JamBase

Skerik: Live Performance & Clinic

Tue, 10 Nov 2009 08:18:00 PST

SKERIK TO GIVE LIVE PERFORMANCE AND CLINIC

Skerik

Local saxophonist Skerik (Critters Buggin, Dead Kenny Gs, Garage a Trois, Syncopated Taint Septet, Roger Waters, Les Claypool, etc) will physically appear at Seattle's Georgetown Drum School on December 2 at 7:00 p.m. He will bring his latest electronics set up that allows him to efficiently change timbres, sounds and directions.

Skerik will demonstrate signal path, unity gain and survival in the electronic music world, meaning survival techniques using any sound system found in any club, theater, church or cult headquarters. From microphones to monitors and everything between, mysteries will be unveiled. Live playing with local drummer D'vonne Lewis as well as other special guests will occur. Random tips of all types will be brought forth for:

1) Saxophonists: acoustic and rhythmic techniques will be demonstrated.
2) Electronically curious DJs, musicians, seeking new signal paths, effects and monitoring techniques.
3) Aspiring musicians wondering what back stages are really like, and what to say if someone asks you to license your hot new single.
4) Non-performing fans of music looking for insight into the mystery of creation.

Additionally, free Electro Voice PL80a microphones will be given away to 5 students by a random ticket drawing during the class.

Where: Seattle Drum School Georgetown (1010 S. Bailey, Seattle, WA, Tel: 206.763.9700)
When: December 2, 2009, 7 p.m.
Cost: $10

Iceland Airwaves I 10.14 - 10.18 I Reykjavik

Mon, 9 Nov 2009 18:50:00 PST

Words by: Matt Newby | Images by: Rich Smith & Matt Newby

Iceland Airwaves Festival :: 10.14.09 - 10.18.09 :: Reykjavik, Iceland

DJ at Blue Lagoon :: Iceland Airwaves 2009

In the light of our global economic meltdown, it cannot go unnoticed that Iceland has, prior to this year's Iceland Airwaves Festival, taken some of its hardest knocks since the infamous Cod Wars of 1975. It's been a tough year for festival promoters Mr. Destiny, with drained economies, nationalized banks, and financial volatility making the future of this festival somewhat uncertain. But with burly local support and focused effort from the organizers to pull through these dark economic times, the old Icelandic saying "�etta reddast" (loosely translated as "it'll work out") comes to mind as downtown Reykjavik prepares its venues, bars and fashionista outlets for the festival. Throughout, the organizers have maintained a strong grasp of this nation's rich musical and creative heritage while working to promote the growing interest in Icelandic arts.

Iceland's primary music festival, now in its eleventh year, has gone from good to great. Originating in an airplane hanger in the late '90s, the festival has departed from the former aircraft space and into 101 (downtown Reykjavik), where the capital generously transforms its public buildings and other establishments into a mix of venues for the five-day event.

Reykjavik is an ideal festival city. With a high ratio of artistic people and over a third of the population living within the capital, Reykjavik manages to house a multitude of bands while remaining small enough to create close-knit musical communities, allowing each creative brain plenty of opportunities for exposure. This fertile environment is the backbone to the individuality of music from Reykjavik and its annual festival. The breathtaking natural backdrop and Reykjavik's plentiful and vibrant nightlife provides the perfect locale to host this unique event, which has become an increasingly attractive invitation to an international audience with each passing year.

Wednesday, 10.14

12 T�nar :: Iceland Airwaves 2009

As the first set of festival flights arrive at Keflavik Airport and the international festival crowd find their feet around Reykjavik, Airwaves opens its doors early. For many, the night began at NASA for the local label Kimi Records' night. With the first band set up and dressed up (spandex attire) they gave the audience "45 seconds to prepare" before Retr�n, who seemed very pleased to be playing, fired through a set full of playful Thin Lizzy-esque guitar riffs and stadium rock sounds. Following this, Mor�ingjarnir's screaming, fast paced punk set played to an increasingly full room as folks were pouring through the doors. A highlight of the evening's events came when Mor�ingjarnir were joined by the vocal delights of Mamm�t's frontwoman Kata. Her powerful vocals and driving, feminine force led their masculine rock sound, illustrating the flexible nature of this musical community and pointing towards things to come throughout the five-day event.

