Sunday, October 31, 2010

Sunday Bluegrass: Head For The Hills

Head For The Hills Live at Fox Theatre on October 27, 2010.

One Set: If 'n When, Solar Bowling Shoes, High on a Mountain Top, Phantom Phone Call> Celtic Reel> Nellie Cane, My Angelie, Uncle Penn, Japanese Cowboy, Randall Collins, Amon Monita, Goldbrickin', Up on the Mountain, Banks of the Ohio, Bosun Ridley, Stone Cold West Virginia, New Lee Highway Blues> Beverly Hills Cop> Solsbury Hill> Nooks and Crannies, Time To Spare, Priscilla The Chinchilla, Oxford Town, One Foot in the Grave, Temperance Reel, Harvest Moon, Big Mon Love Come Home. E: Delphi Stomp, Goin' Down

Friday, October 29, 2010

Saturday Dead: Zimmer's Picks

Words & Pick By Andy Zimmer

Grateful Dead Live at West High Auditorium on June 21, 1980.

Spring of 1980 found the boys in the Dead making the long trek up to the Land of the Midnight Sun. The band only played the Great White North a handful of times, and this three night run may represent the best of what they offered-up to the fine folks in Alaska. I’ve heard rumors that the promoter of the shows threw in a hunting and fishing trip to sweeten the pot and get the band to make the pilgrimage. Whether it’s true or not, I’ve always liked the mental image of Jerry and Bobby huddled together in matching camo, tucked behind a hunting blind, shotguns resting across their laps.

The shows may have been held at a local high school auditorium, but the music produced by the band was a step or two above your average high school musical. The entire three nights are fantastic, but it’s the final night that really shines for me. The show opener of “Sugaree” is a strong candidate for “best version ever”. Garcia’s singing is strong, and his guitar work drives the song into crescendo after crescendo. “Sugaree” slides into a nice, rocking version of “Minglewood Blues”, complete with the requisite Bobby whoops and yelps. Also, make sure to give a listen to a quality version of “Loser”.

During the second set, the band must have conjured-up the Northern Lights inside the auditorium because there was some serious cosmic energy going down. The “Terrapin Station”>”Playing in the Band” is fantastic, and the last few minutes of the “Playing” jam is some of the most intense playing from the post-70’s Dead that I’ve heard. The band was truly firing on all cylinders. The second set also has a beautiful “Stella Blue”, and the show wraps up with one of my personal favorites, “Brokedown Palace”.

Jam of The Day: Charlie Hunter

Charlie Hunter Live at The Van Dyck on October 23, 2010.

01 Misterioso
02 You Look Good in Orange
03 Drop a Dime
04 ?
05 Ain't We Got Fun?
06 Cielito Lindo
07 We Must Be In Love
08 Gentlemen, I Neglected to Inform You You will not be Getting Paid

09 ?

Wednesday, October 27, 2010

Thursday Jazz: Christian McBride

Words & Interview By Zach Zeidner

Live At Tonic

Christian McBride’s Live At Tonic is a three disc exploration of non-traditional styles of jam and improvisation unfamiliar to McBride’s status as a choice upright bassist for many Jazz greats. The album comes from a live performance recorded at Tonic in New York City on January 10 and 11, 2005. Christian McBride with his band; including Geoffrey Keezer on keys, Terron Gully on drums, and Ron Blake on woodwinds, explore the realms of rock/funk fusion. The first disc is full of original pieces that demonstrate McBride unbelievable ability to not only lead a group, but explore the spacial range of the upright bass as a lead instrument in a fusion group. There also includes a cover by Weather Report, “Boogie Woogie Waltz”, that demonstrates McBride mastery of the electric bass and Jaco lines.

Disc two is full of cyclical funk grooves that allow a spacial driving soundscape for various solos to accompany. The “See Jam, Hear Jam, Feel Jam” is a 30 minute jam that consists of many sit ins by various jazz and jam musicians including: Charlie Hunter, Jason Moran, Jenny Scheinman, DJ Logic, Scratch (from the Roots), Eric Krasno, and Rashsawn Ross. This explorative jam then leads into the rest of the album that is full of spaced out avante garde jams that are full of lavish improvisations by the various musicians McBride has sitting in with him. They cover intense versions of Miles Davis’ Bitches Brew and the Herbie Hancock inspired Mwandishi Outcome Jam.

