Jam Band Giants

October was a whirlwind. I have been remiss in reporting the wondrous glory of Allman Bros. and Widespread Panic in Charlotte. I am pretty fuzzy on the details, but I know I had a stupendous time. Two of the best bands of all time (in my humble opinion), two sets, two nights = heaven.

I was a bit panicked on the first night because Warren Haynes didn't show up. Widespread's guitarist Jimmy Herring sat in for the Allman Bros. set and the Widespread set. In other words, Jimmy Herring was the hero of the night. The chemistry between him and Derek Trucks added some spice to the group, but Warren's harmonies with Gregg were certainly missed. Gregg brought his A+ game, though - standing with his guitar most of the set and letting Gov't Mule's keyboardist Danny Louis take over on the B3.

When Widespread came out that first night, it was magical. I was completely lost in musical bliss. Jimmy blew my mind. When he played with the Brothers, there was a completely different dynamic than with Widespread. His virtuosity was unparalleled that weekend. No one impressed me as much as he did. The first notes of "Surprise Valley" kicked in and when JB belted out, "goodbye it's time to fly"....that was it for me. The setlist that night was insanity - one barn-burner after another. I can remember details when I really concentrate, but the feeling - that's all that really matters.

Night two, the bands swapped set times - Panic opened and ABB closed. Throughout the entire Widespread portion, I kept hoping that Warren would be there but I didn't want to be disappointed again. Then my fears were assuaged when the crowd roared and he appeared for a rollicking "Henry Parsons" > "Mr. Soul" to close out the set.

The Allman Brothers broke into some deep,bluesy jams for their part of the evening. I think we all needed something to help us unwind. There were moments of their set when I felt like I could cry it was so fantastic. It had been way too long since I saw them; and as much as Jimmy rocked it the first night, it's not the same without Warren. My prayers were answered when they ripped into "Rocking Horse," - my all-time favorite Warren song. Then the unexpected surprise of the evening - the lovely Ms. Susan Tedeschi appeared to share the stage with hubby Derek Trucks for a wonderful rendition of "Little by Little." They closed it out with "You Don't Love Me," another favorite of mine. I was in seventh heaven.

I don't have any concerts lined up for November, a major bummer of being a responsible adult and having a "career." The soundboards from those two nights will just have to hold me over 'til Phish in Charlottesville on December 5!

The Dead - Live 4.15.09 - Charlottesville, VA

With our Thai chicken wraps from Zazus and a sixer of Red Stripe in tow, we waited in the long line of cars entering the John Paul Jones Arena parking lots. Once admitted, we were basically told by the parking attendant, "good luck." All of the real spots had been taken and people had begun parking on curbs, in front of fire hydrants, basically wherever a car could fit. So I backed the KIA up on a grassy knoll and let the people-watching/pre-gaming begin. The shakedown scene was exactly as it should've been - lots of dreads, tie-dye, balloons, glassware and kindness.

After we had sufficiently lubricated ourselves, we trekked into the arena. Bathroom was the first stop once inside, and that's the last time I saw my cell phone. Somewhere between the toilets and our seats, that little bugger slipped out of my pocket and he has now hopefully gone to hippie phone heaven. Hence, no pictures.

I was pretty preoccupied with the lost phone, but the sounds of "New Speedway Boogie" made me remember that the music is all that matters. From the first note of set one until the final choruses of the "G-L-O-R-I-A" encore, I was reminded of the magic of the Grateful Dead catalog. They went deep, pulling out lesser known songs from nearly four decades ago. Click Here for Dean Smith's spot-on review at Jambase. There's no way I could describe it better.

Everything about this concert and the overall experience was so perfect that losing my cell phone was a small price to pay. The Dead are ALIVE!

The Curse Has Lifted!

I am feeling better about my three failed attempts to get Phish tickets through their ticket lottery-thing and the public onsales. When the band announced the additional late summer tour dates, I decided to give it one more chance and try for Merriweather Post tickets.

The miracle Hampton ticket must've changed my luck, because according to my checking account I have been charged. it looks like I won the lottery! See ya in the forest this August!

2008 In Music: Widespread Panic

Like Nine Inch Nails, this is another no-brainer for me. This band is tattooed on my heart. Their album from 2008 is the only one that I rushed out to buy on the release date. They also ranked as one of the best live shows I saw last year (they always do :)

Free Somehow. The first release to feature guitarist extraordinaire Jimmy Herring since he joined the band. The first track literally starts with a "boom" and the sonic journey is fantastic from start to finish. JB's voice is like a fine wine or scotch, smooth and tantalizing.