The sudden burst of energy needed to kick-start the festival came from local chaos kids proudly named Reykjavik!. This youthful bunch of wild cats - with quite the local reputation for destruction - knows how to get a beer swigging festival crowd going. With added screaming vocals from Arn�r of Agent Fresco, their energetic set, involving multiple stage dives, ensured the Airwaves party got off to a fiery start.

Quite accurately named after Iceland's unpredictable climate, Sudden Weather Change closed the opening night at NASA. This young band has been making a name around the city, and they took the stage with confidence, displaying guitar pyrotechnics and thunderous bass that called to mind the freedom and energy of Sonic Youth washed with the lo-fi ethics of Pavement. The performance utilized everything they had and delivered a healthy concoction of amp-hugging feedback and winding rock riffs. Sudden Weather Change managed to demonstrate to the fresh faced festival crowd that they are an impressive, outward thinking alt-rock band and a first class addition to Iceland's music scene.

Thursday, 10.15

Off-site venues are a big part of this festival's experience, inviting fans to intimate shows in more unusual locations across the city. The second day of Airwaves started gently at Reykjavik's famous record store and label 12 T�nar for an early evening in-store performance by R�kkurr�. With the CD racks put aside, the espresso sipping crowd gathered in deathly silence, the kr�tt (cute) quintet delivered a carefully arranged, cello led set of ethereal new material in a tender performance that intertwined the fragile, natural sounds often associated with Icelandic music.

Over at the A-framed attic of newly named venue S�d�ma, festival favorites Mamm�t needed no introduction as they played songs from their most recent record, Karkari; a performance as successful as the new release. Fronted by Kata, whose vocals and stage presence are reminiscent of Sugarcubes-era Bj�rk, their sterling performance was intense, with weighty rock riffs and bass-heavy undertones. This band is at the crest of the emerging talents this festival and country has to offer.

New Mexico four-piece Kid Crash packed the punch of nostalgia in a sweaty pit of chaos and facial hair. One of the first international acts on the bill, Kid Crash played a set full of high speed hardcore propelled by the irregular rhythmic complexities of math rock. Their performance was memorable and arguably the most physical festival performance thus far.

Continue reading for more coverage of Iceland Airwaves...

Friday, 10.16

�la :: Iceland Airwaves 2009

Friday morning we were welcomed by the snaking queue outside the Skifan record store for festival headline act Kings of Convenience. The line was overwhelming as hordes of enthusiastic festival-goers arrived in the early hours on the bitterly cold Laugavegur shopping street to get their pink wristbands for the evening performance at the Frikirkjan Church (Free Church).

As the weekend was upon us, the sounds of music spilled out onto the damp pavement from the many off-site venues along Reykjavik's main high street. We headed down Laugavegur to arrive at Karamba for an early afternoon pint and to watch the start of the U.K.'s Brainlove Records' showcase. This little living room of a bar with an awkwardly angled stage in the corner of the room hosted a community of bands, where we managed to catch singer-songwriter Matt Riviere and company. Following this, an improvised jam session from the Braindead Collective filled the bar, aided by audience harmonizing and an ongoing crescendo of noise that swiftly awakened the loose crowd.

Our next move found us at Reykjavik's infamous Naked Ape fashion outlet to watch electronic three-piece Sykur play amongst the store's fluorescent street wear. Their enjoyable electro 8-bit sound of synths and bleepy tones blossomed when a sweet jazz vocalist joined them.

DLX ATX :: Iceland Airwaves 2009

To end the early evening off-plan shows, it was back to Karamba to catch �la. Having been absent from recent Airwaves festivities, the erratic punk rock quartet didn't hold back, with towering frontman Halli Valli confidently utilizing the whole bar as a performance space. The show was an inclusive, unique experience that was brought to life within the confined kitsch interior of Karamba.

