Grateful Web was recently fortunate enough to speak with bluegrass/newgrass mandolinist, David Grisman.  Dawg was kind enough to share some of his history with bluegrass legend, Del McCoury, David & Del’s new release, Hardcore Bluegrass in the Dawg House, David’s music label, Acoustic Disc and the hi-definition re-release of the classic Garcia/Grisman album, Grateful Dawg.

GW: I understand that the recently released Del and Dawg - Hardcore Bluegrass in the Dawg House is comprised of music recorded on two separate evenings, with a lapse of seven years between them (1992 and 1999).  What prompted you to currently release this combination?  Why now?

Dawg: Why not?  Since building my own studio, I've recorded a lot of music without any particular deadline or project in mind. Sessions with Del and the boys, Jerry Garcia, Doc Watson, John Hartford and others occurred during visits and informal get-togethers. A few of these tracks were used on several other projects, Life of Sorrow (ACD) and Happy Birthday Bill Monroe: Dawg Plays Big Mon (Acoustic Oasis.) It seemed a good time to release all of the tracks from both of these sessions.

I'm always playing gigs with my various groups (David Grisman Quintet/Sextet, David Grisman Bluegrass Experience and FolkJazz Trio) and it's always good to have a new release. Beyond that, I'm not that scientific about marketing strategy. Too much thought about the biz can hurt your playing.

Dawg: I met Del the day he played his very first gig (on banjo) with Bill Monroe and his Blue Grass Boys. It was at NYU (where I was a student) early in 1964. We became friends and played our first gig together in 1966 in Troy NY (documented on the Early Dawg LP (now CD) that was released on the Sugar Hill label. We both became fathers of first-born sons (Ronnie McCoury & Monroe Grisman) within a month of each other in 1967 and have maintained our personal connection through the years until now.  I've felt for quite some time now that the Del McCoury Band is the best bluegrass band in the world. For pickin', singin' and the bluegrass groove, in the style of the architects of bluegrass, they are unequaled.

Dawg: Well I still record on analog tape, and use the same microphones and recording techniques that I learned from all the fabulous engineers and producers that I've worked with for nearly 50 years now. Of course, having great musicians playing great-sounding acoustic instruments, recorded by a great engineer with great microphones is essential. Basically, attention to detail rules.

Dawg: Well that amount of experience yields plenty of tunes, arrangements and set lists. Having that amount of material makes it pretty easy to pick the "cream of the crop" at any given moment or situation.

Dawg: One of my favorite elements in music is the interaction between musicians. Music for me is a team sport, and having different vehicles with different repertoires allows me to have a very broad reach in my musical endeavors.  It's both challenging (very good for any artist) and stimulating. I'm having a ball!

Dawg: Not exactly rituals, but we generally rehearse in the hotel room, do the sound check and play our butts off.  What else is there?

GW: Do you have any plans or ideas in place for after the tour?

Dawg: Yes. Keep checking the AcousticOasis.com website.  I'm about to launch a series of Hi-Definition downloads that are noticeably better sounding than CDs. This month we're releasing  a series of compilations, HI-DEF FOLK, HI-DEF JAZZ, HI-DEF BLUEGRASS, and HI-DEF DAWG. On August 1, we'll release a HI-DEF version of the original Garcia/Grisman CD, along with a complete Alternate CD of unreleased tracks. I'm very excited about this and many other projects that keep me continuously busy in Dawg Studios.

With a career spanning over half a century, it’s difficult to conceive of a musician treating an audience to tunes that sound nothing but fresh.  However, Mr. David Grisman is able to do exactly that.  With an intimate and conversational style, the David Grisman Bluegrass Experience (DGBX) provided their audience with a delectable musical treat at the Boulder Theater on July 13^th.  Besides the musicians and their instruments, the stage was nearly bare, as DGBX dished up meticulous acoustic sounds and warm vocal harmonies.

Mr. Grisman, known affectionately as “Dawg,” was interactive with the crowd throughout the show, including thoughtful introductions of each band member.  While he is known for his melting-pot style of “Dawg” music (a conglomerate of folk, bluegrass, jazz, swing, Latin, and gypsy), Mr. Grisman guaranteed, with a sense of reverence, that the evening would be delivered in the style of “hardcore traditional bluegrass;” the crowd roared in approval.  The band opened with “My Walking Shoes Don’t Fit Me Anymore,” and then Dawg presented the band members individually, with each introduction respectfully followed by a song that allowed that musician to shine.  These introductions added to the intimacy of the evening, allowing the audience to get acquainted with individual styles before the group began their seamless collaboration that permeated the evening.

Dawg began by introducing Keith Little, noting his poignant banjo stylings and tenor voice.  The band then played a rousing rendition of “Little Maggie,” which served as the perfect backdrop for Keith’s talents.  Jim Hurst was then given a warm welcome, with his guitar playing and honey-smooth vocals displayed in “I’ll Just Pretend.”  Fiddle player, Mike Barnett, was next in the spotlight.  Dawg noted that the group was lucky to have him, as a skilled musician from a “younger generation.”  His fiddle playing took center stage in the instrumental “Horn Pipe Dream.”  All the musicians made notable contributions, and a rousing fiddle solo punctuated the song.  Lastly, Grisman had the pleasure of introducing his own son, Samson Grisman, as the bass player for the band (referring to him as “a bass fiddle player,” commenting that a bass is in reality a big fiddle).  Grisman noted with pride that Samson has been part of the band almost since birth.  In response, the crowd nearly levitated with excitement.  The band played “Highway of Sorrow” to complete Samson’s introduction, which Sam complimented with his bellowing bass.  Keith Little then introduced our magnanimous host for the evening, David Grisman, and his mandolin, supplementing the introduction with a heart-felt hug.      

The remainder of the show was highly collaborative, beginning with a boisterous version of “The Cuckoo.”  Although Grisman is the official leader of the band, his respect for his fellow band mates is clear on stage, without the slightest hint of elitism.  In a recent interview, Dawg noted, “music for me is a team sport.”  He clearly demonstrated this idea through the egalitarian nature of the show, with all members’ contributions respected and honored. Instrumentation was sewn together, and while solos abound to feature each artist’s specialized skills, the solos were discrete and controlled. 

