revisited." Why this specific song and have you ever had the opportunity to play it with its creator?

I just simply liked the song and wanted to do a cover of it. I never actually played it with Dylan, but I did perform my rendition of "Highway 61 Revisited" at the Madison Square Garden party for him. Of course, he was there. There is a video of me playing it floating all around the Internet on YouTube and other such video sites.

Tell me a little bit about Muddy Waters, specifically, what he meant to you and how it felt to finally record with him? I mean, you got him a Grammy award. It must have been one hell of a solid relationship. [Editor's note: Johnny Winter produced a trio of brilliant Muddy albums - Hard Again (1977), I'm Ready (1978), and King Bee (1981), as well playing on Grammy winning live album Muddy "Mississippi" Waters - Live (1979)].

It was three to be exact. I produced and performed on four of his albums. Working with Muddy was the absolute high point of my career. Throughout that and after we became great friends. He was an excellent person and above that, an honest and real gentleman. He would always drink champagne; Dom Perignon was all he drank. He had a ton of class and a lot of true, real dignity. He'd been through a lot of ups and downs. I miss Muddy. If he were alive, we'd still be recording together.

You're currently on tour. I heard through various media outlets that you are strictly playing the blues and no more R&R. Is this correct?

Warren Haynes & Johnny Winter by Dino Perrucci

Yes. I am and forever will always be on the road. Actually, my show is now more like 80-percent blues and the rest is rock & roll. I've been changing my set more and more so it's different every time. But, as I said before, my true love is the blues.

Where do you enjoy playing most on tour?

Amsterdam is one of my favorites [winks].

In 1988 you were inducted into the Blues Foundation Hall of Fame among the all time legends in that genre. Is it comforting to know that your music was and will forever be respected as some of the all time best in blues?

Of course! It's an extremely great and exciting honor. I'm at the point in my career where I love receiving awards [laughs].

Rolling Stone ranked you 74th on the list of all time greatest guitarist, which is a remarkable feat. Do you think this ranking is accurate?

To be absolutely honest, I haven't talked to ONE person that has had anything good to say about that poll.

You grew up in Texas during a time of excessive racial tension. Was it difficult to go to the predominately black blues clubs at that time? Were establishments judging and/or rejecting your admittance?

Johnny Winter by Mick Rock

No, not at all. It was in an all black club in 1962 that my brother Edgar and I went to see B.B. King at a Beaumont club called The Raven. We were the only white guys in the crowd, and there was no doubt that we clearly stood out. I was about 17 and B.B. didn't want to let me onstage at first. I kept asking and asking and asking. He asked me for a union card, and I had one. Also, I kept sending people over to ask him to let me play. Finally, he decided that there were enough people who wanted to hear me that no matter if I was good or not it would be worth it for him to let me onstage. He gave me his guitar and let me play. I got a standing ovation! After that, he took his guitar back [laughs].

Another Texas legend was the late great Stevie Ray Vaughan. How did you feel about his hard rock blues infiltrating the Austin city scene, as well as other Texas great such as Billy Gibbons [ZZ Top]?

Stevie was a great player as is Billy. They both have added so much in keeping the blues alive. Great guitarists, the two of 'em.

Who was the most pleasurable artist that you've ever collaborated with live besides Muddy Waters?

Hmmm, I'd have to say John Lee Hooker and Sonny Terry. Sonny Terry and I did an album called Whoopin' on my label, Mad Albino Records. It was a great moment that I will never forget.

What are your sentiments on modern music today?

I am not a fan of it that much at all. I enjoy listening to artists and music of the past, which helps me keep my current playing fresh. I have over 14,000 songs on my iPod. I do like some [contemporary artists], of course. Well, Derek Trucks for instance. He's an absolutely great and skilled guitar player.

What should we expect from Johnny Winter in the near and far future?

More music, more shows, and more blues guitar.

Do you really plan to stay on the road forever?

Son, I'll be playing the blues on the open road 'til the day I die.

Johnny Winter tour dates available here.

JamBase | Crossroads
Go See Live Music!

Fool's Gold:
Fool�s Gold

Thu, 5 Nov 2009 16:52:00 PST

By: Ron Hart

Given their penchant for incorporating the grooves of Mother Africa into their sound, Los Angeles' Fool's Gold has been dubbed the "West Coast Vampire Weekend." However, unlike their New York City counterparts, this ten-man strong ensemble doesn't merely whitewash the rhythms of the Dark Continent with silly songs about Oxford commas and Lil' Jon. Rather, they dive headfirst into the complex Afro-funk grooves and highlife melodies with the aplomb of Naked-era Talking Heads, delivering a tight, thunderous homage to the West African guitar pop of King Sunny Ade on their incredible eponymous debut.

Frontman Luke Top alternates his vocals between English and his native Hebrew, which gives songs like "Ha Dvash" and "Posideon" a unique feel in their sense of ethnicity, while subliminally referencing the deep Jewish history that has existed in Africa within the landscape of such countries as Ethiopia, Egypt, and Tunisia that dates back to Biblical times. Elsewhere, particularly on the instrumental workout "Night Dancing," the band seems more interested in just breaking off a piece of those restless polyglot boogies cooked up by Fela Kuti and Ginger Baker back in 1971. Don't be a "Fool." If you need help in choosing a band from the recent rash of Afro-indie acts flooding the market, go for the "Gold."

