Since the Allman Brothers Band closed the book in October of 2014, original drummer Butch Trucks has continued the music with two special projects, Les Brers and Butch Trucks & The Freight Train. After officially debuting Les Brers, which includes ABB members Oteil Burbridge, Jaimoe, and Marc Quiñones, last week in Macon, and with plans to bring the band to Wanee and Peach Music Festival, Trucks has also carved out time to take the Freight Train for an an extensive summer tour.Watch Les Brers Play A Scorching 24-Minute ‘Mountain Jam’ For Macon CloserThe Freight Train Band includes some particularly interesting characters, mostly all Allman-related, with Berry Duane Oakley Jr. on bass and vocals (the son of original bassist Berry Oakley), Vaylor Trucks on guitar (Butch’s son, Derek’s cousin, and also the little boy on the cover of the ABB album ‘Brothers and Sisters’), Damon Fowler on guitar (previous work with Greg Allman, Chris Duarte, Buddy Guy, Johnny Winter, Jeff Beck, and more), Bruce Katz on the Hammond B-3 Organ (member of Jaimoe’s Jasssz Band and past member of Gregg Allman Band), along with sensational young guitarist and vocalist Heather Gillis, and Tad Isch behind the second drum kit.Butch Trucks Sings For The First Time In 45 Years, Covers Bob Dylan ClassicThe summer tour will make its way through the east coast, including some dates in Georgia, North and South Carolina, all the way up to New York and Pennsylvania. The Freight Train will also be hitting Texas and Louisiana. More information can be found on the Allman Brothers’ website. Don’t miss out on this family affair!
Last night, the Tedeschi Trucks Band continued their Northeast domination with a powerful performance at the Hershey Theatre in Hershey, PA. The band has been nothing short of tremendous in 2016, starting off the year with the exciting Let Me Get By album and continuing with sold-out shows nationwide.Last weekend, the band had welcomed out the beloved Amy Helm in Buffalo, NY, to sing lead on the classic “Angel From Montgomery.” Last night, Ms. Helm was in the building yet again, as she opened the show iwth her band Amy Helm & The Handsome Strangers. This time, Helm joined TTB’s Susan Tedeschi and Alecia during the headlining set, and the three incredible female vocalists harmonized to perfection on the moving ballad “Color Of The Blues.”Watch footage of the performance, courtesy of YouTube user Chuck Kaiser:Thanks to taper edtyre, we have audio of the full performance. Listen in below:TTB hits the New Jersey Performing Arts Center in Newark, NJ tonight before heading to Atlantic City, NJ this weekend. Check out the full setlist from last night’s show, below.Setlist: Tedeschi Trucks Band at Hershey Theatre, Hershey, PA – 5/12/16Set: Don’t Let Me Slide, Let Me Get By, Don’t Know What > Made Up Mind, Don’t Drift Away, The Storm, How Blue Can You Get, I Want More, Midnight In Harlem, Color Of The Blues#, Laugh About It, Sticks & Stones, Idle WindE: Who Knows What Tomorrow May Bring, Within You Without You > Just As Strange# w/Amy Helm – vocals
The sign on the marquee said “Above & Beyond Acoustic,” but “Above & Beyond Orchestra” may have been more appropriate, as nearly twenty musicians crammed onto the stage of the Beacon Theatre to perform live interpretations of songs from the catalogue of the three piece trance icons. With a crowd dressed primarily in suits and dresses, a stage stacked with violins instead of lasers, and a hushed crowd, this was the complete opposite of a standard Above & Beyond show (except for confetti – there’s always going to be confetti).While Above & Beyond has been sporadically performing these acoustic sets for nearly three years, this is the band’s first extensive tour and the first stop in New York City, in support of their soon to be released second acoustic album, appropriately titled ‘Acoustic II’. What these three musicians have done with this tour is unparalleled in the world of electronic dance music. Playing these dance music songs to nearly 3,000 completely seated fans, solidify these artists as some of the greatest song writers out there right now – and not just in the world of dance music. As one of the producers said on stage, “Life can be incredibly short, but songs are forever” – and this tour, and these albums, will make sure that these songs will live forever.It’s not uncommon to see tears in the crowd at an Above & Beyond show. The music is full of messages of hope and happiness, and it’s easy to feel a connection. They talk about things that young people can relate to – love found, love lost, with an overarching message that “everything is going to be ok”. It sounds sappy – well, it is sappy. But aren’t the best love songs sappy? Regardless, it resonates with people, and it was easy to see people getting emotional throughout the evening. With stripped down production and without a booming bass line that makes you want to jump up and down, you can get lost in the music and get a better