Whilst not straying too far from the raw sounds of �la, we strolled towards Reykjavik's grungy hangout Grand Rokk. With a sparse crowd gathered, perhaps a hint at the more acquired taste associated with this evening's lineup, we joined the event midway through to catch Irish/Icelandic two-piece DLX ATX (pronounced Deluxe Attacks). Dressed as psychedelic fairies, the bass and drum duo attacked their instruments, producing an abrasive onslaught of noise reminiscent of Lightning Bolt.

Swords of Chaos followed and put on a rather intimidating show, as their miniscule terrier of a frontman screamed at the thin crowd. For a guy who appears to have little in the way of physical strength, he managed to infuriate a few audience members by pushing his way around the venue, though the majority of the crowd enjoyed the sustained stream of hardcore energy his band created.

It was left to U.K. electro-pop act Metronomy at the auditorium of the Reykjavik Art Museum to close the evening's schedule and kick-start the energetic weekend nightlife. Mirroring the uniformity of Kraftwerk and draped in their infamous illuminated medallions, the electronic three-piece's efforts to transform the semi-crowded space into a party won over the predominantly local art museum crowd. With festival-goers and locals itching to revel in all night drinking marathons at the plentiful clubs and bars, all that was left was to head back out into the blistering cold to find the next party to see the night through.

Continue reading for more coverage of Iceland Airwaves...

Saturday, 10.17

Brasstronaut :: Iceland Airwaves 2009

With the festival crowd refreshed and raring to go from an extended soak at the "Blue Lagoon Hangover Party," it was back to where the previous night's events concluded at the Art Museum. Upon arrival, we managed to catch Vancouver-based quartet Brasstronaut. Playing the grandest venue at the festival, they appeared confident as their hypnotic, indie-jazz-rock fusion wooed the crowd. Having a stab at the local dialect is never easy, and many international acts have failed miserably at it during previous Airwaves. Local singer Hildur (who had kindly translated one of their songs via MySpace) did it justice as he added a sweet exchange of ideas to their soulful and successful performance.

More screaming and sweat was upon us as we pushed through the S�d�ma crowd to enjoy We Made God. This strong group of metal musicians made themselves at home at the Kerrang! endorsed night, demonstrating their talents through a noisy set of well constructed rock songs and a thrilling display of heavy and delicate soundscapes.

As we moved back out into the cold, the weather forced us to dart inside as we ended up at Batteri�i. By no means was this a bad move as we were welcomed by platinum selling Icelandic hip hop act XXX Rottweiler. The giant leap in genre was quite the experience, especially with a shed-load of adoring fans screaming what sounded like lyrics (I have been told the lyrics ARE good). We found our attention was focused on the energetic group's cohesion and instrumental qualities, which resulted in a drunken hip hop sway amongst the crowd.

Dr Spock :: Iceland Airwaves 2009

Over at S�d�ma it was the turn of M�s�ktilraunir winning (the Icelandic version of a Battle of the Bands) Agent Fresco, who shook the audience up with a lung testing set of madness. The spotlight shone heavily on frontman Arn�r, whose excessive screaming and ape hanging athleticism became tiresome. Their primary merit was solid musicianship, and no wonder given Agent Fresco has been awarded best guitarist, drummer, and bassist prizes.

As we vacated S�d�ma, we were welcomed by the spectacle of a glam rock hillbilly cowboy, Viking strength fire-eaters, and four huge wheels. It was festival favorites Dr Spock let loose in the back of an open truck roaming through the streets. The totally extravagant rock & roll street party was in full flare and a rapidly growing audience pursued the vehicle as it aimlessly taxied around the city. Even though this was one of the most obvious secret "shows," the experience was one of Airwaves' most outrageous and enjoyable ideas to date.

Sunday, 10.18

Following four days of partying, Sunday morning in Reykjavik resembled a ghost or zombie town, with people who have hit the seven a.m. club curfew still strolling the streets. With a limited number of venues open for service on the final day of Airwaves, our choice was diverted elsewhere as we faced yet another snaking queue. The lengthy line at NASA was justified as home favorites GusGus were scheduled to close the festival in true patriotic style. For us, it was left to S�d�ma to cap the festival off. With the beer still flowing and the festival squeezing the remaining life out of its attendees, we came in from the cold to experience Icelandic hip hop act Fallegir Menn (translates to "Beautiful Men"). It was difficult to establish if this was a serious act or not, but their performance did at least raise the spirits of the venue for one last celebration.