JamBase | SoCal
Go See Live Music!

Groundation:
Here I Am

Thu, 5 Nov 2009 16:50:00 PST

By: Dennis Cook

With elements of Cuban son, and 70s soul-jazz melded to a strong roots reggae, Groundation are traditionalists unbound by pure tradition. There's little doubt anyone who strongly vibes with Bob Marley & The Wailers and Steel Pulse won't dig Here I Am (Young Tree Records) a great deal, but there's a sumptuous reach riding inside their largely easy skankin'. Vocally, Groundation are miles ahead of most of their competition, with guitarist-singer Harrison Stafford melding sweetly with songbirds Stephanie Wallace and Kim Pommell. There's an island lilt underpinned by gritty, determined playing by the whole ensemble, and the tunes roll off easy but linger in a way that lures one back. If Groundation is less, well, ground breaking than contemporaries Soothsayers and The Black Seeds they make up for it with plain old warmly delivered roots music that's easy to enjoy even as it explores serious things, i.e. fairly pure reggae music full of conviction and solid entertainment value.

JamBase | Lively 'n' Up
Go See Live Music!

Vetiver: Europe Tour

Thu, 5 Nov 2009 16:44:00 PST

Vetiver to tour Europe with the Fruit Bats, release remix 12"

Vetiver

On November 15, Vetiver will kick off a twenty two-date European tour in Prague. They will be aided and abetted on the great majority of these dates by Sub Pop label-mates, Fruit Bats, who will be making their live European debut.

On November 30, Vetiver's European label, Bella Union will be releasing a 12" of "More of This." It will also be available digitally worldwide and will feature the following track listing:

1. More of This (Radio Mix)
2. Slippery (an exclusive new track)
3. More of This (Neighbors RMX) * available as a free download here
4. More of This (Neighbors Instrumental)

The original version of "More of This" appears on Tight Knit, released by Sub Pop and Bella Union earlier this year.

Vetiver and Fruit Bats Tour Dates
11/19/09 Thu Spazio 211 Turin, IT
11/20/09 Fri Covo Club Bologna, IT
11/21/09 Sat Unwound Club Padova, IT
11/22/09 Sun Zuni Ferrara, IT
11/23/09 Mon Init Rome, IT
11/24/09 Tue Amigdala Theatre Milan, IT
11/26/09 Thu Point Ephemere Paris, FRA
11/27/09 Fri L'Usine Geneva, SWI
11/28/09 Sat Bikini Barcelona, ES
11/29/09 Sun Charada Madrid, ES
11/30/09 Mon ZDB Lisbon, POR
12/01/09 Tue Passos Manuel Porto, POR
12/03/09 Thu Kafe Antzokia Bilbao, ES
12/05/09 Sat Rockstore Montpellier, FRA
12/06/09 Sun L'Emile Vache Metz, FRA
12/08/09 Tue Manufaktur Schorndorf, GER
12/09/09 Wed Patronaat Haarlem, NL
12/10/09 Thu Jazz Cafe London, GB

Matisyahu JamBase Tour Journal
Volume 1 From Israel

Thu, 5 Nov 2009 15:22:00 PST

Matisyahu JamBase Tour Journal: Volume 1 From Israel

Sprouting up from deep inside the jam world, Matisyahu has been on the fast track to stardom. Born Matthew Miller in 1979, Matisyahu has bridged the gap from reggae to Judaism and for his efforts he's earned a gold record (Live at Stubb's), a Top 40 hit ("King Without a Crown"), and a Grammy nomination (2006's Youth). Considering the dude dropped out of high school and became a regular on Phish tour before finding G-d and reforming his ways, we figured it might be fun to see what life is like on the road for Matisyahu now that he's the one onstage.

Matisyahu has been kind enough to take us behind the scenes as he travels the world in support of his new album Light. This first episode of the Matisyahu 2009 JamBase Tour Journal features the band performing "One Day" at Sultan's Pool in Jerusalem on October 7, 2009. Check back soon for Volume 2.

Matisyahu is on tour now; dates available here.

JamBase

Sat Eye Candy: Fleetwood Mac

Las Tortugas IV | 10.29-11.01 | Yosemite

Hamsa Lila, Airto Moreira: S.F. Green Fest After Party

Cascadia Yulegrass Dates Anger, Nershi, Moseley, Butler

Gov't Mule | 10.31 | Philadelphia

Friday Playlist: Beat Science

JAY-Z: BP3 2010 Tour

CCR: The Singles Collection

Taj Mahal/David Hidalgo: Album

JamBase Hiring: Online Advertising Sales Rep

Johnny Winter: The Blues' Last Outlaw

Fool's Gold: Fool�s Gold

Groundation: Here I Am

Vetiver: Europe Tour

Matisyahu JamBase Tour Journal Volume 1 From Israel

Hamsa Lila, Airto Moreira:
S.F. Green Fest After Party

Cascadia Yulegrass Dates
Anger, Nershi, Moseley, Butler

JamBase Hiring:
Online Advertising Sales Rep

Fool's Gold:
Fool�s Gold

Groundation:
Here I Am

Matisyahu JamBase Tour Journal
Volume 1 From Israel