Disc three completes the album with four extended jams that will do nothing but leave you bewildered, aurally satisfied, and begging for some more McBride. McBride’s ability to explore various styles of fusions, demonstrates why he is held to the outstanding regard he is held to as a contemporary bassist. Check this album out and I assure disappointment will not be an issue.

Purchase Live At Tonic Here


Technicolor Nightmare

Sonic Tonic


Umphrey’s McGee: In Our Eyes

By Erin & Benjamin Slayter

Whether this was your second show (our nephew) or your 100th (@HeavyNuggets) by now you’ve come to expect that an Umphrey’s McGee show will be something ridiculously special. The evening is anticipated like an anniversary of sorts, wondering what these six men who defy all attempts at categorization will bring to the table for the delight of their dedicated fans. The only thing for certain is that you’re going to leave with a melted-on smile and a sense of astonishment.

The Kalamazoo, Michigan concert followed one of UM’s “S2” events, intimate gatherings with the band that use text-messaging to allow audience interaction and direction of improvised jamming. Recently reviewed at, the S2 or “Stew Art” series is something not to be missed (unless you’re stuck working for the man and can’t get there in time).

Every Umphrey’s McGee show has it’s own unique flavor and 10.22.2010 at the State Theater in Kalamazoo Michigan was no exception. Their previous Michigan engagement at Frederick Meijer Gardens in Grand Rapids was a summmer-lovin’, super-hero filled trip around the globe with a monster cover of Toto’s Africa that left fans screaming enough to win a second encore. Friday’s show in the Zoo, with Marsha Stasik opening the show with her latest comedy act, left many fans out in the cold with a sign on the door “Umphrey’s McGee Show is SOLD Out!”.

A quick intro of Europe’s “The Final Countdown” was an omen. This was going to be epic on a personal level. The crowd roars as the guys take the stage. In the middle of a stanza, the bass drops, and Bayliss sings, “There were always questions, about where you been, and with whom you went...” What a great opener: The Bottom Half. The funk was among us. The song is a great juxtaposition of lyrics and messages, switching time signatures, Jake throwing in Chinese riffs just for the hell of it, but the biggest takeaway? “There’s not a thing worth remembering when tomorrow can bring something new”. If you’re not sure yet, here’s some full disclosure: it’s about to get silly here in the Zoo!

After building and building “The Bottom Half”, here comes the guitar again and they’re stepping right into “Ocean Billy” one of their more complex and sophisticated pieces that sometimes makes us wonder; is there a whole string section hiding somewhere backstage or is it all just the mastery of these six guys? When listening to Ocean Billy, we can just as easily imagine hearing it sans the lyrics while seeing it played by a full orchestra conducted by The Red Preist, Vivaldi himself. After seamlessly sliding back to The Bottom Half, we’re reminded by Brendan, “Half of the time on the stage / most of it's not even real / regardless of anything fake / how much can you practice to steal?”. It’s like they’re channeling our thoughts. How can you put into your own reality the ability to travel the world and rock like this?

The next unexpected twist? JaJunk. We’re traveling backwards through time visiting 2002. Eight years into the past. Eight years of perfecting this song featuring a chorus of sustained “Whooooaaaaaaayyyyoooooio!” Yes, UM, we’re feeling it. Highlighted by picks and riffs from Joel, tickling the keys in an attempt to say, “Oh you’re not going to believe what’s about to happen here tonight.” About half-way through JaJunk, it’s like there’s a moment that they calm down before making a decisive commitment to go nuts and wield all the power of UM for the rest of the night. Twenty seconds before the end of Jajunk, you feel it coming. All we can say is, “O RLY?” as they expertly, almost imperceptably slide right back into “The Bottom Half” to finish up the first run. The crowd is roaring now, UM takes this chance to bring it down low and slow, just to bring it right back again. Inside of thirty seconds, we’re hearing dueling guitars, Myers building the tempo with his kick drums and Jake lets wild with some heavy shredding.