Dubbed "the first troubadour rapper in the world," we were curious to see what indie-folk-rap artist Helgi Valur & Shemales had to offer. With no real expectations, we found the indie-rap fusion worked surprisingly well as both the lack of connection with the previous act and familiarity of a reworked cover of Snoop Dogg's "Gin and Juice" and a carbon copy of Rage's "Bombtrack" had the audience moving. Helgi Valur & Shemales was an adequate act to sustain the party atmosphere as the festival came to a close.

In a city where news and information spreads at the speed of light, it did not take a mastermind to uncover the festival's final special surprise guests Crystal Antlers. Pushing the festival into the early hours with a therapeutic set full of strange psychedelic sounds and fierce energy, the band confirmed that there was still life at the tail end of Airwaves.

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Maserati, LCD, MacLean, Drummer
Jerry Fuchs Dies In Accident

Mon, 9 Nov 2009 13:05:00 PST

Maserati, LCD Soundsystem & The Juan MacLean Drummer
Gerhardt (Jerry) Fuchs Dies In Tragic Accident

Maserati, LCD Soundsystem and The Juan MacLean drummer Gerhardt "Jerry" Fuchs died in a tragic accident on Sunday. After attending a benefit party in Brooklyn, Fuchs was stuck on an elevator between the fourth and fifth floors. He was attempting to jump from the stalled elevator to the fourth floor opening when his jacket got tangled up and he missed the ledge, falling to the bottom of the elevator shaft. He was pronounced dead at Bellevue Medical Center. He was 34.

The following note is from the Maserati's website:

It is with overwhelming sadness that we bid farewell to our drummer and dearest friend Gerhardt (Jerry) Fuchs. Jerry died in a tragic accident early this morning (Sunday, November 08, 2009) when he fell down an elevator shaft near his home in Brooklyn, NY. We are humbled to have been able to create music with you for all these years, Jerry. You will be missed more than words can express. We love you, bro.

Gerhardt "Jerry" Fuchs

You can watch a recent interview of Maserati speaking with friend Joe Walker here.

Emmitt-Nershi Band | 10.22 | S.F.

Mon, 9 Nov 2009 12:44:00 PST

Words by: Justin Gillett

Emmitt-Nershi Band & Assembly of Dust:: 10.22.09 :: The Independent :: San Francisco, CA

Bill Nershi & Drew Emmitt by Bubba Jackson

Helmed by two of the biggest names of the jam scene, the Emmitt-Nershi Band has managed to carve an impressive reputation for itself over the past three years as a premier alt-grass outfit with a defined sound and consistent touring schedule. The band's no nonsense shows feature Drew Emmitt (mandolin, fiddle, vocals), Bill Nershi (guitar, vocals), Tyler Grant (bass), and Andy Thorn (banjo) playing a swath of folksy Americana bluegrass that harkens back to simpler times when people didn't need electricity to play, hear, or dance to music.

With Emmitt and Nershi being pivotal entities in two of the largest bands to emerge from the '90s jam haze (Emmitt with Leftover Salmon and Nershi with The String Cheese Incident), one might assume that an Emmitt-Nershi Band show could be a breeding ground for musical wankery and self-indulgent solos. But the straightforward approach to making music that was on display during the band's show at The Independent was a departure from the noodle-happy, slightly farcical shows of String Cheese and Leftover Salmon. With Emmitt-Nershi Band, both musicians seem perfectly at home playing humble tunes at intimate venues where the music can speak for itself.

Opening up the show was Assembly of Dust. While the New York-based foursome has been gaining momentum on their native soil, their sound has not quite led the group to a dedicated following on the West Coast. Even though the band has been performing since 2002, they still seem slightly unsure of themselves and not as confident as they should be. Not to say that the band isn't good or talented - lead guitarist Adam Terrell had some amazing solos and Reid Genauer is one heck of a songwriter - but one gets the sense that this band may sadly never amount to their full potential. AoD's songs are at times a bit too organized around a predictable pop format, and there really is no special quality or commanding stage presence that raises this band above other talented acts out there.