understanding of the lyrics that you may have already had memorized for years.In between each song, one of the guys would chat with the crowd for a bit, introduce the next singer, talk about the upcoming song or the experience. It seemed that they were thrilled to be on “Broadway,” and honestly, it felt like attending a Broadway show at times. There was minimal in terms of on stage production – some blue LED lights flashed occasionally, T-Mobile sponsored some light up bracelets that blinked at a few points but added little (hey, somebody has to pay for that string section), and a large screen showed close ups of the singers. During “Another Chance,” a relatively recent collaboration with the band Oceanlab, the screen projected a short animated video that added a fantastic visual accompaniment to the music. With all the ‘Broadway’ talk, a show that mixed these arrangements with some sort of visual story would certainly be welcomed.Other highlights included “Alone Tonight”, which sounded like it was plucked right out of a James Bond movie, and the big sing-a-longs like “Blue Sky Action”, “We Are All We Need”, “Thing Called Love”, and “Sun and Moon”. But the biggest highlight of all was the experience as a whole. Seeing these fantastic songs, re-imagined in completely different ways, gives them an entirely new life. It really proves Above & Beyond to be great songwriters, more than just producers. Like they said, it shows the songs will live forever.I spoke to a relatively new fan who, after seeing the show, told me “I get it – a ticket to this show is cheaper than seeing a therapist – you come here, and forget about your problems, you’re surrounded by your friends and you experience this happiness and they tell you that everything is going to be alright – whatever problems you’re going through, we’re all going through ’em together”. That’s why Above & BeyondAbove & Beyond’s radio show is called “Group Therapy” – they know what they are doing. [Photo Credit: aLIVE Coverage/Above & Beyond Facebook]
Funk fans everywhere have been mourning the loss of Bernie Worrell, the legendary Parliament-Funkadelic and Talking Heads keyboardist who recently passed away. Worrell may have been most publicly known for his roles in those famed bands, but Worrell was a true musician’s musician, eager to explore new improvisational territory in any number of situations.At the start of 2016, Worrell was invited to sit in with the Joe Marcinek Band at their High Noon Saloon performance in Madison, WI. Marcinek continues to put together some truly interesting ensembles for his performances, and the band was tighter than ever when the Wizard of Woo came to town. Thanks to newly-shared footage from the band, we’re able to share this glorious “Red Hot Mama” from the performance, clocking in at over 20 minutes with some great work all around.Check out the exciting “Red Hot Mama” from one of Worrell’s final performances, on January 2nd, 2016.The full Joe Marcinek Band lineup for this performance was:Bernie Worrell – KeyboardsJanis Wallin – BassPete Koopmans – DrumsJoe Marcinek – GuitarJonathan Hoel – SaxAndrew Traverse – TrumpetRIP Bernie.[Video by Joe Ramos/Ramos Media Services]
Brooklyn based soul/punk/groove band Evolfo has grown wildly since their formation in 2011 with their old school charm showing new life on Last Of The Acid Cowboys. They’re not retro for the simple sake of sounding retro though; they come by their sound honestly. Though they admittedly steer into the curve with layers of distortion and of a bygone era production techniques, their sound is simply a by-product of their shared influences and their goal of making music that they, themselves enjoy.Listen to the Spotify stream below and enjoy the full review below.Distorted and purposefully aged, “Moon Eclipsed The Sun” shows a decidedly 60’s organ heavy soul power that shows Evolfo reveling in their influences. You can practically feel the band’s shared smile as a skiffle beat and a riff straight out of 1965 blends with a wildly distorted guitar and equally fuzzed out vocal lead to a hazy but amazing effect. When the horns come in to counter-point the wild frontier sounds of the spacey guitar solo/freak-out the obvious joy felt making this music can not be denied.Following the twisty space groove of the opener with a heater the aggression factor kicks up a notch with the band skewing closer to road house rock with “Bloody Bloody Knife,” with a guitar line as sharp and dangerous as it’s namesake. Angry rock that encroaches on punk territory, Evolfo peels away everything but the raw sound of their instruments and let themselves be swept along by drummer Angelo Spampinato’s irresistible manic intensity.