Like many albums from '08, Free Somehow has its fair share of political, societal and cultural observations. Some are subtle, others are much more obvious - like "Walk On The Flood."
♪ We elected our leaders, so we've been told. Got no right to complain, we've bought what they sold. The slogan of the day is put peace on hold. ♪

"Three Candles" has classic Panic elements - heady imagery, blissful guitars and keys, and spot-on vocals by John Bell. "Tickle The Truth" embodies the essence of Widespread Panic too, and it never fails to bring a smile to my face. It's got that funny edge that they often break out during their concerts. ♪ You know, these cool shades make you look bitchin'. ♪ Heh.

The title track is gentle and beautiful, with one of my favorite guitar solos on the album. Then as an instant contrast, you get the heavy and gritty "Flicker." The peak of the album for me comes with "Her Dance Needs No Body." I get chills just thinking about the saxophone and orchestral layers of that song. The remaining two tracks, "Already Fried" and "Up All Night" are a delicious denouement.

Of course, I would always prefer to have my Panic served up to me on a stage somewhere, but this album proves that the band is still evolving and can hold it down in the studio. Keep it comin' boys.

2008 In Music: Keller Williams with Moseley, Droll & Sipe

The first time I saw Keller Williams on stage, I was hooked. His solo performances are truly something to see. It is amazing to witness how adept he is at creating a layered sound as just one man (with a bunch of gadgets mind you). But I must say, when he hooked up with Moseley, Droll & Sipe - it was mind-blowing. I was thrilled that the quartet didn't waste any time putting out a live album.

Live is the next best thing to being there in person. If you're not a fan of sprawling, Dead-like jams, then this is probably not for you. If you are, I am willing to bet dollars to doughnuts that you will enjoy this album. Even those who are blasé about Keller Williams as a solo act would probably be surprised how well his songs translate from one-man to jam band. This format really breathes new life into Keller's staples. You still get all the lyrical silliness and energy that Keller is known for, but the music means business. Seriously, there were moments when I had to hold onto my face so it didn't get rocked off.

If nothing else, you will thank Keller for introducing you to Gibb Droll, who is relatively unknown for no apparent reason. Droll's guitar solos are scorching, and he really frees Keller up to concentrate on his vocals (and what not :-). When you add in Keith Moseley on bass and the legendary Jeff Sipe on sticks, it's a combination that can't be found anywhere else.

Also check out my November 07 review of Keller with Moseley, Droll & Sipe (then going by the moniker WMD's)

Eric Lindell - Low on Cash, Rich in Love CD Review

In a world where money dominates nearly every facet of our lives, Eric Lindell's latest release Low on Cash, Rich In Love provides a refreshing return to the basics. Declaring in the title track that he’s “low on cash, low on change, rich in love and other things,” Eric reveals the straightforward and sincere attitude that is the hallmark of the album.

With a dynamite cast of supporting musicians, Lindell easily dabbles in the blues, funk, and creole-flavored soul. His New Orleans heritage is unmistakable, especially in “It’s A Pity,” clearly a reflection on the aftermath of Hurricane Katrina. Ripe with thick basslines and electrifying organ runs, this track quickly stands out as one of the highlights.

Eric’s talents as a songwriter and musician are many, but perhaps the most alluring is the sultry and seemingly effortless vocal delivery that seasons every song. The way he sings “baby” certainly had this reviewer spellbound. Mix in his impressive chops on the guitar and harmonica, and you certainly have the fixings for music's next rising star.

While the lyrical content of the album is by no means complex, the themes of romance, relationships, and devotion are instantly accessible and down-to-earth. Lindell exposes himself as a lady’s man in the first minutes of the lilting and sweet opening number, crooning “girl I’ll be doggone if I’ll let you slip away, so lay back, lay back down.”

He continues to pour on the charm in the gritty “It’s My Pleasure,” accented by simmering slide guitar and Delta-inspired riffs. The song slowly builds to a wicked jam, another of the finest moments on the album.

Low on Cash, Rich in Love surely doesn’t break the mold, but it fits into it exquisitely. Lindell has crafted a collection of sing-along worthy songs with rhythms that will definitely get bodies moving on a dance floor. It’s the type of music that just screams to be performed in front of an audience; and as luck would have it, Lindell is no stranger to the stage. If this album is any indicator, his upcoming concerts should not be missed.