Emmitt & Nershi by Polly Gray

When all four members of Emmitt-Nershi Band came out to play a few songs with Assembly of Dust, though, it definitely made the set more interesting, both audibly and visually. As the eight musicians onstage traded solos, it was Nershi and Emmitt who were focal points, not members of Assembly of Dust. Nershi was in complete control of the stage as he took an acoustic guitar run, and the same could be said for Emmitt when he tore into the mandolin.

After a short set break, the four members of Emmitt-Nershi Band reemerged and lurched into an extremely soulful set that highlighted each musician's strength as a performer. During the band's first few songs, Emmitt's haunting, backwoods-y croon stuck out as a driving force that the band frequently fell back on for support. While vocal duties were shared between all the musicians, it was Emmitt, in particular, who sang without restraint and almost led him to act as the leader of the group. When Nershi sang it was pleasing but it lacked a serious resonance that Emmitt's forthright vocals possessed.

As the set progressed, Grant's distinctive bass playing managed to add layers of originality to the band's sound. Using an electric hollow body bass as if it were an upright, Grant propelled and motivated the rootsy bluegrass sound the other three musicians were intent on creating. Having won the National Flatpicking Championship in 2008, it could seem an odd choice to select Grant to play bass in this band, but it works and his understanding of what should be played on the bass is clearly a good fit for this outfit.

Fans of String Cheese were pleased as the band cranked out bluegrass versions of "Texas" and "Restless Wind." These songs, while clearly more attuned to how Nershi originally envisioned them, lacked any prevalent backbone. This could be said about the first half of the band's set as a whole; there wasn't a consistent beat that almost seems necessary for any band to structure itself on. Picking up on this lack of forceful rhythm, almost clairvoyantly, Nershi invited Andy Herrick, the drummer from Assembly of Dust, out to finish up the remainder of the set. The percussion infusion was exactly what was needed to make the music more dynamic and danceable.

Emmitt-Nershi Band by Polly Gray

Having just released a new album, New Country Blues (released September 29 on SCI Fidelity Records), much of what the band played was understandably off the fresh studio LP. These songs seemed to epitomize Emmitt-Nershi Band. They're uncompromising and rarely predictable. When playing tracks off New Country Blues, Nershi sported a huge smile that could be seen through his thick, white beard. Other members were also visibly giddy, and this communal glee helped articulate the music and make it more amiable.

For the encore all the members of Assembly of Dust were invited back for a rendering of the traditional "Goin' Down the Road Feeling Bad." Almost everyone was sharing a microphone, which helped heighten the mutual musical creation and add to the overall cooperation between the artists. Solos were passed around and every musician - especially Emmitt, who was playing a fiddle - stepped up to the plate and delivered a strong finale.

Emmitt-Nershi Band tour dates available here.

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Music on the Tube: 11/9 - 11/15

Mon, 9 Nov 2009 12:40:00 PST

Late Night Music Lineups

Can't make it to any shows this week? Check out live music on the tube...

Late Show with David Letterman

Tue, November 10 - Shakira
Wed, November 11 - Norah Jones
Thu, November 12 - The Cribs and Johnny Marr
Fri, November 13 - Mariah Carey

The Jay Leno Show

Fri, November 13 - Sheryl Crow

The Tonight Show with Conan O'Brien

Mon, November 9 - David Gray
Tue, November 10 - John Fogerty
Thu, November 12 - Jason Mraz
Fri, November 13 - Kris Allen

Jimmy Kimmel Live

Mon, November 9 - Ghostface Killah
Tue, November 10 - Amerie
Wed, November 11 - Los Lonely Boys
Thu, November 12 - Switchfoot
Fri, November 13 - Huey Lewis

Late Late Show with Craig Ferguson

Wed, November 11 - The Swell Season
Thu, November 12 - Trace Adkins

Late Night with Jimmy Fallon

Tue, November 10 - Wale
Wed, November 11 - Carly Simon
Thu, November 12 - Goodie Mob
Fri, November 13 - Kid Sister

