making

Mountain Standard Time featuring special guest Michael Kang

As a bluegrass band that's anything but traditional, Mountain Standard Time follows in the footsteps of such Colorado greats as The String Cheese Incident and Leftover Salmon. While leading acoustically with guitar, mandolin, and banjo, MST brands its own style, boasting a big, full-band sound with saxophone, electric bass, drums, and electric effects.

The members of Mountain Standard Time hail from all over the country, yet their musical paths crossed in Nederland - a small, Colorado mountain town steeped in bluegrass music. Whether you chalk it up to fate or coincidence, music goers everywhere are coming together to enjoy the "explosive bluegrass" that these six friends and musicians have come to create. MST has performed all over Colorado and across the country, with appearances at Wakarusa Music Festival, 10,000 Lakes Festival, and the Telluride Bluegrass Festival contest finals, among other events.

Mountain Standard Time's roots stem from late night "picks" among the bluegrass faithful, making music lovers dance from mountain towns to backwoods campfires. Rich lyrics, original melodies, vocal harmonies and driving back beats have been moving fans across the country, while the band's unique charisma has been winning hearts. More Info / Buy Tickets

Boulder Theater | October 21, 2010 @ 9PM

My Morning Jacket's Carl Broemel to Release Solo Album

“It takes a lot of time to know your mind.”  Its a simple statement, yet earnest and profound in its offering.  Sometimes it’s the spaces in between, the subtleties and ambiguities that provide us with the most meaning.
 All Birds Say (ATO Records) is an intimate collection of musings on life from My Morning Jacket guitarist, Carl Broemel.

 Broemel reflects on things as they are with Zen-like contentment, making no judgment on how they should be...he gives pause for introspection but stops short of preaching. The songs are firmly planted between past and present.  It’s in these little fractured moments that the listener bears witness to thoughtful contemplation that give rise to epiphanies on larger themes.

Broemel could’ve taken the easy road and penned a lyrical triptych to the remarkable journey he’s experienced over the past several years, but instead All Birds Say is an incredibly honest and sincere insight into the artist’s inner-most thoughts as he attempts to reconcile his role in life.
 “Where do you start?  Or where do you stop?  And how do you reconcile the things you do versus the things you don’t?  It’s something I’m constantly thinking about.  I think there’s a lot of trying to be aware of what you’re doing now versus dwelling on things or worrying about what’s gonna happen later.  A lot of the songs are really just me talking to myself, trying to make sense of things in my head.”

Deft in its presentation, the songs on the album unfold in a dream-like stream of consciousness with lush and elegant arrangements.  The album’s brilliance is displayed in Broemel’s effortless delivery.  It’s the perfect amalgamation of lazy sophistication…whimsical poise and grace.  The instrumentation serves as the ideal complement to Broemel’s well crafted set of modern-folk standards; complete with pedal steel, dobro, strings, autoharp, clarinet, bassoon, vibraphone, and baritone sax, among others.  Think Ron Sexsmith, Neko Case, Neal Casal, Andrew Bird, Mose Allison, and early Boz Scaggs singing an orchestrated chorus of breezy ballads and waltzes.

The guitar figure of the instrumental title track that opens the album serves as a natural introduction to “Life Leftover,” an introspective meditation on the importance of being more present in life that’s at the heart of All Birds Say.  The album also afforded him the chance to collaborate with his own father, a former member of the Indianapolis Symphony who provides rich color and depth to the music with clarinet, baritone sax, and bassoon.

“To me, making records is like alchemy.  It’s something that no one can ever perfect, but you have an insatiable desire to keep doing it and get better at it.  I really believe that everything we experience contributes to what we do next, so this album is really a result of all the records and tours I’ve done so far.“

The best records always seem to be the ones that slowly reveal themselves like a pleasant surprise and allow the listener to peel through deeper layers upon repeated listen…the kind of records that you grow with and can go back to months later and hear something then that resonates with you in a way that wouldn’t have otherwise.  It’s an interactive process between the listener and the artist, and one to be thankful for.  This is the kind of album that epitomizes the vinyl experience; an instant classic that is sure to stand the test of time.