Despite his impeccable reputation within his genre, Dawg presents as unaffected, with his humility bolstering his ability to perform.  He is in awe of those that came before him, as well as his peers.  Dawg provided the audience with historical background information in between each song, referring to it as an unofficial “bluegrass 101.”  At one point, he joked with the crowd, “Are you writing this down?” (Ironically, I was indeed furiously scribbling the morsels of information he bestowed upon us).  DGBX’s historical course on bluegrass began with “Lorena,” a song that was popular with both factions during the Civil War.  The song was slow and sweet, marked by Jim Hurst’s soothing voice, and conversational playing between the fiddle and the bass.  This was followed by a rousing rendition of “Thinking Tonight of My Blue Eyes,” as a nod to Dawg’s recent release of Del and Dawg - Hardcore Bluegrass in the Dawg House, featuring Del McCoury.  Moving through bluegrass history, Grisman touched on the notable “brothers’ duets” of the mid-1930’s, playing a rocking version of “Lost All My Money But a Two Dollar Bill.”  He then used the notion of brothers’ duets to segue to a song by Mr. Bill Monroe, the widely accepted father of bluegrass (and former member of a duet with his brother, Charlie).  DGBX played “Will You Be Loving Another Man?” as a nod to Bill Monroe’s prowess within the world of bluegrass. 

The first set was polished off with two tribute songs, honoring artists that recently passed away.  DGBX played “The Watson Blues” for Doc Watson, and “Dawgy Mountain Breakdown” for Earl Scruggs.  Both songs were entirely instrumental.  “The Watson Blues” was slower and haunting, opening solely with Dawg’s mandolin before the remaining players moved in, including a notable fiddle solo by Barnett.  “Dawgy Mt. Breakdown” had a faster pace, and featured Keith Little on the banjo, in the role of Scruggs (appointed playfully by Grisman).  This song wrapped up the first set, but its rousing pace clearly left both the crowd and the band ready for more after a brief intermission.

For the second set, the band picked up right where they left off, with the addition of two new musicians on the stage: Bobby Britt (fiddle), and Sally Van Meter (slide guitar).  DGBX started off strong with an up-tempo rendition of “Don’t Let Your Deal Go Down.”  The second set was full of fun, foot stomping beats, like “Dawg Bite Your Hide,” “Another Night,” and “’Til the End of the World Rolls Around.”  Rich vocal harmonies between Grisman, Little, and Hurst pervaded the set, with all three pouring their hearts out around a single microphone.  Interspersed in the fun, Grisman continued to weave in more emotional aspects, including a song dedicated to his wife, Tracy, (“I’ll Never Love Anybody But You”), as well another tribute “Happy Birthday, Bill Monroe.”  Additionally, Keith Little put his tenor voice to work on the emotionally laden “Dream of Miner’s Child.”  This song was particularly well enhanced by Sally’s slide guitar.

The band wrapped up with a single encore song, “My Last Days on Earth.”  Grisman reported that Bill Monroe composed the song 10 years before his death, when he was first diagnosed with cancer.  He referred to it as a “very quiet song,” which immediately demanded the audience’s attention, as members of the crowd shushed each other to give the final song their undivided attention.  Soulful, solemn, and beautiful, Keith Little played mandolin in conjunction with Dawg, ending the evening on an emotionally raw and intimate note.  Overall, Grisman’s show was perfectly satisfying, rendering its grateful audience members even bigger fans than when they entered.

Band Members:

David Grisman (mando)

Keith Little (banjo)

Jim Hurst (guitar)

Mike Barnett (fiddle)

Samson Grisman (bass)

Bobby Britt (fiddle)

Sally Van Meter (bass)

Set List – First Set:

1. My walking shoes don’t fit me anymore
2. Little Maggie
3. I’ll just pretend
4. Horn Pipe Dream
5. Highway of Sorrow
6. The Cuckoo
7. Lorena
8. Thinking tonight of my blue eyes
9. Lost all my money but a 2 dollar bill
10. Will you be loving another man
11. The Watson Blues
12. Dawgy Mountain Breakdown

Set List – Second Set:

1. Don’t let your Deal Go down
2. (unknown)
3. Dawg Bite Your Hide
4. I’ll never love anybody but you
5. Another night
6. Dream of a miner’s child
7. Happy Birthday Bill Monroe
8. ‘Til the end of the world rolls around
9. My last days on earth

On September 25^th, 2012, Ben Sollee will release his fourth studio album, titled Half-Made Man.  Sollee is known for his innovative cello playing, which he skillfully uses to highlight his songs and grab your attention, and this album is no exception.  Half-Made Man consists of ten well-balanced tracks, including the single “Unfinished.”  The album’s tracks stand strongly alone, as individual pieces of music, and also operate cohesively when pieced together as an album.  Methodical instrumentation is supplemented with thoughtful lyrics, touching on a wide variety of topics.

As the album title suggests, Ben presents a thought-provoking idea in Half-Made Man: that he is a work in progress, which is a highly relatable and humbling concept for his listeners.  Throughout the album, Ben conveys a harmonious paradox: we are somehow complete and whole in an unfinished state of being.  We should strive to evolve and reflect, rather than focus on ourselves as a finished product.  His music echoes this conflicting idea, as it manages to strike a balance between soothing and stimulating; raw and polished; spontaneous and thoughtful.  It is ripe with vulnerability and delivers what the title promises. 

The album, which was produced by Sollee, is vibrantly packed with the sounds of his cello, guitar, and mandolin, as well as his silky vocals.  Additional contributors include: Carl Broemel (My Morning Jacket) on electric, acoustic, and pedal steel guitar; Alana Rocklin on bass; Jordon Ellis on percussion; Jeremy Kittel on violin; and Abigail Washburn on guest vocals.