What happens next is classic comedy. Cheap Sunglasses. Out of all the covers you can hear on any given day, ZZ Friggin’ Top. Seems to be something they’re working on as it’s been played three other times recently, perhaps we’ll see some beards busted out for an extended version on the New Year’s run! Stepping back into the UM time machine, we get a “Hurt Bird Bath”, which is almost a lounge jazz intro filled with introspective solo guitar stanzas, meaningful lyrics (is it just us or is there an overwhelming message that these guys really are trying their asses off to make a difference?).

So we’re at 2001, and we’re thinking, what’s next, how much further back are they taking us? Not at all friends, we’re heading to some new territory after an eruptive conclusion to HBB.

After praying and putting out gin to the island god Pele (it’s a Hawaiian thing), tweeting incessantly about it, and doing everything possible to spread what in our opinion is an excellent song and free download (the new single/release/project?) “Wellwishers” comes. We’re standing at the lighting board, watching Waful dance on his sock-covered feet throwing spears of light across the historic venue, painting the audience with gobos, and abusing the console like he’s apt to do. Browning is in the zone, “sound caressing” like he was born to do it. We pull out the phone and manage to get most of the song recorded on video.

Now we’re back on the hook hard as we’re given not one second’s rest before they’re back into JaJunk, getting to the message. There’s only one verse to this mainly instrumental jam:

If you think you resemble your roots
You’ve got to pick up all your pieces and hope they approve (WE DO! - ed)
Your words won’t carry that much weight on the shelf
So who you gonna blame for representing yourself?

Everyone joins in, the crescendo is coming. Remember the commercial in the 1980’s saturday morning cartoons? ZIGGYBOMUWAH! (It’s a tidal wave!) Joel’s magic fingers are almost like chopsticks. Jake’s playing more notes per second than we can count. The distortion arm is bending like a twizzler. The crowd, they’re ecstatic. Bayliss calls half-time. We look at one another and have to question what just happened. Oh yeah, that’s why we love this band, they’re criminally insane..

So halftime is over an here is a little story that ties the entire experience together for us. Two days before the show Erin was shopping for wigs for her Soul Train costume. She spots a small package on the shelf. It’s an inflatable ghetto blaster. (No, it’s not a boom box, despite previous mis-labelings.) She has to buy it and at home on Thursday night, it’s inflated. The thing is huge, easily the size of the biggest you ever did head-spins and the worm to in 1985 while practicing your moon walk. We take it to the venue, inflated. Our nephew Nick, (remember it’s his second show?) takes it in for us, as we’re loaded down with cameras. Somewhere near the end of the first set, he lets it loose into the crowd. It makes it onto the stage. Stasik grabs it. The band leaves the stage after “Much Obliged”.

What happened next blew us away and caused us to run for the stage. You don’t think that you’re connected, and then all of a sudden you are. A butterfly beats its wings in china, and the next thing you know, Browning’s put Peter Gabriel’s “In Your Eyes” on the house PA system. This isn’t really happening, is it? Stasik’s walking out on stage now, with Waful focusing a couple of white spots on his head. You’ve got to be kidding me. He’s got the blaster above his head, performing the best John Cusack impression ever and taking a moment to speak (he doesn’t sing), “We love you Kalamazoo, we’ve got time for one more. You’re the fucking best. Can’t wait to come back. KZOO!” Right back at you guys, the feeling is absolutely mutual.

The entire second set was a groovalicious psychadelic line-up pairing nicely with the Michigan UM’s fans and their Soul Train attire pre-planned through the power of social networking on a new “Michigan Umphrey’s Crew” Facebook group. Bouncing from Cemetery Walk to Der Bluten Kat and on to Cemetery Walk II with the always loved Much Obliged ending the set and leaving time for only one encore: Bridgeless. Even as the crew began breaking down the set, fans were asking, “Are they coming back or was that it?” Yep, until next time friends. Perhaps then, we will get our ongoing wish for a third walk through the cemetery. One thing is clear, UM’s are leaders in this game, and show by show they’re purposefully reinventing what to expect from live music performances. Thank you gentlemen, until next time.