“Rat City” builds on the energy of the previous track with an impressive mix of punk sensibilities and horn peals elicit thoughts of ska while a driving organ lead keeps all the spaces filled and the tune humming ever forward. Bluesy, liquefied guitars ebb and flow from big band swagger to a steady holding pattern that evoke some of the sparser alt-country and twang rock sounds give “Don’t Give Up Your Mind” a sense of perpetual motion and inevitability, like the movement of the tides.Saving the title track for last, “Last Of The Acid Cowboys” is the longest track of the bunch, a mock crime drama giving the band a chance to try on their story teller suits as they weave a tale of ne’er do wells on the prowl for anything heavy while laying down a crunchy, punchy blast of high end garage rock worthy of a spot on any Quentin Tarantino sound track.What Evolfo has done on Last Of The Acid Cowboys is impressive for a variety of reasons. They manage to show a wide variety of facets to their sound, giving each a distinct music identity while never forgetting the most important part, to create a song worth hearing. Without any allusions or pretension they still present a challenging album of songs that manage to honor the past while looking to the future with a assured zeal that is out and out charming.
Reimagining the music of Phish is no easy feat, requiring to not only understand the band’s complex music but to reinterpret it within the realms of instrumental jazz. Through careful composition, Jazz Is PHSH takes this challenge head on. Naturally, only the finest musicians have performed with the band, honing their talents in some true jazz fusion.Jazz Is PHSH is set to begin their fall tour tomorrow night, November 26th, with back to back performances at The Cutting Room in New York, NY (more info here). With members of Dave Matthews Band, Rubblebucket, Snarky Puppy and more, these intimate shows are sure to capture the music of Phish in new and exciting ways. In preparation for the upcoming show, we sat down with saxophonist Chris Bullock to talk about what makes his time in Jazz is PHSH so special.L4LM: What attracted you to being a part of Jazz Is PHSH?CB: The prospect of the various musicians involved.L4LM: Were you a Phish fan before this project?CB: I didn’t really listen to their music very much. I had friends when I was younger that were way into them so heard the music indirectly. I did own their album “Hoist” on cassette tape in high school. That album was the extent of my direct listening to their music.L4LM: Has being a part of Jazz Is PHSH changed how you feel about Phish’s music?CB: I wouldn’t say it has changed any feelings I hold. It has allowed me to check out a lot more of it that I have never heard and find some new ways to reinterpret it.L4LM: What should potential fans know about how the music has been rearranged?CB: A good portion of the tunes have been put through our own individual musical filters. We have altered them to fit the instrumentation and styles of the musicians within the band.L4LM: What is your favorite Jazz Is PHSH arrangement? What makes it so good?CB: I enjoy playing the tune “Carini.” We’ve arranged the tune in a way to highlight closely-voiced horns with a driving groove throughout.L4LM: We read that you are featured on woodwinds on the new Phish album, “Big Boat”. What was it like working with Phish?CB: I performed clarinet, bass clarinet, flute, and alto flute on the last track on the album, “Petrichor.” It was a lot of fun and cool opportunity for me. I spent a day in the studio with Trey Anastasio checking out the woodwinds parts he had written and got to collaborate and add to his arrangement. The following day I returned and spent the day with him and the legendary engineer, Elliot Scheiner, to track all of the woodwinds.L4LM: What was the first Phish song you ever heard? Did you like it?CB: Hmm, I honestly can’t remember. It was probably a tune off of “Hoist.”L4LM: What else is on the horizon for Chris Bullock?CB: I’ve got a bit of a break from touring with Snarky Puppy at the moment. I’m focusing most of my free time to writing and have begun recording my first solo record that I plan to release in 2017. The music is a blend of woodwind chamber music paired with electronic beats and synths. I’m augmenting the electronic environment with analog instruments and live musicians as well.I’m also enjoying immersing myself into the NYC music scene after spending a majority of the past two years on tour and away from this vibrant city.L4LM: In case any fans want to buy you a drink at an upcoming show, what is your favorite cocktail?CB: I always enjoy a mezcal negroni.You can be sure to grab a drink for Chris Bullock tomorrow night, November 26th, when he performs with Jazz Is PHSH for back-to-back shows at The Cutting Room in New York. Tickets are on-sale now. See below for some additional info from the venue:If you are purchasing tickets to the 8pm show, you will be able to stay for the 11pm show. VIP ticket holders for the early show will be GA ticket holders for the late show.If you are purchasing tickets to the 11pm show, you can come early for the 8pm show as well. VIP ticket holders for the late show will be GA ticket holders for the early show.