The songs on Half-Made Man complement each other, without being repetitive.  Ben’s voice is expressive with its warm, smoky tones, and he doesn’t hesitate to hold the sweet notes.  He uses the varying pace of his voice to punctuate his heart-felt lyrics.  The first three songs are soulful, bright attention-grabbers.  Within the initial seconds of the first song (“Whole Lot to Give”), Ben uses his unorthodox cello playing to pull you in.  The second song, “The Healer,” keeps you right with him, using unassuming percussion his signature, yet unexpected strings.  The lyrics of “The Healer” touch on the common, although often misguided, desire of so many people to heal those around them.  Ben picks up the pace with “DIY,” artfully playing his cello with a raw quality, delivering notes with a country feel.  His down-home cello style is ironically steeped in sophisticated and controlled percussion and staccato-like vocals in the chorus.  The end rocks out in a manner that would guarantee foot stomping in a live performance.  In the fourth song, Ben slows it down, and allowing the listener to focus on his tender lyrics.  He slows the pace in this song, but it serves as a platform for the following track, “Unfinished,” which is also the album’s single.

“Unfinished” embodies the message of the whole album.  Beginning with its first line, “oh my rough edges…” Ben uses strategic vocabulary in his lyrics.  His words are both visual and tactile, and they create a visceral sense of incomplete wholeness.  With this song, Ben clearly establishes the concept of a distinctly human “half-made man.”  The steadily building instrumentation, the choice vocabulary, and soulful vocals leave the listener with a discernibly full, yet vulnerable feel.  (“Unfinished” is currently available as a single for steaming.  Visit bensollee.com for more information.)

Ben plays off the energy of “Unfinished” in the following song, “Get Off Your Knees.”  He dials down the tempo, but maintains the energy with the notably bluesy style, more illustrative lyrics, and abundant pedal steel guitar.  Ben continues with a slower pace in the reflective tracks “Slow Down” and “the Maestro.”  He follows up with “Pursuit of Happiness,” which is my personal favorite from the album.  Bluesy, soulful, and magnetic, the lyrics are rife with everyday human trials and tribulations.  The album concludes itself with the sweet, earnest “Some Lovin’.”  Overall, Ben Sollee’s fourth album, Half-Made Man, will certainly make his audience think and feel.  Full of heart-swelling melodies and lyrics, and a compelling philosophical stance, Half-Made Man is not to be missed.

Technicolor Tone Factory…  Say it out loud.  Just once.  Let it roll languidly off your tongue.  Feels good, doesn’t it?  The pleasing alliteration of their name is only the start of the feel good vibes this band is emitting.  Technicolor Tone Factory (or TTF) played a fun, high-energy show to a pulsating, sweaty crowd on July 21, 2012 at the Boulder Theater that lived up to the promise of their highly sensory name. TTF is full of the fresh spirit that makes up-and-coming bands so much fun to see.  They played their hearts out, and the crowd responded accordingly, reflecting their earnest enthusiasm.

The Boulder-based band has been grooving together since April 2011.  They have five talented members on the stage at all times, covering a wide range of skills.  Despite being a very green band, the band members communicate efficiently on stage like seasoned musicians.  Members include Zach Johnson on bass and lead vocals, both Jarrod Guaderrama and Brian Boster on guitar, Bryan Lafever on drums, and Greg Kalfa on keyboard.  Zach Jackson contributes strong, funky bass lines, and energetic lead vocals.  In addition to his talent, Zach has a magnetic stage presence, smiling and laughing with audience members throughout the show, making them even more engaged.  On stage, Zach is flanked by two guitar players, Jarrod and Brian, who are able to both contribute to and balance Zach’s energy. 

Drummer, Bryan Lafever, is an experienced marching band drummer, which provides a strong and dynamic backbone for the group.  Unassuming and rife with talent, Greg’s keyboarding skills are like the cherry on top of the sundae, adding unexpected sparkling notes to the already thoroughly layered, funky jams that TTF seems to specialize in.  Creating engaging jams is a subtle art, and although there is no doubt that TTF will only continue to improve here, they are consistently strong where it counts: at the end of a jam.  There were a few songs that started off a little rocky, but they were rounded out with a cohesive jam that didn’t drag or weigh down the audience. 

Technicolor Tone Factory had their work cut out for them when they flooded the stage: they were preceded by three hours of opening acts, provided by a smattering of local bands (Frogs Gone Fishin’, Casual Sinners, and Lula Granji).  I was already feeling saturated, and unsure if I would be able to fully reengage.  However, within minutes of TTF taking the stage, I had forgotten about my sensory overload, and was swept up by their funky, groovy style.  The band was having so much fun on stage that is was difficult not to join them.  Their music was primarily instrumental, with vocals added at specific times, including some cheeky covers.  Approximately halfway through the show, TTF took the already vibrant crowd to another level with their cover of “Don’t Stop Me Now” by Queen.  This proved to be a perfect platform for Zach’s searing vocals.  This song transitioned into a Spanish-influenced song, complete with the addition of two musicians, one on a bongo set, and the other on saxophone.  Greg also contributed some rousing vocals in a crowd-pleasing funk song.

From TTF’s perspective on stage, I imagine this show could only be perceived as a success, as their audience was completely absorbed in them throughout the entire evening, reflected by their fans’ swaying hips and waving hands.  Truly, a good time was had by all, both on and off the stage.  Technicolor Tone Factory is a new band with the potential to add a lot, namely energized fun, to the Boulder music scene. 

Karma dictates that you get what you give; if this is the case, Langhorne Slim & The Law’s performance at the Boulder Theater is a prime example, where the band and crowd seemed to reciprocally pour all their energy into each other.  The result was a ubiquitous good time guided by our fearless leaders’ winning combination of talent and unbridled enthusiasm.  Langhorne Slim is backed by “The Law,” comprised of Jeff Ratner (bass), Malachi DeLorenzo (drums), and David Moore (keyboard and banjo).  The group recently released their fourth studio album, The Way We Move, which demonstrates Slim’s quirky and personal style of songwriting.  The new album was clearly a driving force in the development of their set list, as Slim tackled well over half of the new material in the course of the show.