Listen:

Keller Williams & The WMD's - Live 11.4.07 - Washington, D.C.

For nearly two decades Keller Williams has been fascinating audiences with his lively and imaginative performances. Manipulating sounds with an extensive array of delay systems, looping devices, and custom-made instruments, Keller has rightfully earned the title of “guitar’s mad-scientist.” He builds his songs in phases, recording each layer individually using a series of gadgets and gizmos.

Despite the improvisational nature of his stage act, even the most loyal Keller fans have expressed fear that his one-man show may be growing stale and repetitive. While the validity of that argument is clearly subjective, it appears to some extent that Keller has taken those criticisms to heart.

This past summer, Keller announced that he would be hitting the road with three brilliant colleagues from the jam band scene - bassist Keith Moseley, guitarist Gibb Droll, and legendary percussionist Jeff Sipe. What was originally thought to be a few select festival performances was expanded to include a short tour of the Southeastern U.S. this November.

The group, going by the name Keller Williams & The WMDs, made their third stop of the Fall tour at Washington D.C’.s 9:30 Club on Sunday. Soon after 8:30, Keller and his all-star entourage emerged, confirming reports that there was no supporting act. There was an arsenal of axes lined up on the stage and a slightly atypical layout; instead of being centrally positioned, the drum kit was to the far right facing the band as opposed to the crowd.

The show started with some beat box from Keller, with the others joining in one by one. There were a few minutes of warm-up jams and noodling around before the opening chords of “Best Feeling” hit with a bam. Keller sang out “for one second I felt like a kid,” and the trippy projected visuals switched to a recording of his toddler-aged daughter dancing around. As if it was the crowd’s cue, skirts began twirling, arms raised in the air, and the floor in front of the stage became a wave of motion.

The intensity built as Gibb and Keller played the call-and-answer game, finally culminating in a soaring solo from Gibb. A pained expression spread across his face and his eyes shut as he shredded his guitar with feverish energy, unleashing greatness that most performers reserve until the end of the night.

With a zip-a-dee-dip bee-bop, Keller launched into an off the cuff “Sunday Night” freestyle. Declaring it time for a “big-ass party” with a “laid-back chill groovy vibe,” he certainly set the tone for a spectacularly fun evening.

Whenever Keller (and his sense of humor) is at the helm of the ship, funny moments are to be expected. During the second set, a piece of clothing was thrown at his feet to which he commented, “I’ve never received boxer shorts on stage.” The crowd roared with laughter as he leaned forward to inspect them saying, “No I’m not going to touch them! They will be tweezered off.”

The set list was mostly material from Keller’s catalog, peppered with a few cover songs and some Gibb Droll originals. While many different genres were dabbled in throughout the night, the overall feeling was straight up funk. Keith Moseley’s intense bass grooves were at the root of that, reminiscent of funky forefathers Bootsy Collins and George Porter, Jr.

Having Jeff Sipe on sticks elevated this ensemble to the ranks of excellence. His effortless style makes drumming seem simple, and his sense of dynamic balance makes it almost possible to forget he’s there. As the show progressed, it was evident that there was a reason for the kit’s unexpected position on stage. Sipe was constantly watching his three band mates, sensing when to lay low and also when to let loose.

The mind-blowing power of Gibb Droll was perhaps the most startling surprise. There were moments when his guitar seemed liable to burst into flames from the sheer fervor of his playing, and it remains a mystery as to why this man is relatively unknown. His skills frequently inspired incredulous looks throughout the audience and on the faces of his fellow band members.

With the WMD’s, Keller has found a way to reinvent his songs and breathe new life into his act. Their cohesiveness as a group is remarkable considering they’ve only played together in this configuration since June, truly a testament to the tremendous improvisational talents of these four individuals. A night with this live music dream team promises not to disappoint.

The Bridge - The Bridge CD Review

There is something undeniably cathartic about driving and listening to music.

Certain albums seem to be made for the open road, and The Bridge’s self-titled release is one of those offerings. With a laid back pace and narrative lyrics referring to wheels a-turning and engines spinning, it is a very befitting companion for a trip down the highway.

The young Baltimore-bred quintet delivers a melting pot of musical styles on this latest CD – from bluegrass-flavored tunes like “Flats of the Old Avenue” and “Chains,” to the incredibly funky “Bad Locomotive” and “Shake ‘em Down.” One of The Bridge’s unique selling points is the incorporation of beat box and saxophone, adding jazz and hip-hop flare into the mix as well.