Last Call With Carson Daly

Mon, November 9 - Yo La Tengo (Repeat)

Other Shows of Interest

Wed, November 11 - 43rd Annual CMA Awards
Sat, November 14 - Austin City Limits featuring Willie Nelson and Asleep At The Wheel
Sat, November 14 - Saturday Night Live featuring Black Eyed Peas

The Shaky Hands: Album/Tour

Mon, 9 Nov 2009 12:02:00 PST

THE SHAKY HANDS LET IT DIE OUT NOW ON KILL ROCK STARS, DECEMBER TOUR DATES ANNOUNCED

The Shaky Hands

This year begins a new chapter for Portland group The Shaky Hands. Former drummer Colin Anderson left in mid-2008, a few months before the band's second album, Lunglight, was released to critical acclaim. Nick Delffs' brother Nathan covered percussion for a short stint at the end of last year, but ultimately the band wanted a stable drummer with whom they could connect.

Jake Morris, of fellow Portland band The Joggers, joined in January 2009, shortly before The Shaky Hands left for a two-week tour with The Meat Puppets. On the road, the band and Morris clicked almost immediately, and found that Morris was exactly what they wanted in a drummer and band mate. The addition of the new drummer set the wheels in the motion for The Shaky Hands to begin writing their third album; evolving their style to match the changes they'd undergone as a band.

Following the tour with The Meat Puppets, Delffs packed his bags and went to live in India for a month and a half, leaving behind his guitar and embarking on a fast from Western music. He sang in the temples and wrote lyrics for the new album, which the band had already started writing, but took the longest break he'd ever taken from playing in a band. This journey, which culminated with a 23-hour plane ride leading directly into a 37-hour drive to Austin for SXSW, altered the direction of the new record � although perhaps not in the most obvious way.

"I feel like my trip to India had a profound effect on the album," Delffs explains. "Because I wasn't playing music with anybody and I was having this break, I ended up thinking about it a lot, on the verge of obsessing over things. A lot of the planning and lyrics were done out there, finishing some of the songs. I was really inspired by Indian music and I feel like it changed me, but I wasn't inspired to make it. It almost inspired me to make straight forward rock for some reason."

Delffs launched back into the rock scene immediately, playing SXSW and touring back up to Portland. The band spent nearly two months on the road with The Thermals in spring of 2009, where they wrote and developed songs, allowing the new tracks to attain lives of their own each night. After the tour, at Morris' recommendation, the band went into Jackpot! Studios with producer Jay Pellicci (Deerhoof, Erase Errata). There they spent ten days recording the songs they'd written and practiced, mostly in one or two takes. "It turned out to be the perfect experience for recording the album," Delffs says. "This was the first time I really trusted someone else to produce and mix everything. We were there for ten days and somehow we made that small amount of time work out perfectly. We never labored over any performances. We really wanted to get the essence of the live band. And generally the first or second take had the most feeling and captured the song the best."

The finished album, Let It Die, is a collection of eleven organic, impassioned rock songs that are happily unpolished and grounded. This disc is split into Side A and Side B to compliment the varying styles the songs on the record embrace. Side A collects more raucous, upbeat tracks while Side B offers hushed, mellower numbers. The standout, for Delffs, is the compelling "Allison and the Ancient Eyes," a song he feels embodies both sides and their corresponding feelings. "We had specific little things that we agreed on and talked about a lot," Delffs says. "We wanted it to be really bare bones and have it extremely simple. I think we all just knew the songs pretty well and how they should go. We didn't want to over talk it."