With his unique style, Langhorne embarked upon the stage donning a bowler hat, and immediately pulling the crowd in with his energy.  With an effortless vigor, Slim stormed DeLorenzo’s drumset, hiking up the drums in his leather boots, as he belted out one his new songs, “Bad Luck.”  He continued to rock out in “On the Attack,” another new song that showcases his distinctive vocals.  Slim’s singing is highly modulated, and he easily demonstrates his ability to move between warbling high notes and low, guttural tones.  Slim sings with the raw intuitiveness of a seasoned performer, combined with the accessible vulnerability that steeps his lyrics.

The Boulder Theater sees a great deal of hip swiveling and arm waving; however, at this show, the audience took the usual concert-induced wiggle to another level.  After stepping away for a moment, a glance from the lobby area revealed that the entire crowd seemed to bounce together.  Langhorne Slim’s songs almost uniformly end in his audience dancing feverishly.  During the song, “Fire,” Slim put his guitar down for the first half of the song to join his fans with equally spirited movement.

Langhorne Slim displayed a wide variety of tricks throughout the show to keep everyone engaged, including jumping to the point of propelling his hat off head, and then attempting to kick it up in the air in order to catch it with his head (so close!)  He also did a powerful, solo mini-set of two new songs (“Coffee Cups” and “Wild Soul”).  Additionally, he improvised the end of “Honey Pie,” referencing the Colorado stars, the only place a man might lose a girl to “a guy named Tree.”  During this episode, Slim also professed his love for DeLorenzo, with a spontaneous, screeching “I love you, Malachi!” and mentioned the possibility of soothing his broken heart by purchasing a pet mouse named Charlie.  Clearly, Mr. Slim knows how to keep everyone on their toes.

Langhorne Slim & The Law finished their show with a strong encore, including a rendition of the song “Mary” that took both the band and the audience to a fever pitch.  All four musicians gave it everything they had, including a notable banjo solo from Moore, who appeared to be playing his instrument with his entire body.  Langhorne Slim & The Law’s sincerity and impassioned hard work make for an above and beyond music experience.     

Solo instrumental guitarist, Jeff Aug, recently released a new collection of songs, entitled Wedding Song.  In general, Jeff has a flair for presenting the familiar with a twist.  He is an American, yet he resides in Germany.  Instead of crediting his head and his heart for his work, he credits his fingers for the creative impetus behind his music.  Instead of planning reasonably paced tours, Jeff strives to break records; he currently has bragging rights for playing 9 shows, in 9 countries within 24 hours. 

Wedding Song has the familiar intimacy of having a close friend play guitar in your living room amongst attentive listeners, but with a certain driving force that makes it much more dynamic than mere background music.  The album, a heady concoction of rich acoustic sounds, is purely instrumental.  Aug’s style is nimble and spontaneous, yet polished.  Not a single note sounds out of place, yet without any danger of a canned or overly produced quality.  Beginning with the first song, also entitled “Wedding Song,” Jeff combines sparkling melodies, with deeply resonating low notes that literally reverberate in your chest.  The pace of Jeff’s music vacillates both within and between songs, which keeps the music stimulating and lively.  The songs blend seamlessly together.  Wedding Song has a total of 14 tracks, but my favorites are the title track, “Listen up, Jazzhole!” and “7 Ate the Cat (and called it a boogie).” 

Precision in Jeff’s playing gives his music a nearly visual quality, as if you can see his fingers selecting the notes with a meticulous intuition.  Enjoy this album with good friends and good wine, and you may feel as if Mr. Aug has made a spontaneous trans-Atlantic trip to join you.

On August 1^st and 2^nd, Mr. Marco Benevento took up a brief residency at Dazzle Restaurant and Lounge, playing four shows between the two evenings.  I caught the last of the four, and briefly wondered if this could be a mistake.  Perhaps Marco would be feeling a little withered at this point; maybe the set list would seem tired; perhaps he would be itching to get to the Telluride Jazz Festival he was playing the next day.  But no, if this show is a representative sample, there seem to be no mistakes with a live Marco Benevento performance.  This is especially true when you are sitting spitting distance from him.  At Dazzle, he reigned over a grand piano, adorned with a laptop, a small electronic keyboard, and a variety of buttons and knobs, which nearly rendered the piano into a new and different species. 

Mr. Benevento’s layered, piano-driven sound mesmerizes the senses like a well-synchronized urban orchestra.  Based out of Brooklyn, Marco’s music has an edgy, experimental depth that positively reeks of big, East coast cities.  His music has a dream-like, euphoric quality that fills the room, getting into all the nooks and crannies.  On this sticky August evening, perfect for a sultry jazz show, Marco’s piano playing was augmented and enhanced by bass player, Dave Dreiwitz, and drummer, Claude Coleman Jr.

Marco is a musician’s musician, adored and respected by his professional peers.  In addition to the fact that he has gracefully worked with some of the most highly revered names in the industry, a live performance provides increased clarity as to why Marco has such a sterling reputation.  Beyond his collaborative projects, Marco has a strong foundation of solo studio albums, with his fourth album, TigerFace, to be released on September 11, 2012.  The new album is rumored to cover unchartered territory for Benevento.  For example, Marco has pre-released two singles with vocals, an unprecedented element in his music.  “Limbs of a Pine,” and “This Is How It Goes” feature the voice of Kalmia Traver of Rubblebucket. 