From the opening song “Get Back Up,” listeners will hear the remarkably tight instrumentation between guitarist Cris Jacobs, bassist Dave Markowitz, drummer Mike Gambone, saxophonist Patrick Rainey, and mandolin/beat boxing extraordinaire Kenny Liner. Supplementing the five core members of the group are frequent guest appearances, including organist John Ginty (Citizen Cope), pianist Mookie Siegel (Phil Lesh & Friends, Dave Nelson Band), and drummer Russell Batiste Jr. (The Funky Meters).

One of the album’s most powerful displays appears in the soulful and dynamic “Angelina.” Jacobs reveals his strength on lead vocals, showcasing a broad range and pitch perfect harmonies with backing vocalists Dave Markowitz and guest Ed Hough.

“Bad Locomotive” is an instant stand-out track, filled with beefy bass lines, smoking hot guitar licks, and a blistering solo from Jacobs that is nearing Stevie Ray Vaughan status. Ominous statements like “halfway to the burying ground” and “I sold my reason for a one-way ride” conjure images of addiction and destructive behavior, which marks a brief departure from the mostly light-hearted tone found in the rest of the album.

Beyond his abilities on the guitar and vocals, Cris Jacobs is listed as the songwriter for nine of the album’s twelve tracks. He and co-founder Kenny Liner share authorship of “The Ballad of Clear Rock,” and Liner is credited with the remaining two songs.

It was an ambitious undertaking considering the band’s heavy national touring schedule, but apparently these two were up to the challenge. What has emerged is a refreshing album with broad appeal, one that literally bridges the gap between genres and generations (and it helps with road rage, too).

The Allman Brothers Band - Live 8.14.07 - Bristow, VA

The Allman Brothers Band
Nissan Pavilion – Bristow, VA
August 14, 2007 – 6:30 PM
Supporting Act – Bob Weir & Ratdog

Last night was absolutely mind-blowing, and the current state of my brain definitely confirms that. I still have a smile on my face (and grass stains on my feet) even though I’m at work and running on few hours of sleep + lots of coffee. The performance (and the whole experience) exceeded all of my expectations. The weather was picture perfect, the lawn was open for business, and the crowd was just the right size. We met quite a few colorful characters – one guy in the beer line who was our own personal stand-up comedian.

The band took the stage at 9:00pm, and the music didn’t stop for two glorious hours.

SETLIST:
Hot ‘Lanta, Statesboro Blues, Ain’t Wastin’ Time No More, Midnight Rider, Maydell, Soulshine (with Ron Holloway on sax), Wasted Words, Good Morning Little Schoolgirl (with Jeff Chimenti on keys), Leave My Blues At Home, Trouble No More, Same Thing > Bass > Drums >Same Thing (with Ron Holloway on sax)
Encore: Melissa, Jessica

Sunday night, the show started off at a simmer. Last night, they came out scalding with “Hot ‘Lanta” into the unshakable crowd-pleaser, “Statesboro Blues”. They kept the hits coming with “Ain’t Wastin’ Time No More” and another audience favorite, “Midnight Rider”. Then it was time for some Warren Haynes originals. “Maydell” sure put the squeeze on me – the guitar work and Warren’s vocals had me crying out to the heavens. I didn’t think it could get better, but that opening riff of “Soulshine” nearly brought me to my knees. One of the best songs ever written in my humble opinion, and Ron Holloway on sax sends it soaring. Our other guest of the evening, Ratdog’s keyboardist Jeff Chimenti, laid down some vicious piano on “Schoolgirl” while Gregg took a break. There was no relenting once Gregg came back out. Willie Dixon’s “Same Thing” was perhaps the pinnacle of the evening for me, if I had to choose. Also, I am in love with the bass and drums combo they have going on now. As I said before, it’s great to see Oteil getting more of the limelight. The night ended with the two beautiful belles of the ball, “Melissa” and “Jessica”, leaving me with an entirely different setlist than Sunday night. I wish I had more hands so I could give this show TEN thumbs up!