Umphreys McGee Live at The State Theater on October 22, 2010. <--- Direct Archive Link

01. Bottom Half
02. Ocean Billy
03. JaJunk
04. Cheap Sunglasses
05. Hurt Bird Bath
06. Wellwishers
07. Ms. Tinkle's Overature
08. Thunderstruck
09. Cemetary Walk
10. Der Bluten Kat -> Dear Lord -> Der Bluten Kat
11. Booth Love -> Der Bluten Kat
12. Cemetary Walk II
13. Much Obliged
14. Bridgeless

Tuesday, October 26, 2010

Preview: Bear Creek Music & Arts Festival

November 12th, 13th, 14th, 2010
Words By Joe Davidson

For the past three years, Bear Creek Music and Arts Festival has taken the festival atmosphere to a new level. With elements of Jazz, Funk, Electronic, Reggae, and Hip-Hop, this show appeals to every music lover. Among the talented musicians will be ten exceptional artists drawing inspiration from the music. Artists include Bean Spence, Josh Billet, Carrie Curtis, and seven more. This year’s headliners include moe., Umphrey’s McGee(x2), Maceo Parker Band, Ivan Neville’s Dumpstaphunk(x2), Lettuce, Soulive, and Bonobo Live Band.

Additional artists include:

The New Mastersounds (x2)
Perpetual Groove (x2)
Zach Deputy (x2)
The New Deal
George Porter’s Running Pardners (x2)
Toubab Krewe (x2)
The Everyone Orchestra
Josh Phillips Folk Festival
Matt Grondin Band

Advance tickets are on sale now until Nov. 3 for $155 and jump up to $175 at the gate. For more information including VIP tickets and volunteering go to the festival website at

Hosted at Spirit of the Suwannee Music Park in the heart of North Florida, the fourth annual Bear Creek Music and Art Festival is sure to not disappoint. The scenic landscape mixed with six stages creates a music utopia. South Florida’s Aquaphonics will be kicking off the Wednesday pre-party Nov 10 and Umphrey’s McGee will be closing out the Thursday pre-party, setting the mood for the rest of the weekend.

There’s something for everyone this year down on the Suwannee, don’t miss out of one of Florida’s best festivals.

Signal Path in Ann Arbor

Words & Video By J-man
Photos By Greg Molitor

On a rainy fall night in Ann Arbor, one of my favorite jamtronica acts on the scene graced us with their presence. I had been excited about the Signal Path show since the announcement a few weeks prior. I started listening to Signal Path in 2003 and have enjoyed the way their sound has developed and progressed over the years. I hadn't seen them live since 2005, so leading up to the show I was pretty pumped.

As my associate, Greg and I loitered in front of the Blind Pig, and while doing so ran into Damon Metzner of Signal Path. We entered the venue and headed up to the "green room" to sit down with the gentleman of Signal Path for a short interview.

Coming down from the green room was a bit of a shocker. The Blind Pig is usually sparsely populated, but I hadn't seen it that empty in a while. As the music began, the few folks in attendance made their way to the floor. From the get go, the laptop influence was heavier than I had remembered. Initially, the beat came from the laptop, and was followed up by a late entrance on the drums. It had me thinking, were the drums necessary if the laptop could produce the beats? Was the utilization of the laptop overdone? The contrast between the raw drums and the machine, didn't sit well with me.

As the set progressed, with the assistance of the disco ball; the place was moving. Though there were not many folks in attendance, those who had turned out, were getting down. The music was extremely danceable and grooved. Ryan utilized some pretty unique sounds and effects on the laptop. As well his guitar playing, though not complex, fit the music well. He picked through some really ambient sounding chords and phrasings. Matt's playing on the bass was good, though not outwardly heavy or prominent. I really enjoyed his slap bass, as well as some of his synth work. Lastly, their drummer, Damon. I found his playing to be tight and rhythmic. He had a few sections were I was really impressed. You could tell he was enjoying playing.

I found the energy of the show to be pretty high given the small turn out. I appreciated that Signal Path relied more on beats, tight drumming and developed sounds, as opposed to a lot of the typical electronic acts featured on our scene current day. Though there was some "dirty bass", it wasn't vomited onto the crowd as is the case with many bands. What bass was thrown in people's faces, was done with reservation. I also appreciate Signal Path's transitions and high end work. The phrasing of the synth over space, provides the groundwork for some of my favorite sounding jamtronic/electronic work.