New music can make fans nervous; we tend to want to hear what we know and love in live performances.  Marco handled this neurotic truth with finesse and wisdom; within his impeccably chosen set of 10 songs, he focused primarily on his second and third studio albums, Me Not Me and Between the Needles and the Nightfall.  He first saturated his audience with exactly what they came for.  Marco played a full, swelling version of “Golden” (from Me Not Me), with meticulous and tinkling piano perfectly balanced by Coleman’s controlled drumming.  From Between the Needles and the Nightfall, “It Came From You” was performed.  At this point, Marco began simultaneously playing the grand piano and a small electric keyboard, perched on top of it.  This song is lighter, giving the listener a sense of near levitation, with swirling patterns of notes, like amicable, audio tornados.  Marco clearly enjoyed himself throughout the performance, but during this song, he embodied a particular lightness being, exchanging smiles with his band mates, and interspersing mini head bangs throughout the song.  Also from this album, Benevento played the visceral beats of “RISD,” a song that was created during a sound check at the Rhode Island School of Design.  With a driving bass line, steady like a heartbeat to guide him, Marco intuitively navigated the keys with his eyes closed, presenting his fans with waves of sparkling music, with a slight echo reverberating from each note, resulting in an artful metallic quality. 

For the last official song before the encore, when everyone was satisfied and at ease, Marco played one of his new songs, “Limbs of a Pine,” magically channeling Kalmia Traver’s voice, with the help of his trusty computer.  Opening with a strong percussion presence, Marco was literally bellowing the beat to his band mates at the beginning of the song.  The timbre of Kalmia’s voice pairs symbiotically with the electronic edge of Marco’s style.  With such a well primed audience, Marco’s timing and presentation of this song instantaneously created a roomful of fans for his new album.  

It is difficult and unnecessary to pick a favorite with a performance like this.  However, with that being said, and at the risk of being effusive, Marco’s choice for the encore is worth gushing over.  Benevento played his well-known amalgamation of Pink Floyd’s “Fearless” embedded with “Benny and the Jets.”  Marco takes the Pink Floyd cult classic “Fearless” and makes it his own by weaving in the unexpected, but eternally identifiable lines of “Benny and the Jets.”  Marco’s piano takes on the opening chords of the Pink Floyd tune as if that is the only way it ever existed.  Despite the fact that this was somewhat of a mature, mellow show, with all participants seated and relatively quiet throughout, there was a definite increase in the already high energy level of the room.  You could simply sense the awe and appreciation that filled Dazzle during this final song.

At the beginning of Marco’s performance, the manager gave the audience strict instructions to turn phones off and refrain from speaking during the show; the crowd obeyed respectfully.  However, there was one minor breach of said rules in between songs, but no one was bothered by the infraction.  An audience member simply said what everyone was feeling, with three words: “this is awesome!”  Everyone murmured in agreement and with gratitude for this summative and concise observation, for that is exactly what the performance was.  Thank you, Marco.  We anxiously await your return.

Gauging the reaction of their audience, Jet Edison could simply be defined as people-pleasers in the confines of their Saturday August 4^th show at the Fox Theater.  The sweaty crowd spoke pretty clearly with their enthusiastic and incessant movement.  Jet Edison is a Colorado-based jam band, consisting of four members: Phil Johnson (keys, vocals), Max Kabat (guitar, vocals), Adam Mason (bass, vocals), and Alex Johnson (drums, vocals).

Jet Edison has a decidedly Phishy feel, a quality which their audience seems to enjoy.  Their music is rife with round, funky, keyboard influenced jams, and singer, Max, delivers mellow, crooning vocals, not unlike those of Mr. Trey Anastasio.  Regardless of these correlations, Jet Edison is not devoid of their own individualized personality.  Between the barefoot keyboardist, decked in neon, and the wild haired guitarist in an 80’s style, animal print, wife beater, it would be difficult to confuse this quartet with anyone else.

In the style of a true jam band, Jet Edison played leisurely instrumental jams, ripe with funk.  Keyboardist, Phil Johnson, adds a lot to the equation, as he is practically hemmed in by keyboards, which he knowledgably navigates.  Saturday’s set was full of new material; the band played only one song, “Pi,” from their studio album, Adopt a Highway.  Staying true to form, the group focused the majority their energy on the instrumentation, rather than vocals, with each song stretching to an approximate average of ten minutes. 

Mid-way through the set, Jet Edison surprised the audience with a crew of special guests: a trio of brass players, and local guitarist/celebrity Matt Flaherty (of Hot Soup, and The Matt Flaherty Band).  As there is never a dull moment with Matt in the room, he showed up in full force, ready to groove, decked in an ankle length, floral print housedress, circa 1983. 

This was a great song in the show (although the name went unmentioned), augmented by the additional guitar, and brass section.  Also, Phil Johnson threw in an additional trumpet, giving his keyboards a chance to cool off.  The band followed up with some bluegrass, or more accurately jam grass, and the show proceeded like a well-oiled machine.  For the many Boulder jam band aficionados, Jet Edison is an easy sell, and they make for a fun evening of grooving, with the band and the crowd being very much in their element. 

Check out more photos from the show.

On Saturday August 4^th, Rocktin Grove managed to epitomize a postmodern band without the slightest hint of pretention.  Seamlessly sewing together select pieces of other genres, Rocktin Grove concocts their own unique blend of music, complete with a wide variety of instrumentation, rich, engaging vocal harmonies, and original material.  Rocktin Grove took the stage at the Fox Theater just three days since its re-opening, after being closed for the summer due to renovations.  The usual cast of characters filed happily into the theater, relieved to be back at this coveted spot, and Rocktin Grove’s well organized, well-executed tunes simply allowed the already joyful crowd to ride their happy wave.    

Rocktin Grove consists of an impressive seven members, with the majority of them being multi-instrumentalists.  Band members include: Jon Kimbell (mandolin, vocals); Will Viitanen (drums); Wilson Harwood (guitar, banjo, vocals);
 Adrian Flynt (bass, vocals);
 Nate Luebbe (mandolin, violin); Garrett Cropsey (saxophone, vocals); Theo Farver (acoustic guitar, harmonica, percussion, vocals).  It is no wonder the band is able to tackle funk, bluegrass, Latin, rock, and even Celtic flavored tunes with the wide variety of instruments in their repertoire.