North Mississippi Allstars - Live 7.28.07 - FloydFest 6

I can’t even begin to describe how fantastic the guys were on Saturday night. Then again, it’s impossible for me to be objective at this point. Trust me despite my bias – you absolutely, positively MUST go see the Allstars if you get the opportunity. Straight up blues, boogie, funk, rock, country – you name it, these fellas can lay it down. Kurt Clayton has started sitting in on keys for some shows, and I had the pleasure of seeing him for the first time at FloydFest. The element he adds is incredible, never distracting, like he was meant to play with ‘em. I also got to see Chris break in his new Lakland and it was mmm mmm good. The MC pulled me aside and told me Big Chew was the best bassist he’d ever seen in his life, and he certainly got no arguments from me ;o) The brothers Dickinson were on fire as usual. Luther is not wasting any time ascending the ranks to guitar god status, and Cody is just plain killer on the drums. They were only scheduled to play til 12:15, and it was about 12:45 when they started the encore. The crowd was going nuts – I’d be curious to know how many people came to FloydFest to see the NMAs, cause they were packed in like sardines as far as the eye could see. During the “All Night Long” encore, a young man, he couldn’t have been older than 13 or 14, came out and just SHREDDED it. I was floored when I looked up and realized it was a kid. Apparently, he is/was a student at Dave Matthews’ guitar school, but skills like that can not be taught, he played like an old pro. I was jealous of his cool factor – this kid is going places. Eventually I’ll get back to you with his name….

EDIT: The "young shredder" referenced above is Willie DE - he was at the festival performing with his band, The Wave.

Anyway, if I didn’t say it enough by now, the show was amazing. I’m still quite exhausted, though. We got lost for about an hour and a half leaving the festival grounds, I was in a rental car because the Kia was broken, and I’ve spent about 15 hours on the road in the past two days. But was it worth it? Hell yeah!

PS: I wasn’t kidding when I said go see these guys (click here for tour dates ) – they’ve got gigs lined up all over the country through the rest of the year – a few supporting the Allman Brothers and the Black Crowes, and then a 6 week tour with Mavis Staples, Charlie Musselwhite, and Joe Krown. I know The Grammys are a sham these days, but still, they didn’t get nominated for three for nothing.

PS: Total praise & gratitude towards the special gentleman who made this night amazing :O)

Keller Williams - Live 7.14.07 - Charlottesville, VA

Keller Williams w/ Bob Weir & Ratdog
Charlottesville Pavilion – Charlottesville, VA
July 14, 2007, 6:00 PM

Saturday shows are by far my favorites. When work’s not looming on the horizon, I can finally breathe easy and let my freak flag fly! Ahhh…the blissful concert afterglow. For my money, there’s no better way to undo life’s stresses.

So, I got to Charlottesville early to meet up with Amanda for some grub. After we ate, we wandered towards the venue, and as if the delicious food wasn’t enough to set the day off right, I’ll be damned if we didn’t get to hear Keller’s Soundcheck!!! First off was a pretty killer rendition of Dave Mathew’s “Jimi Thing”. A sizeable crowd started to form, and Keller seemed to become aware of the audience. He made a slight chord shift, and sang in one of his silliest of voices, ♪I would swallow my pride, I would choke on the rinds…♪ Haha. Eve 6’s “Inside Out”. “Play This” and a couple other warm-up jams followed, then some fine piano work on “The Night They Drove Old Dixie Down”. Just when I thought the soundcheck was over, Bob Weir came out and the two played “Brown-Eyed Women”, a favorite of mine from the Grateful Dead collection ♪Brown-eyed women and red grenadine, the bottle was dusty but the liquor was clean♪ Yup, Robert Hunter wrote some great party lyrics. After soundcheck, we still had plenty of time to kill before the show, so we went and had seriously the BEST gelato I have ever had in my life. I wish I had an endless supply of that stuff.

EDIT: I still can't stop thinking about that gelato from Splendora's. Mmm. I highly recommend the place.

Fast forward to 6 pm. We have our spot staked out on the lawn, the weather is fantastic, $5 beers in hand. This was my 5th time seeing Keller, and he’s still at the top of his game. I am more in love every time. The setlist had some Keller classics, “Fuel for the Road”, “People Watchin’”, “Bob Rules”, “Love Handles”; as well as some fun cover songs, “Mama Don’t Let Your Babies Grow Up To Be Cowboys”, “Wanted Dead or Alive”, “Rapper’s Delight”, and the “Night They Drove Old Dixie Down” that we’d heard him rehearse earlier. Bob came out again to close out Keller’s set, and I got to hear “Brown-Eyed Women” again. Score!