On a scene with a limited amount of unique projects/acts/bands, Signal Path is a must see. They tastefully bridge the gap between jam and electronic music, in a way that I find to be above all else, tasteful. They aren't the first to make this kind of music, and they won't be the last... But, Signal Path seems to get it.

Monday, October 25, 2010

World Music Monday: Shakti

Words By J-man
Pick By Zach Zeidner

Shakti is arguably one of the most unique and talented projects the world music scene has birthed. Pulling their influences and sound from a mix of Indian music and jazz, Shakti blows minds with it's shear talent. John McLaughlin clearly displays some of the best acoustic guitar music that many/most have ever heard. He tears through the scales/modes with effortless precision. Another clear stand out of this project is Tabla virtuoso Zakir Hussain, who's touch of the drum head produces complex rhythms that will move the listener to the edge of their seat. Along with the Indian violin player L. Shankar, it also included Ramnad Raghavan on the Mridangam and T. H. "Vikku" Vinayakram on the Ghatam. We hope you enjoy this truly amazing group of musicians.

Click here to listen to a Portion of a Shakti show from the Archive.

Sunday, October 24, 2010

Sunday Bluegrass: Del McCoury Band

Words & Pick By J-man

For our first installment of "Bluegrass Sunday", I thought it best to start with one of the most talented and traditional bands on the scene; The Del McCoury Band. This studio session from 2001 provides ample proof as to why the Del McCoury Band is one of, if not the top band on the scene. Additionally the sound quality, song selection and interviews add a very unique flavor to this recording. Enjoy!

Del McCoury Band Live at WFPK Studios on October 5, 2001. <--- Direct Archive Link

01 intro
02 A Far Cry
03 Learnin' The Blues
04 Goldbrickin'
05 Count Me Out
06 Traveling Teardrop Blues
07 The Bluegrass Country
08 Back Up and Push
09 interview
10 Baltimore Johnny
11 All Aboard
12 Nashville Cats
13 Get Down On Your Knees And Pray
14 1952 Vincent Black Lightning
15 Gone But Not Forgotten
16 outro

Saturday, October 23, 2010

Deadstash: Saturday Dead

Thursday, October 21, 2010

Late Night Jam: Lotus

Lotus Live at Exit In on October 19, 2010. <--- Direct Archive Link

Disk 1:

01. Bush Pilot
02. Bubonic Tonic >
03. Simian
04. Banter, thanks Mux Mool
05. Ridalin
06. Spiritualize
07. When H Binds to O
08. Did Fatt >
09. Wax
10. Banter, Another Tuesday
11. Bellwether
12. Dowrn
13. Jump > Zelda > Off
14. Encore Break
15. Behind Midwest Storefronts

Weekly Jazz: Electric Miles Project

Words By Zach Zeidner

This show is by far my favorite recording on I have come across. The Electric Miles Davis Project is a side project by MJ Project that incorporates some great contemporaries today coming together to play the music of master composer Miles Davis. The show is full of post-Bitches Brew compositions that will enthrall as well as educate on the genius of Miles Davis. The band, through their jamming and lavish improvisation, explores the possibilities of Miles Davis’ music. With the compositional style Miles was shooting for in his post-Bitches Brew years, the band uses this exceptional style to intricately investigate the concepts Miles was experimenting with at the time. The band’s use of space and cyclical grooves to redefine the funk style Miles was shooting for in his work, truly makes this show a unique dissection of Miles’s compositions. The band elaborates shorter tunes in 20 minute jams that explore the open-ended spacial compositions that made Miles’ work post-Bitches Brew so incredibly innovative. Enjoy this gem as much as I do, you will not be disappointed.