Although they were not headlining the show, Rocktin’s six-song set gave their audience a comprehensive tour of their capabilities as a band.  The set included a few songs from their EP, as well as some new material.  They opened up with a Latin groove, called “Ice Cream Cha Cha,” that is on their EP.  They neatly juxtaposed the Spanish feel of the song with some unexpected strings, resulting in the crowd’s immediate buy-in.  During the course of the first song, the space in front of the stage went from nearly empty to swollen with bouncing bodies.  With the next song, they brought in banjo, mandolin, and a more pronounced presence from Nate, the adept violin player.  The third song was also from Rocktin Grove’s EP, entitled “Time Is,” which starts out mellow and soothing, and transitions to a more rocking beat, wavering effortlessly between the two sounds throughout the song.  The violin also notably punctuates this song.  The band also threw the audience a bone with a great funk number, which was effectively fortified by Garrett’s saxophone playing. 

The set was appropriately finished with a new song, never before played live.  In this slower and crooning item, the three primary vocalists (Jon Kimbell, Wilson Harwood, and Theo Farver) dished up rich harmonies, and lyrics revolving around “The Path of Least Resistance.”  This song literally left the crowd begging for more; people were chanting as the instruments were swapped out for the next act.  Luckily, for the many fans that were left wanting more, Rocktin Grove will be playing a full set on Friday August 10^th, 10 pm, at The Lazy Dog in Boulder.

Check oiut more photos from the show.

Allen Thompson is on a new departure with his upcoming album Salvation in the Ground, due to be released on September 4, 2012.  In this new project, Allen made a conscious decision to use the powerful energy of increased collaborative effort, resulting in a cohesive album with a well-rounded sound, and most importantly, it is fun to listen to.  Thompson seems to have hit a sweet spot with a new philosophy: more is more.  Starting with a three-piece string band, Allen added a rhythm section and a fourth harmony vocalist, and he is now working with an electric 6-piece band.  The album boasts multiple guitars, mandolin, fiddle, banjo, keyboard, piano, organ, accordion, and a variety of percussion/drums.  Thompson leads with his vocals, but he is also working with up to four vocal harmonies in any given song. The result is a decidedly 1970’s California feel.  The Allen Thompson Band* has the communal, folk-rock sense of artists such as Crosby, Stills, Nash, and Young, The Byrds, and The Band.Salvation in the Ground is the kind of album that grows on you.  At first, it is palatable and catchy, with its easy country-rock feel and just a hint of pop, making it very accessible.  Then after listening a few more times, I found myself humming tracks, certain favorites looping through my head.  With repeated presentation, it seems to have burrowed its way under my skin and into my heart.  The album tackles the everyday trials and tribulation our hearts drag us through, along with everyone else, yet they somehow seem so singular to us.  It strikes a winning balance with emotional, personal lyrics and rich layers of instrumentation.  Thompson’s soulful vocals are a perfect compliment; they are emotional and honest, but with an element of restraint. The vocal harmonies are sneaky, with a subtly increasing energy that suddenly grabs your attention, but then you realize they’ve been building up to that point purposefully since the song started.The album consists of 9 thoughtful tracks that play adeptly together in their entirety.  One of my favorites is “Dirt to Dust,” from which the album’s title was extracted.  This song starts out with a comfortable folk feel, but skillfully builds to a more soulful crescendo.  “Everyone Knows” is also lovely, and a great change of pace, featuring Allen’s vulnerable vocals and unadorned piano, a stark contrast from the group effort of the rest of the album.  Touching lyrics (e.g. “I know everything changes, but sometimes it happens so slow”) bring the song together, and make it difficult to forget.  “When I’m Young” is the perfect follow up with some upbeat guitar strumming, leading into a complex weave of other instrumentation, and punctuated by heart-felt vocal harmonies during the chorus.  These specific songs spoke to me, but I could honestly write like this about the majority of the album.  Salvation from the Ground is a gem, with music that becomes richer and more personal as you get to know it better.*The Allen Thompson Band consists of: Allen Thompson (vocals, guitars), Clint Maine (guitars, banjo, percussion, vocals), Grayson Downs (bass, vocals), Joe Andrews (guitar, mandolin, keys, vocals), Laura Maine (vocals, percussion) and Ray Dunham plays drums live.  Other contributes to Salvation in the Ground: Don Gallardo (lyrics, vocal), Fred Eltringham (drums on the record), Luisa Lopez (lyrics, vocal), Luke Bulla (fiddle), Marion Grace (vocals) and Micah Hulscher (piano, organ, accordion and electric piano).

Didn’t you always dream of having Jerry Garcia and David Grisman pick the night away in your living room?

Yeah, me too.

The reality of that is a long shot, especially since it would require crossing into different spheres of existence, but Dawg’s recent re-release of the 1991 Garcia/Grisman album is the next best thing.  Mr. Grisman released the album for Jerry’s recent 70^th birthday, but it is really a gift to all of us.  The album is available exclusively through Grisman’s record label Acoustic Disc, using meticulous recording methods to preserve the quality of the acoustic sound.  The result is music that sounds freshly picked from the studio, almost as if you were sitting there watching (however, I have seen Grisman play live, and not even his scrupulous recording techniques can rival that experience).  Furthermore, David has released an alternate version of the album: Garcia/Grisman Alternate.  The track list is identical, with each song replaced by a different take to give you a closer look at the intimate Garcia/Grisman experience.

Garcia/Grisman is not only a delight to listen to, but it is emblematic of the close friendship between the two artists that continued until Garcia’s death.  Although the musicians met in the ‘60s, Jerry and Dawg had not recorded together in 15 years when they began this project in 1991.  The album became somewhat of a catalyst between them because they remained close friends and musically entrenched until Jerry’s death in 1995.

Despite the pervasive association with bluegrass that we attach to this pair, the album touches on a much wider range of genres, all skillfully tackled with acoustic instruments.  In fact the opening track is a well-known blues song, stamped with their acoustic signature.  The duo play the blues with “The Thrill Is Gone,” a song made popular by B.B. King.  Jerry and Dawg also include “Two Soldiers,” a folk song from the Civil War, about the devastating impact that war had on soldiers and their families.  The inclusion of this song provides a different perspective on Jerry Garcia, who is so commonly associated with the light-hearted fun of his live Grateful Dead performances.  “Two Soldiers,” a song passed on through oral tradition, gives a glimpse at Jerry’s reverence of music, the crucial role it has played in society, and the way people have used music to make sense of their often chaotic and painful worlds.  Additionally, the dark and heady “Arabia” also gives listeners a different look into Garcia and Grisman’s musical sensibilities.  With its Spanish feel, the sixteen-minute track is ambitious and expansive; it is a well-rewarded departure from their more frequently utilized musical styles.