When moe. returned to dry land this week after five days “off the grid” on the always exhausting maritime music marathon that is Jam Cruise, they were met with news of the untimely death of Allman Brothers Band founding member Butch Trucks. Having laughed and jammed with Trucks in the past, the band decided they needed to pay proper homage to the fallen titan. Last night, during their performance at St. Petersburg’s Jannus Live, moe. collectively paid their respects to the fallen jam band icon, encoring with a stellar cover of Allman Brothers classic “Southbound.”Though clearly still feeling fatigued and looking for their land legs, the band used their sound check to run through the tune in order to ensure that their version would be up to snuff, befitting a tribute to one of the most influential drummers of all time. During the performance, bassist Rob Derhak even shared a self-deprecating story of a behind-the-scenes encounter with Trucks at a charity concert they had done together. The band’s affection for Trucks was abundantly clear in both their kind words and the extra effort they put into honoring his work.We’ll have a full review tomorrow, but for now check out footage of the evening-closing tribute thanks to our own Rex Thomson:Setlist: moe. | Jannus Live | St. Petersburg, FL | 1/26/2017Set One: Faker > Bullet > Kyle’s Song, Captain America >MexicoSet Two: Seat Of My Pants > Not Coming Down > Wormwood > Water > Bring You Down, Plane CrashEncore: Southbound
Last night, Tedeschi Trucks Band hit the Tivoli Theatre in Chattanooga, Tennessee with guitarist Jack Pearson. The show was a scorcher from the get-go, with the band opening with Joe Cocker’s “Space Captain” to the delight of the sold-out house. From there, the band took those lucky enough to be in attendance on a journey, holding nothing back as they moved through “Anyhow,” “Don’t Know What It Means,” and “Let Me Get By.” After a cover of George Harrison’s “Isn’t It A Pity,” the band busted out “Leavin’ Trunk” into “Volunteer Slavery,” a combo that has been played four times since it was debuted two months ago in early December.Following “Volunteer Slavery,” the band moved into a spacey instrumental jam accompanied by Jack Pearson, which dropped suddenly into “The Storm.” With incredible vocals on the part of Susan Tedeschi, she opened the song before taking a step back to allow the two incredible guitarists, Jack Pearson and Derek Trucks, take centerstage. The chemistry between the two was electric, as the two traded off transcendent solos between each other. Moving out of “The Storm,” which clocked in at over fifteen minutes long, the Tedeschi Trucks Band took on a cover of George Jones’ “Color Of Blues.” “When I’m Gone” moved into Nina Simone’s “I Wish I Knew How To Be Free,” a stand-out track during whose vocals were lead by Mike Mattison.From that point on til the end of the set, the band really began to heat up. “Rollin And Tumblin” made way for a soulful cover of B.B. King’s “How Blue Can You Get.” A fierce “I Want More” followed, before the last song of the set, Santana’s “Soul Sacrifice,” during which Derek Trucks’ guitar mastery left the audience on a high. After a short break, the band returned and ready to close out the night “Statesboro Blues,” with Susan Tedeschi holding nothing back for the vocals and the bluesy number taking on a fierce yet airy tone.You can check out the full setlist below, as well as videos from last night’s show in Chattanooga. Tonight, Tedeschi Trucks Band will be moving on to Savannah, Georgia, where they will play the Johnny Mercer Theatre. More information about future tour dates can be found on the band’s website. Watch Tedeschi Trucks Band show opener, “Space Captain,” courtesy of Dan Vaughan.Watch Jack Pearson join the Tedeschi Trucks Band during “The Storm,” courtesy youtube user BamaWrangler.Watch the show’s encore, “Statesboro Blues,” courtesy of Mitchell Frank.