MJ Project Live at Ortlieb's Jazz Haus on November 7, 2008. <--- Direct Archive Link

Wednesday, October 20, 2010

Late Night Jam: Flecktones

Bela Fleck and the Flecktones Live at HSMF - Mainstage on July 3, 1999. <--- Direct Archive Link

03.Big Country
04.Almost 12
05.Sunset Road
08.*Two Horny Blues

E: Sinister Minister

* w/ Mike Marshall and Darol Anger

Bela Fleck - banjo
Futureman - drumitar
Victor Wooten - bass
Jeff Coffin - saxophone

Tuesday, October 19, 2010

Jam of The Day: Charlie Hunter

Charlie Hunter Live at Fox Theatre on September 9, 2010. <--- Direct Archive Link

Charlie Hunter, 8 string guitar
Eric Kalb, drums
Michael Williams, trumpet

Monday, October 18, 2010

Jam of The Day: Garaj Mahal

Garaj Mahal Live at The Hideout on September 9, 2010. <--- Direct Archive Link.

Hindi Gumbo
7 Up
Never Give Up
Jamie's Jam

Long Form
Chester the Pester
Levy improv > ?
Our Love
Uptown Tipitina's

The New Deal in Ann Arbor

Words By Erin Slayter - Photos By Benjamin & Erin Slayter

Heading down to Ann Arbor to catch Toronto’s the New Deal we were filled with high expectations (an unannounced special guest that never materialized) and a few reservations. Going to shows at The Blind Pig for more years than we care to admit, we weren’t sure the venue was the best place to fully experience all we’d heard about tND and their unique style of improvisational electronica. Recent reviews and interviews with the trio highly touted their amazing new light show and after being rained-out at Hoxeyville Music Festival we really needed to see, hear, and experience this for ourselves.

Arriving at tBP, it was obvious that the buzz was alive and working and the street was packed with jam fans, electronica fans, and dance party fans alike. Seemed like a great mixture for a fun night. Skipping the opening band, we slid in just moments before tND took over and the crowed quickly gravitated toward the stage eager to get the party started.

Playing for over 12 years together, Dan Kurtz (bass), Darren Shearer (drums+beatbox), Jamie Shields (keyboard) never use a setlist and play 100% improv. In an interview by Nick Rhodes for Head Stash just days before coming to Ann Arbor, Darren Shearer had this to say:

“...We never write setlists. The only song we ever discuss doing is the encore. We never talk about the show. We generally start the show with a chord or progression. After 900 shows, we have a really good sense of what the crowd wants to hear and what level of intensity the crowd is at....”

From the beginning of the first set to the continuously intensifying beats of the second, it was obvious tND had correctly pegged the Blind Pig crowd as energy-filled dance machines ready to rage on into the encore. Watching most of the show from behind Jamie Shields throne on the keyboards, it was fun to watch all of the hand-signs and nods between the trio that made for seamless transitions from one song to the next. So much so that it was difficult to discern one song from the next.

If the groups dynamic beats and electric mixes aren’t enough, tND brings a full light show with two towers of LED strips and four movers gifting the audience technicolor waves of color to complete the dance party experience. The second set was an explosion of fast-paced rhythms, pulsing lights, and a raging crowd responding with showers of glowsticks.

Mid-way through the self-titled “Ginourmous Tour”, the New Deal seems like they’re just getting started and ready to blaze on through to delighted audiences across the US. Upon returning home we were treated to Tyler Henry’ Facebook status update that pretty much summed it up, “Nude eel raged face per usual. Totally destroyed the handicapped farm animal that is the blind pig.”

Late Night Jam: moe.

moe. Live at The State Theater on October 16, 2010.<--- Direct Archive Link

Set 1:

01 Intro
02 Meat >
03 Head >
04 It >
05 Head
06 Paper Dragon
07 Queen of Everything >
08 Timmy Tucker >
09 Meat

Set 2:

01 intro
02 Yodelittle >
03 Down Boy >
04 Yodelittle >
05 Buster
06 Downward Facing Dog
07 Hi & Lo* >
08 Brent Black
09 crowd


01 She
02 alnouncements

Jam of The Day: Toubab Krewe

Toubab Krewe Live at Music on the Mountaintop on August 28, 2010. <--- Direct Archive Link