Furthermore, Garcia/Grisman is the birthplace for many songs that we now consider classic, such as “Grateful Dawg,” “Dawg’s Waltz,” and their well-known acoustic rendition of “Friend of the Devil.”  Garcia/Grisman fans may feel deeply entrenched in numbers such as these, and will surely feel nostalgic listening to them in the context in which they debuted. 

As previously noted, there are two versions of this masterful and emotional collection of songs.  Of course, I cannot choose a favorite.  My speculation is that was not the point of Mr. Grisman’s exercise, but rather David is throwing fans a bone during this tender birthday/anniversary time.  I may be jeopardizing my pride here, as I reveal the depths of the nerd within; however, to best appreciate the delicate differences between the original and alternate recordings, I created a playlist that allowed me to listen to the respective versions of each song back-to-back.  The differences between the original and alternate are subtle; Mr. Grisman is simply giving us more a very good thing.  Thank you to David, for giving us just a little bit more of Jerry to hang on to, to keep him alive in our hearts.  We already know that this is a pure and beautiful collection of songs.  It sounds great on any day, but especially now as means to honor one of the artists behind it, who is tragically no longer with us. 

Nostalgic sentiment was running high at the Fox Theater (more photos) on August 17^th as Shakedown Street took the stage.  This may always be the case to some extent when Shakedown Street plays, as they are a well-known Grateful Dead tribute band, a concept that is ripe with nostalgia by definition.  However, the emotional stakes were higher as Shakedown Street not only tackled the Dead, but also embarked on playing the iconic Dead show from Cornell University, May 8, 1977.

Initially the show was only about a quarter full, with a lot of grey ponytails and tie-dye in the room.  However, over the course of three or four songs, the Fox became comfortably full.  This show may have been more about the Grateful Dead’s loyal following rather than the show itself; one concert attendee reported that had seen 111 shows prior to Jerry’s death.  Shakedown Street gave all of these Deadheads a nice excuse to get together and the band played them what they love.

Shakedown Street delivered exactly what I expected: they are solid tribute band, paying homage to their favorite musicians, and giving the biggest fans something else to hold on to with their performances.  The band’s usual 5 members plus an additional drummer played with two enormous Deady Bears adorning the background.  The first few songs (“New Minglewood Blues,” “Loser,” “El Paso”) were short and had limited jamming, but they really picked up with “They Love Each Other,” which was a highlight of the show.  I was most looking forward to “Dancin’ in the Street,” which was indeed a fun tune, but of course it could not live up to the sixteen minute masterpiece from the original 1977 show.  It was also nice to see three of the six members contribute to vocals (Smokey Joe Weisiger, Scott Swartz, and Josh Rosen), and they varied who took the lead to get the closest match to the original song; however, the crowd responded more to the jamming than the singing.  Overall, the performance played out as expected, and would be enjoyable for anyone who knew exactly what they were getting themselves into: an impromptu love fest for the Dead.

05/08/77

Barton Hall (Cornell University) - Ithaca, NY

Set 1:

New Minglewood Blues


Loser


El Paso


They Love Each Other


Jack Straw


Deal


Lazy Lightnin'


Supplication


Brown-Eyed Women


Mama Tried


Row Jimmy


Dancin' In The Streets

Set 2:

Scarlet Begonias


Fire On The Mountain


Estimated Prophet


St. Stephen


Not Fade Away


St. Stephen


Morning Dew

Encore:

One More Saturday Night

In celebration of the Rolling Stones’ 50^th anniversary, the eBook People are publishing a 2-part, 2000-page electronic publication, providing the most thorough fans with the most thorough documentation of this iconic band’s dense history.  It is entitled The Rolling Stones: Views from the Inside, Views from the Outside; currently, the first part is available, and the second part will be released later in the fall.  Each part focuses on 25 years, with a chapter devoted to a calendar year.  Chapters begin with a narrative reviewing the year, which is then followed by historically preserved articles, interviews, photographs, and Stones’ album reviews from that year.  Each chapter/year also includes a list of any significant albums from key artists of that time.  This last piece is particularly interesting from a historical standpoint because it provides a frame of reference for each year of their career relative to other bands. 

Written by Hanspeter Künzler, this massive “book” may be best approached as a reference, rather than a cover-to-cover read.  With that mindset, it is a veritable playground for the diehard Stones fans that find music history (almost) as fascinating as the music itself (I know I can’t be the only one out there).  The first part of the eBook explores 1962 through the end of 1986.  Encompassing the first 25 years, it addresses the true meat of their career, those precious years that made the Rolling Stones a household name.   

Being a creature of habit, I went straight to the chapters addressing the years I love most, from about 1968 to 1972, when the Stones hit an unprecedented production stride, ferociously cranking out some of the best rock albums available to date, such as Beggar’s Banquet, Let it Bleed, and Exile on Main Street.  This music is enormously personal to me, as it is to many others, and I have high expectations of any writing addressing this time.  The book’s prolific author, Mr. Künzler, handled the task of writing for overly anxious fans with grace and intelligence.  His writing is steeped with gritty personal and professional details about the band; additionally he provides cultural and political history that gives a further sense of meaning to the Stones’ career. 