Umphrey’s McGee is in the midst of a three-night run through Michigan, the home state of guitarist Jake Cinninger and smack-dab in the middle of “Umphrey’s Country” in the Midwest. The show, which was the first of two nights at the Fillmore in Detroit, featured plenty of old favorites, fun transitions, interesting song pairings, and aggressive improvisation. The show contained a “weekend rock show” vibe with plenty of classics trotted out, making it clear that Umphrey’s intends to rely on their heavy hitters during this three-night run through “the mitten” of Michigan.First and foremost, openers Spafford were killer with their opening set. They’ve been delivering three or four songs each night while on tour as support for Umphrey’s, and they delivered again with a four-song, 45-minute set of impressive improvisation. The band worked “Virtual Bean Dip”, “Legend”, “Ain’t That Wrong”, and “Leave The Light On” into their set for another impressive showing from the young band from Arizona.Umphrey’s started off set one with their “No Crying In Mexico” intro before quickly leading into “Attachments.” The band then started up “All in Time,” eventually leaving the track unfinished as they started up “Day Nurse.” A romp through “Educated Guess” followed, before the band performed an increasingly rare “Alex’s House.” This would kick off a four-song, set-closing segment that went from “Alex’s House” into “Bridgeless”, which went unfinished as they moved into “No Comment”, and finally into “Believe The Lie.”Watch “Attachments” from night one at the Fillmore in Detroit.Set two saw the band open with the instrumental classic “Miss Tinkle’s Overture.” The set continued on with the eighteenth version of “Remind Me,” a song that was debuted back in 2015 at UMBowl. After completing the trio of “Soul Food I,” “Soul Food II,” and “Soul Food III” on Thursday night in Grand Rapids, it was cool to see Umphrey’s stick with a theme as they launched into the great one-two punch of “Cemetery Walk I” into “Cemetery Walk II.” The band then turned to another reliable classic with “Out of Order.” Finally, the band brought things to a close with “Wappy Sprayberry” into the closing section of “All In Time,” completing the unfinished show-opener and making the show a huge “All in Time” sandwich.For the encore, Umphrey’s turned to a soaring and glorious version of one of their most epic songs, “Glory,” before winding their way back into “Bridgeless” to complete the song and bring the huge first night at The Fillmore to a close.Thanks to the hard work and dedication of taper Nikres, this show is available for your listening pleasure, embedded below.Check out the band’s setlist and a full gallery below, courtesy of Phierce Photo.Setlist: Umphrey’s McGee | The Fillmore | Detroit, MI | 2/3/2017Set One: No Crying In Mexico -> All In Time -> Day Nurse, Educated Guess, Alex’s House -> Bridgeless -> No Comment -> Believe The LieSet Two: Miss Tinkle’s Overture, Remind Me, Cemetery Walk I -> Cemetery Walk II, Out of Order, Wappy Sprayberry -> All in TimeEncore: Glory -> BridgelessSpafford | The Fillmore | Detroit, MI | 2/3/2017Virtual Bean Dip, Legend, Ain’t That Wrong > Leave The Light On Load remaining images