Bob Weir & Ratdog - Live 7.14.07 - Charlottesville, VA

Bob Weir & Ratdog w/ Keller Williams
Charlottesville Pavilion – Charlottesville, VA
July 14, 2007, 6:00 PM

Things were becoming warm, fuzzy, and hazy by the time Bob & the band emerged :O) There was a huge turnout for this show – Deadheads everywhere. This was my first time seeing Ratdog, so I had no clue what to expect. Well, turns out I should have expected GREATNESS . Bob Weir is THE MAN , and the guys in the band are all amazing. I heard from someone in the crowd that Steve Kimock was filling in for the guitarist, and no offense to Mark, but that made me quite happy. Steve’s always on point and I love any opportunity to see him in action. Also, another tidbit I heard that last night was

Bob Weir’s 750th show!

The internet confirmed this fact and all I can say is holy freaking crap, that’s ridiculous.

They didn’t waste any time, and started us off with a blazing jam that slowly escalated into “The Music Never Stopped”, which got everyone up and dancing. Merle Haggard’s “Mama Tried” and Dylan’s “Senor” were the cover tunes for the first set, along with a few other songs I didn’t recognize. Then the set closed with one of the night’s highlights, the towering “Eyes of the World”. My girl Lizzie recently mentioned the moment where you lose yourself in the music, and “Eyes of the World” took me to that place. A helluva way to end the first set.

I didn’t think the guys would be able to surpass that “Eyes”, and for the first few songs of the second set, they didn’t. Then, I heard that funky opening riff of “Estimated Prophet” and Weir’s voice sounded like it hadn’t aged a bit as he sang out ♪California!♪ They didn’t relent, calling up the thunder in “The Other One” – followed by a deep version of The Beatle’s “Dear Prudence”, and closing out the second set with the BEST “One More Saturday Night” I have ever seen. The energy on that song made me feel like I might explode. The crowd hooted and hollered as the stage went black. The encore came quickly, and I can’t begin to explain how happy I was. “Ripple” – one of my most beloved Dead songs. I nearly cried because I wished it was Jerry up on stage, but somehow Bob channeled him. I could not have walked away more impressed. I am now a full-blown Bob Weir & Ratdog fan. Worth every penny.

Umphrey's McGee - Live 6.27.07 - Charlottesville, VA

The D.U.M.B Tour
Umphrey’s McGee co-headlining with The Disco Biscuits
Charlottesville Pavilion – Charlottesville, VA
June 27, 2007, 6:50PM

Whenever there is a jamband-y show at the Charlottesville Pavilion, the pedestrian mall leading up to the venue gets taken over by swarms of hippies. This amuses me to no end. You can see the look of terror on locals’ faces as they’re dining at the outdoor cafés and are suddenly engulfed in a sea of tie-dye, dreadlocks, and patchouli. It’s one of the few times and places where you witness the awkward, and hilarious, intermingling of the hippies and the squares.

Sadly, I didn’t have time to take all that in like I usually do. I was running late, and my bladder was about to explode. I rushed through the hippie promenade and got to the Pavilion just in time to hear Umphrey’s take the stage. I still hadta pee, and let me tell you, the bathrooms are such an upgrade from the porta-potties that used to be there. Also, LADIES, some really generous female fans of Umphrey’s McGee (a group called 2nd Self) came up with just about the greatest idea I’ve ever seen. They placed baskets of feminine products, hand lotion, condoms, mints, etc. next to all the sinks. How extremely sweet and much appreciated!

I grabbed my first beer and weaved through the crowd. I counted at least 4 Tool shirts on my way to the front, confirming my theory that Umphrey’s is the Tool fans jamband. I made it to the stage at the exact moment they started into the second song of the evening, a long-time favorite of mine, “Jimmy Stewart.”

SETLIST:
Plunger > “Jimmy Stewart” > Plunger > The Fuzz > Partyin’ Peeps, Wizard Burial Ground, Thin Air, Great American > Got Your Milk (Right Here), All In Time, YYZ

The crowd was visibly sluggish from the muggy heat, but “Partyin’ Peeps” got everyone moving and getting their groove on. ♪ The beat is kickin’ in, we’ve got a second wind ♪ Brendan Bayliss’ voice has a quality that breaks into my brain and captures me, very similar to the effect of Incubus’ Brandon Boyd. This is not to diminish the impact of the other band members, since 4 out of the 6 of them are equally active and talented with the vocals. The tightness of the ensemble is impressive; everything they do is gleaming. If they were ever out of step, I didn’t notice it. They improvise and jam, but they serve up their noodles al denté. In one song, they are playing synchronized runs that conjure images of the Allman Brothers, in the next song, they sound like Iron Maiden. Their newest, “Wizard Burial Ground,” was heavy and totally bad ass. Then Joel Cummins brings this jazzy piano solo, paving the way for the percussionists to infuse yet another genre into the mix – bongos + steel drum = Caribbean. Towards the end of their set, Bayliss reenacted Chappelle’s “Tyrone Shuffle”, which seemed to go unnoticed by everyone but me. Brendan, if you read this, I saw that and I cheered! They closed out with a stellar cover of Rush’s “YYZ” (teasing “Spirit of Radio” at the end) which left me even hungrier for more. They’re playing in Norfolk, VA tonight…damn this day job! As the roadies set up for the Disco Biscuits, I found myself wishing that it wasn’t a co-bill. Bisco is alright, but they just don’t do it for me like Umphrey’s McGee.