Overall, the eBook is thorough and frill-free, presenting readers with copious facts and quotes, and providing an unbiased view of the Stones’ history.  Although, Künzler occasionally tosses in a little personal rhetoric that serves as a warm reminder that he too is a fan.  For example, he writes: “Exile on Main Street was released on 12 May [1972] to mixed reviews (the best records often take their time to sink in, of course!”.  His narratives are then supported by reproductions of articles, interviews, photos, and album reviews.  The album reviews are a delightful treat, briefly allowing a reader to slip into a nostalgic revelry, providing the fodder to toy with experiencing a world where, for example, Exile on Main Street is released as a work of art for the first time (unless you happen to be lucky enough to have experienced it yourself).  Overall, the sheer quantity and density of information make the Stones’ eBook not for the faint of heart, however it is a respectful and comprehensive homage to a band that is often dubbed “The Greatest Rock and Roll Band in the World.”

The electronic and instrumental duo, BoomBox, played a vibrant, sold-out show at the Boulder Theater on Friday September 7, 2012. Known for being spontaneous and eclectic, BoomBox tailors each show to the crowd, the venue, and the evening. Their music is indeed impromptu and limber, yet they still produce a polished and thoughtful sound. BoomBox is comprised of Russ Randolph and Zion Godchaux. That second name may have a familiar ring to it; Zion is the son of Donna and Keith Godchaux, two pivotal members of the Grateful Dead (1971-1979). With the exception of some classic rock and psychedelic rock influences, Zion is borrowing very little from his parents beside their famous name; the sound of BoomBox is truly one of a kind. Falling outside genre labels, Russ and Zion's music appeals to fans of jam bands, rock, funk, and electronic beats. The music is carried by an assertive electronic backbone, and controlled yet funky guitar.

At their Boulder Theater show, BoomBox provided the crowd with a multi-sensory entertainment experience.  Of course we think of music primarily as an auditory modality, but BoomBox generates a tactile energy that seemed to flow through their listeners. I spent the evening with a sense that their music was reverberate in my chest and flowing out of my finger tips.  Their bass-heavy style may seem like the obvious explanation, and is definitely a contributing factor; however the experience is much more complex than simply being moved by strong bass beats.

The integration of Russ's electronic layers with Zion's improvised, smooth guitar playing results in a whole that is greater than the sum of its parts.  Zion achieved a rare balance on the guitar in that he is clearly comfortable jamming, but without being over-indulgent. His style pairs well with the meticulous, other-worldly nature of Russ's electronic stylings. Additionally, there was a distinctive visual component to the show. I personally spent the majority of the evening with my eyes closed, feeling fully satiated by the auditory and tactile feast set before me, which is always a solid indicator of quality at a show.  Nonetheless, Russ and Zion gave the crowd plenty to look at with Mad Hatter-esque head wear, sunglasses, and feather boas.  The lighting also played its own unique role in the show, even through my closed eye lids.

BoomBox played plenty of fan favorites, opening with a memorable rendition of "Mr. Boogie Man," with a pleasantly prolonged and teasing introduction that primed their crowd for what was to come. They also played "Midnight on the Run," "India," "Round and Round," and "Stereo" to name a few. However, this show was not one where I placed a high priority on figuring out a detailed set list. That's not how the band or the show operated.  Each song seemed to meld with those surrounding it, resulting in a show that felt like a living, breathing organism, playfully conversing with the crowd, feeding off their appreciative energy.

Check out more photos from the show.

On Friday, March 15, the iconic Philadelphia group, G. Love & Special Sauce, graced Boulder with their presence.  G. Love and Special Sauce (comprised of Garret “G. Love” Dutton, Jim “Jazz” Prescott, and Jeff “Houseman” Clemens) is known for their unique R&B musical dialect.  A mix of an unseasonably warm evening and budding spring fever brought an energetic and eclectic crowd to see this trio play their hearts out.

G. Love and his comrades have been touring for 20 years, and they certainly perform like the seasoned musicians that they are.  Their music is loose, but never sloppy.  They mostly played their well-known music, songs that they have played hundreds of times.  However, they play them with an enthusiasm and skill that resulted in a fresh, fun performance.  I have no doubt that you could see multiple consecutive shows, and even with an identical set list, each show would present in an entirely different light, inventive and fresh.

The show started with familiar three familiar songs (I-76, Fatman, and Who’s Got the Weed).  They were presented with high energy, but strayed little from their studio format, as the crowd got comfortable, allowing the audience to settle in, and see that they were going to get the classics that they came for.  As the show progressed, the presentation of the music became looser, less structured, and more improvisational.  However, G. Love waited to do this until he truly had the crowd’s attention.  Songs began to blend together more, punctuated by solo performances from all three musicians.  The middle of the set sort of blurred together into an artful, bluesy, poetic tangle.  G. Love and Special Sauce then presented one of their new songs, Little Darling, with vocal harmonies and a sweeter sound than the sound they are historically known for.  This was followed by a crowd favorite, Baby’s Got Sauce.  This was technically the “last” song, but G. Love returned to the stage to play a 4-song, full spectrum encore.  He began with 2 acoustic, solo songs, but then brought his band mates back on stage, finishing with the folksy Milk and Sugar, and the ever popular Cold Beverage.

After seeing this show, I think G. Love may be able to give James Brown a run for him money over the title “Hardest Working Man in Show Business.”  G. Love is like a wiry beanpole on the stage, with at least some, if not all of his limbs, moving rhythmically at all times.  He is constantly in motion and bantering with the crowd in his poetic, charming manner.  G. Love is animated, and provides a seamlessly high energy level.  Also he appeared to be simply having a great time on stage, and his audience easily followed his example.  G. Love alternated between playing his baby blue guitar seated in a wooden chair, scissoring his bent legs with such fluidity that it almost seemed involuntary, or bouncing about the stage, waving his arms in the air, interacting with the crowd.  Being on stage, G. Love is clearly in his element.  He has a dynamic and compelling stage presence in the enthusiastic way that he plays his guitar and harmonica, but also in the way he talks to his audience.  Even in conversational speech, G. Love is clearly a poet.  At one point, during a bass solo, he said “that’s the cake, baby, let me put some icing on,” as he started to layer his guitar into the current instrumentation.  Overall, this was a fun, comfortable, and skilled performance, during which G. Love essentially charmed the pants off of anyone who was paying attention.

Check out more photos from the show.