Load remaining images Leftover Salmon entered Boulder’s Fox Theatre to a sold-out crowd on a Monday night, and started the evening in more than (their already) unusual fashion. Guitarist Vince Herman read a “proclamation” from Colorado Governor John Hickenlooper, commemorating the theater’s 25th anniversary. After a chorus of old-fashioned “whereas” and “therefore’s” led by Vince, the band dropped into their classic show opener “Carnival Time” to the insane pleasure of the 500 some-odd folks packed into the Fox. After an obligatory “festivaallllllll” call from Vince, the rest of the band took their turns reminding us why they’re still kicking almost 30 years later, wonderfully invigorated by new keyboardist Eric Deutsch, even after the departure of Little Feat’s Bill Payne.After a short pause, the band started mandolinist Drew Emmitt’s song, “Bend in the River,” and old Salmonheads recognized a possible pattern. As soon as they busted out a washboard and “Ask the Fish,” that thought was confirmed. Like the String Cheese Incident, another Colorado band celebrating the Fox’s 25th a couple nights before, Leftover Salmon was playing their classic live album, Ask the Fish Live, in its entirety. The band treated old fans and new fans alike to delectable versions of “Lonesome Road” and the beloved bluegrass traditional “Reuben’s Train” before stretching out their take of Memphis Minnie’s “When the Levee Breaks.” Banjo-man extraordinaire Andy Thorne stepped forward with some incredible electric banjo picking and Drew Emmitt followed right behind with equally innovative, rhythmic mandolin playing.After singing “Happy Birthday” and presenting a birthday cake to drummer Alwyn Robinson, former Salmon drummer Michael Wooten dropped in for “Jokester” and “Stay Away Monday,” the first of many sit-ins that occurred throughout the night. After Wooten’s departure, the band hammered on, led by Robinson and veteran bassist Greg Garrison, leading the ensemble as they moved through “Cactus Flower” and the traditional “Hot Cold/Cold Corn,” both of which the crowd ate up gladly. Sometimes, old salmon is the best Salmon, and the band seemed set on proving that in more ways than one on Monday; their bluegrass chops have never sounded tighter on their take on Bill Monroe’s classic “Rocky Road Blues.”The band opened the second set with the album-closing “Headbag,” ending their recreation of Ask the Fish Live. The second set was chock full of more rock-inclined Salmon tunes, with a guest appearance by Silas Herman, Vince’s son and mandolinist for the Colorado-borne band Gipsy Moon. With Silas’ help and Drew Emmitt on harmonica, the band rounded off the second set with a pair of classics, “Blues in a Bottle” and “Pasta on the Mountain,” before returning for their encore, “Good Night to Boogie.” The raging encore featured a sit-in from Hard Working American’s keyboardist Chad Staehly in addition to a reappearance by Silas Herman, leaving us all oh-so-satisfied, but nonetheless wondering about what the rest of this month’s full slate of anniversary shows at the Fox Theatre will hold in store.Leftover Salmon will return to the world-famous Stanley Hotel in Estes Park, Colorado next weekend, March 10th, 11th, and 12th, for their now yearly tradition. The Fox Theatre’s entire 25th Anniversary schedule can be found here, and check out a full photo gallery below by photographer C.B. Klein, as well a free stream of the night courtesy of nugs.tv and full streamable audio of the night, courtesy of Gerry Gladu.Setlist: Leftover Salmon | Fox Theatre | Boulder, CO | 3/6/2017 Set One: Carnival Time, Bend In The River, Ask The Fish, Lonesome Road, Two Step Au Will/Madame Rosin, Reuben’s Train, When The Levee Breaks, Jokester , Stay Away Monday , Cactus Flower, Hot Corn, Cold Corn, Come On Home, Rocky RoadSet Two: Head Bag, Gulf Of Mexico, High Country, Aquatic Hitchhiker, This Is The Time, Blues In A Bottle [2,3], Pasta on the Mountain [2,4]Encore: Good Night To Boogie Michael Wooton on drums,  Silas Herman on mandolin,  Drew Emmitt on harmonica,  James Hambleton on guitar,  Chad Staehly on keyboardWatch Leftover’s full performance below, courtesy of nugs.tvListen to a full stream of Monday’s show below, courtesy of Gerry Gladu