PS: A thanks to my special friend who made this evening possible

Medeski, Martin, & Wood - Live 5.24.07 - Richmond, VA

Medeski Martin & Wood
Lewis Ginter Botanical Garden in Richmond, VA
May 24, 2007, 6:00PM
Ticket Price $25
Opening Act: Homemade Bread

The evening was beautiful – my first time seeing Medeski Martin & Wood and my first visit to the Lewis Ginter Botanical Garden. Being there, I remembered how I love plants (not just the ones you smoke ;). I felt an instant sense of peace when I walked through the gates. The flowers and the greenery were in full bloom, little hippie children were running around, and the weather was ideal. I made a spur of the moment decision to go to the show, so I figured it would be a solo venture. Luckily, Amanda had the day off and accompanied me.

We got there about midway through the opening band’s set. Homemade Bread they were called, and they sounded pretty good. Their style was funky and jazzy, and the vocals were solid. The saxophone player, David Gay I believe, really impressed me. Definitely want to check out more from these guys, but I’m having difficulties locating them on the web, can’t even find ‘em on Myspace. I think they need my marketing assistance ;o)

EDIT: I came across this snippet about Homemade Bread on the Haymaker Festival website.

I used the break before MMW to wander around and snap some more pictures of the gardens. Gorgeous! I can’t believe I go to Richmond so frequently and don’t take advantage of that place.

The stroll through the plant labyrinth (along with the beers) had me nicely relaxed and primed for the MMW set. The crowd cheered as John Medeski made his way over to the piano, with Chris Wood and Billy Martin following shortly there after. They each took their time warming up – Medeski getting used to the feel of the piano, Wood tuning his upright bass, Martin organizing his giant arsenal of percussion equipment. Unlike a rock ensemble, where the first song is like a blast to the face; Medeski, Martin, and Wood slowly built up to their introductory number. (Disclaimer: I wasn’t able to identify the tunes by name since I am not very well versed in the MMW catalog). They started off with a straight-up jazz piece. As the intensity built, Martin and Wood brought the rhythm, laying the foundation for Medeski to show his stuff. It wasn’t long before he was standing and strumming the strings of the grand piano as if it were a stringed instrument (well, it is technically, but you know what I mean). For the second song, Medeski pulled out his melodica and Wood switched to the electric bass, and the sound shifted from jazz to world music. They got into some deep grooves throughout their 90 minute set, but the highlight was definitely the encore cover of “What’d I Say?”. People who had been seated all night got up and joined the rest of us in the hippie shuffle. MMW was exactly what the doctor ordered for me, but I heard some folks commenting that it was too jazzy for their tastes. My guess is that most of these people miss the guitar. I thought it was a refreshing change to have the focus be on the piano; I miss that instrument in music. Definitely seeing this trio whenever they come around Virginia again.

Col. Bruce Hampton & The Aquarium Rescue Unit - Live 5.9.07 - Richmond, VA

Col. Bruce Hampton & The Aquarium Rescue Unit
Innsbrook Pavilion in Glen Allen, VA
May 9, 2007, 6:30 PM

Even though I’ve been to the Innsbrook Pavilion many times before, it still trips me up that the place is nestled inside a giant office park. Not your typical location for a concert venue, but somehow the folks over there have made it work. There are some drawbacks to the area, though. For one, the crowd is normally littered with white-collar professionals who are much more interested in social hour than music (an ongoing beef of mine). Secondly, the security is tighter than the proverbial duck’s arse. While the police presence didn’t confront me none, the constant chitter-chatter certainly cheesed me off. I meandered through the crowd searching for a quiet haven to enjoy the show, which I did, right in front of the speaker. It’s sad when that’s the only place you can go and actually hear over the talking, but hey, you do what you have to do.