Listen to Bromel's 'Heaven Knows'

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Steve Cropper & Felix Cavaliere reunite for new album, 'Midnight Flyer'

Steve Cropper, guitarist for Booker T. and the MGs and one of the primary architects of the unmistakable Stax sound of the 1960s, and vocalist/keyboardist Felix Cavaliere, the voice of the Rascals and the pivotal figure in the blue-eyed soul movement of that same era, have reconvened for their second collaborative recording. Sparks fly at the crossroads of Memphis soul and East Coast R&B when Stax Records releases Midnight Flyer on June 15, 2010.

Midnight Flyer, recorded in Nashville and mixed by the legendary David Z, is the followup to Nudge It Up a Notch, the 2008 maiden voyage by Cropper and Cavaliere that scored critical acclaim from the music and mainstream press. The San Francisco Chronicle called Nudge It Up a Notch “an unexpected delight,” while Blues Wax heralded the project as “one of the great surprises of 2008, and further evidence of Concord’s genuine commitment to the revamped Stax imprint.”

The Stax legacy — and Concord’s commitment to it — are very much alive in Midnight Flyer, an album that once again showcases the songwriting prowess of two towering figures from one of the most seminal periods in the history of American pop music. Assisting with the songwriting throughout most of the album’s 12 tracks is drummer/percussionist/vocalist Tom Hambridge, who also lent a hand with the crafting of the previous album.

“Felix and I come from pretty much the same musical school — but from different geographical locations,” says Cropper. “He’s a Jersey boy at heart, and I grew up in Memphis, but when soul meets soul, what can you say? There are no borders. There are no boundaries.”

But geography does play a role in the making of great songs, says Cavaliere. “Steve has that Southern vernacular, which is something I really like,” he says. “It’s almost like another language to those of us from the East Coast. It has a certain folky quality to it. Some of those idioms are part of the hit songs that Steve has written and recorded over the years, and they’re part of this record as well.”

The impact of both of these musicians and songwriters on pop music is nearly impossible to quantify. As part of Booker T. & the MGs — the house band for the Stax label in its original incarnation during the 1960s — Cropper co-wrote and produced classics by artists like Eddie Floyd (“Knock On Wood”), Wilson Pickett (“In the Midnight Hour”) and Otis Redding (“Sittin’ on the Dock of the Bay”). In subsequent decades, he lent his instrumental and production skills to a range of artists including Jeff Beck, the Blues Brothers, Neil Young, John Mellencamp and many others.

Cavaliere came to prominence in the mid-’60s as vocalist/keyboardist/songwriter for the Rascals (initially known as the Young Rascals). Cavaliere wrote and/or sang several of the band’s biggest hits, including “Good Lovin’” (1966), “Groovin’” (1967), “It’s a Beautiful Morning” (1968) and “People Got To Be Free” (1968). The phrase “blue-eyed soul” was coined during the Rascals’ heyday, due in large part to the group’s highly successful forays into R&B and soul — styles that had been developed and previously dominated by African-American artists.

Co-produced by Cropper, Cavaliere and Hambridge, Midnight Flyer captures the synergy and brilliance that can only emerge when two powerful forces of nature come together. The result is a range of styles and shades, from heartfelt ballads like “When You’re With Me” to the soul-charged “I Can’t Stand It,” a churning vocal duet featuring Cavaliere and his daughter Aria. “Sexy Lady” harkens back to the soul stylings of the ’70s, while the funky instrumental “Do It Like This” digs into a tight groove and makes plenty of room for Cropper’s tasty riff work to close out the set.

“The main thing we both take away from this record is how much fun we had making it,” says Cavaliere. “We may have used a lot of new technology that didn’t even exist when Steve and I were recording back in the day, but the songs themselves are still the most important part of the process, and we just had a blast writing and recording them. I think that spirit comes through on the record.”

Cropper notes a timelessness about Cavaliere that serves as a metaphor for the music itself. “Felix is ageless,” he says. “Sure, you can look at him and see that he’s gotten older since those early days, just like we all have. But if you close your eyes, he sounds as young and energetic as he did when he was making records back in the ’60s . . . Working together on records like this reminds us of the kinds of things that go into the making of a good song. We’re still doing that, and we’re still having fun doing it.”