The Shaky Hands Tour Dates
11/12/09 Thu Dachstock Bern, SWI
11/13/09 Fri Treibhause Fest Luzern, SWI
11/14/09 Sat Swamp Club Freiberg, GER
11/15/09 Sun NBI Berlin, GER
11/16/09 Mon Molotow Hamburg, GER
11/19/09 Thu Garage Bergen, NO
11/20/09 Fri BLA Oslo, NO
11/21/09 Sat Fritz's Corner Stockholm, SE
11/23/09 Mon Loppen Copenhagen, DK
11/26/09 Thu Tsunami Club Cologne, GER
11/27/09 Fri Le Guess Who Utrecht, NL
11/28/09 Sat Patronaat Haarlem, NL
12/08/09 Tue Mad Hatter Covington, KY
12/09/09 Wed Off Broadway St. Louis, MO
12/10/09 Thu The Conservatory Oklahoma City, OK
12/11/09 Fri Emo's Alternative Lounge Austin, TX
12/12/09 Sat The Cavern Dallas, TX
12/14/09 Mon Rhythm Room Phoenix, AZ
12/15/09 Tue Bootleg Theater Los Angeles, CA
12/16/09 Wed Bottom of the Hill San Francisco, CA

The band's new video for "Already Gone" can be seen here.

Praise for The Shaky Hands:

"Drowning pop compositions in jittery poly-rhythms is indie rock's move du jour, but the Shaky Hands aren't trendy; they make fine-boned, classic rock & roll in the Strokes' vein." -Pitchfork

"Prodded by clattering drums and scraping guitars, frontman Nick Delffs often sounds desperate, moaning and muttering like someone who's torn between leaping into the abyss and clinging to hope." -Spin

Video: Jay-Z Joins U2 For
"Sunday Bloody Sunday" In Berlin

Mon, 9 Nov 2009 09:36:00 PST

U2 & Jay-Z Perform "Sunday Bloody Sunday" at MTV Europe Awards

At last night's MTV Europe Awards, Jay-Z joined U2 for a new look at the classic "Sunday Bloody Sunday." Performed at Berlin's Brandenburg Gate on the eve of the 20th anniversary of the fall of the Berlin Wall, it was an historic event on several levels. Watch the vid here:

U2 - New Music - More Music Videos

Jay-Z recently announced a major 2010 tour, details here.

Animal Collective: New EP
Features Grateful Dead Sample

Mon, 9 Nov 2009 09:22:00 PST

ANIMAL COLLECTIVE TO RELEASE NEW EP: FALL BE KIND IN STORES DECEMBER 15, 2009

Animal Collective

Animal Collective is set to release a new five track studio EP on November 23, 2009 (digitally) and December 15, 2009 (physically).

Recorded by Ben Allen at Sweet Tea in Oxford, MS in February 2008 and at Mission Sound in Brooklyn, NY August 2009, Fall Be Kind includes recent live favorites "Graze" and "What Would I Want? Sky" (featuring a sample of "Unbroken Chain," the first ever licensed Grateful Dead sample). Fall be Kind will be available worldwide on CD, 12" vinyl and via digital download.

The EP comes less than one year after the band's critically acclaimed album Merriweather Post Pavilion which wowed fans and critics across the globe. Merriweather has already been named one of the most important albums of the year by Q magazine and Spin in the U.S., and of the entire decade by Uncut and Pitchfork. Expect to see Merriweather Post Pavillion named one of the year's best by fans and critics as the year comes to a close.

For more on Animal Collective's use of the Grateful Dead sample, including a version of the song, see our previous story here.

Track Listing
1. Graze
2. What Would I Want? Sky
3. Bleed
4. On a Highway
5. I Think I Can

Tom Waits: Glitter and Doom Live

Mon, 9 Nov 2009 09:12:00 PST

Tom Waits To Release Glitter and Doom Live Album On 11/23

Tom Waits

Available November 23, Glitter and Doom is a two disc collection of the best of the best tracks from Tom Waits' sold out, highly acclaimed Glitter and Doom tour of the U.S. and Europe in the summer of 2008.

Disc One is designed to sound like one evening's performance, even though the 17 tracks are selected from 10 cities, from Paris to Birmingham; Tulsa to Milan; and Atlanta to Dublin. Sonically the album is superb and has been beautifully recorded and meticulously mastered. Disc Two is a bonus compendium called TOM TALES, which is a selection of the comic bromides, strange musings, and unusual facts that Tom traditionally shares with his audience during the piano set. Waits' topics range from the ritual of insects to the last dying breath of Henry Ford.