By the time I got settled, the sun was setting and the Aquarium Rescue Unit was already about 30 minutes in to their set. The group, considered the forerunner of the modern day jam band scene, has had an ever-changing lineup since its inception in the late 80s. Wednesday night, the ARU consisted of some familiar faces to me – founding member and “Godfather of Jam” Col. Bruce Hampton, current Widespread Panic guitarist Jimmy Herring, and the Allman Brothers Band’s current bassist Oteil Burbridge as well as Jeff Sipe aka Apt Q-258 (percussion) and Bobby Lee Rodgers (banjo/vocals) both of whom were new to me. Since this was my first ARU gig, I didn’t recognize much of what I was hearing. You didn’t have to know the songs to know it was some straight-up goodness, though. These guys rarely play together nowadays, so it was beyond a treat to have this opportunity. The band laid down some of the sickest grooves I have ever witnessed – impeccably fusing rock, bluegrass, jazz, you name it. I have heard before that Oteil is limited by the Allman Brothers Band; judging by his performance Wednesday night, that assessment is correct. He really took command over a good portion of the show, singing and scatting while dropping some scorching hot bass lines. Someone awesome captured footage and posted it on YouTube –

When Oteil wasn’t directing traffic, Col. Bruce graced us with his rough and rootsy vocals. Even though he is considered the band leader, he deserves to lay low if that’s what he’s feeling – the man is an unacknowledged legend. He just has that quality about him – you know you’re in the presence of greatness. And then there’s Jimmy Herring, who is a master of his craft. Most people know Warren Haynes is one of my favorite living guitarists, but Jimmy is now closing that gap. He shreds it and totally floors me with his solos. If he sang, too, Warren might have a real fight on his hands. See what I mean –

Towards the middle of the set, Derek Trucks came out for a few songs and we got a short glimpse of the amazing chemistry between him and Jimmy (more to come during the DTB set). Then, a very young man appeared on the drums who was later identified as Derek’s little brother, Duane. With their uncle Butch playing drums for the Allman Brothers, the Trucks family is building quite the musical pedigree. The ARU closed out their set with a splendid rendition of “Turn On Your Lovelight,” and the roadies got to work on setting up DTB ’s equipment.

If you EVER have the opportunity to see the Aquarium Rescue Unit, you absolutely should. They made a hell of a first impression on me. I have run out of ways to say amazing, so I’ll just leave it at that.

PS: A special thanks to the wonderful man who made this evening possible :P

Widespread Panic - Live 4.3.07 - Richmond, VA

Widespread Panic
Landmark Theater in Richmond, VA
April 3, 2007, 7:30 PM
Ticket Price: $45

Going to see Widespread Panic gives me a sort of giddy excitement that only a few other bands can top. Now that they have guitarist Jimmy Herring in the mix, the energy is insane. They nearly blew the roof off the Landmark Theater in the second set. I will say, though, that I prefer the Pan-Pan in outdoor venues. There are six guys on stage, and that’s a lot of sound to be contained by four walls. Our seats were at the top of the theater, too, so the vocals were a little washed out. But no matter. The jams made up for it. And I’m used to dancing on the grass, so the plush carpet was a nice change of pace.

Part of the joy of Panic shows, for me, is the interaction between fans. There are really no strangers; we’re all united in our love of the music. And I really look forward to seeing everyone in their hippie garb.

Set 1: From The Cradle > Fishwater, Better Off, Angels on High, You Should Be Glad, Flicker > Greta, You Got Yours, Give

Set 2: This Part Of Town > All Time Low > Diner > Party At Your Mama’s House > Airplane > Drums > Impossible > One Arm Steve > Love Tractor

Encore: Pilgrims > Blackout Blues

On the way to shows, I always like to name my 3 wishlist songs for the night. This time I wanted Surprise Valley, Climb To Safety, and Fishwater. Well, I got Fishwater second song of the night. Can’t ask for more than that. Flicker is a new song that they’re working on, and we Virginians got blessed with it’s first on-stage debut. Excellent.

Set 1 was definitely a warm-up for Set 2. I think they must’ve tweaked the sound a little bit, too, cause the vocals were slightly clearer. The boys didn’t relent in bringing the hotness – This Part of Town into All Time Low into DINER ! into PAYMH into AIRPLANE !!! Then the bongo and drum time ensued. You can always pick out the moderate fans – they sit down during the drum solos, hehe. Anyway, it seemed like a lot of people were complaining about the sound, but always in the context of, “If they sounded that good with crappy sound, imagine how awesome they’ll be this summer.” I can’t wait!!!