Musically, the live disc features all eras of Waits' eclectic glory as he shifts seamlessly from an array of characters: carnival barker, preacher, country singer, soul balladeer; cabaret singer and storyteller. Backed by a versatile five-piece band, Waits departs from the songs' original incarnations. The songs instrumentation and rhythms are rearranged and re-imagined. Swampy tribal rhythms, ominous hymns, gypsy flavored ballads, searing rhythmic r&b, blues boogies, angular and surreal rock are all present. The songs, as expected, are about hanged men, woebegone sailors, sword swallowers, fugitives, shamans, ghosts, dance instructors and prison guards.

Track List:
01. Lucinda / Ain't Goin Down
02. Singapore
03. Get Behind The Mule
04. Fannin Street
05. Dirt In The Ground
06. Such A Scream
07. Live Circus
08. Goin' Out West
09. Falling Down
10. The Part You Throw Away
11. Trampled Rose
12. Metropolitan Glide
13. I'll Shoot The Moon
14. Green Grass
15. Make It Rain
16. Story
17. Lucky Day

Pavement to Headline Sasquatch!

Mon, 9 Nov 2009 09:00:00 PST

Pavement to Headline Sasquatch! 2010

News has just surfaced that Pavement will headline the 2010 Sasquatch! Music Festival over Memorial Day Weekend (May 29-31) at the Gorge Amphitheatre in Quincy, Washington. As of now, Pavement is the only band announced. Complete lineup will be revealed on February 16.

For coverage of the 2009 Sasquatch! fest, see JamBase's review here.

Sasquatch 2009 by Pecknold

Monday Melody

Mon, 9 Nov 2009 08:26:00 PST

FOLK MUSIC OF THE PUREST AND FINEST SORT

Dougie MacLean

Mondays frequently begin with a lingering malaise, the aftermath of weekends gone well (or poorly) or the general urgency of a new week encroaching quicker than one might like. If there a zillion cliches about this day, they surely find their roots in lived-in truths many of us experience. Well, few things shake off that malaise better than a sweet song or three delivered with earnest conviction, something simple yet striking down to things deep. And few offer up better music of this sort than Scotland's Dougie MacLean. We present two classics and a recent tune from MacLean's expansive catalog to help ease you into a new week a touch more gently. Even if you've never been to Caledonia there's something universally touching in Dougie's wistful reverie.

Fly South Festival in December

Mon, 9 Nov 2009 07:43:00 PST

INNAUGURAL OUTING IN MACON, GA

Derek Trucks Band

The first annual Fly South Festival is set to take flight on December 5, 2009 at Macon's Luther Williams Field.

Daytime festivities include live music sets by Molly Stevens, Shane Bridges, Mississippi John Doude, Red Swill and the Abby Owens band; kids' activities in the �Jamboaree;� cloggers and square dancing performers; and a Little Richard Impersonator contest with a $300 grand prize (Little Richard: The Birth of Rock �n' Roll author David Kirby will be on hand signing the newly released biography).

After the awards for the BBQ competition are announced, gates open to Luther Williams Field at 5 p.m. for the festival's evening of live music featuring Laura Reed, the Soulphonics and Ruby Velle, Jason Isbell and the 400 Unit and headliners the Derek Trucks Band. Tickets are $20 pre-sale (on sale now here) and $25 day of show at Luther Williams Field.

The festival is accepting competitive BBQ teams on its newly launched website. Along with the point-qualifying Memphis Barbecue Network cooking competitions, there are also Backyard Team opportunities (pulled pork and ribs) for cash prizes. The BBQ competition, taking place in the parking lot outside Luther Williams Field, begins on Friday, December 4 and lasts throughout the day on Saturday, December 5. The festival officially kicks off on Saturday to the public at 10 a.m. for a $5 parking fee.

There will be an assortment of food vendors - local BBQ, as well as Bison, sweet treats, carnival cuisine, hotdogs, hot beverages and cold beer. Art and gift vendors will be selling their wares in the spirit of holiday shopping.

The first annual Fly South Festival is being presented by Bragg Jam Festival Inc., the City of Macon and the Community Foundation of Central Georgia. Proceeds from the festival will benefit the Georgia Music Hall of Fame.

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.