01 Djarabi [07:57]
02 Kaira [08:37]
03 Makiama [06:45]
04 Asheville to Abidjan [04:55]
05 Konkoba [06:32]
06 Masani Cisse [06:50]
07 51' Ladder > Hang Tan [11:11]
08 Lamine's Tune@ [07:36]
09 Cluck Old Hen@ [04:06]
10 encore break [00:26]
11 Sirens [08:41]

@ w/ Larry Keel on guitar

Paul Simon: Graceland

Words By Greg Molitor

Hello Music Marauders! My name is Greg and I am here to introduce two new bi-weekly columns. The first column is called Pop Review, a segment that will feature important moments in the history of American pop music. The second, titled World Beat, will focus on past and present world music offerings and the cultural aspects that tie the music together with its indigenous creators. For the first column, let’s combine the two themes, world and pop, as we honor and remember one of the most important releases in pop music history – Paul Simon’s 1986 release, Graceland.

During the mid 1980s, Paul Simon’s career had hit a low point. Shortly after the release of the commercial unsuccessful Hearts and Bones, Simon decided to take a chance with a musical idea he had been stewing over since hearing a tape of the Boyoyo Boy’s instrumental ”Gumboots”. His idea… let’s go to South Africa, create an album using local musicians, and see what happens. Simon was rather uncertain about how his vision would be received by both critics and record executives after its completion and release, but as well all know now, he had nothing to worry about. Peaking at #3 on the American Billboard Charts, Graceland won the 1986 Grammy for Album of the Year while winning the Record of the Year honor the following year for its title track.

Here are a couple videos of Simon playing Graceland material during his Concert for Africa series. It’s really hard to argue against this stuff…so catchy and unique.

Diamonds on the Soles of Her Shoes

Graceland > You Can Call Me Al

Sunday, October 17, 2010

Jam of The Day: Umphrey's McGee

Umphreys McGee Live at All Good Music Festival on July 11, 2009.

01. 40's Theme
02. The Floor
03. Wappy Sprayberry ->
04. All In Time
05. Cemetery Walk ->
06. Cemetery Walk II
07. Women Wine & Song ~->
08. Shine On You Crazy Diamond #
09. Prowler ->
10. Bright Lights
11. Encore Break
12. Nothing Too Fancy ->
13. Resolution @ ->
14. Nothing Too Fancy

~ unfinished
# Pink Floyd cover
@ with Norwegian Wood (The Beatles cover), Front Porch, Gz 'n Hustlaz (Snoop Dogg cover), and Regulate (Warren G. and Nate Dogg cover) jams.

Friday, October 15, 2010

Zimmer's Picks: Deadstash

Words & Pick By Andy Zimmer

Grateful Dead Live at Boston Music Hall on December 1, 1973.

Sometimes an overlooked year in the Grateful Dead’s tenure, 1973 has lots of quality material to choose from. This selection, from the Boston Music Hall in December of ’73, is no exception. It has everything that a fan of the ‘70’s Dead is looking for. There are plenty of Jerry-ballads; sung with the upbeat, crisp energy of an enthusiastic Garcia. The show also sprinkles in a liberal dose of psychedelia, with the band exploring some nice spaces during the second set jam-vehicles. Fans of the Dead’s strange, sometimes disjointed, stage banter will want to make sure to tune in to the start of the second set. Hilarity ensues as the band attempts to appease the local law enforcement by coercing the crowd to not clog the aisles. Standout first set tracks include good versions of “Tennessee Jed”, “Brokedown Palace”, and “Weather Report Suite”. The second set features a very nice, up-tempo version of “They Love Each Other”. However, the standout moments of the show undoubtedly occur during the winding jam between “Playing In The Band” and ”Uncle John’s Band”, which includes some excellent interplay between Jerry and Phil. The concert wraps up with a “Not Fade Away”>”Going Down The Road Feeling Bad”>”One More Saturday Night” jam-sandwich that is typical for the period but played excellently. Sit back, relax, and get lost in the music.

Set 1

The Promised Land
Mexicali Blues
Tennessee Jed
Looks Like Rain
China Cat Sunflower ->
I Know You Rider
Big River
Brokedown Palace
Weather Report Suite Prelude ->
Weather Report Suite Part ->
Let It Grow
Casey Jones

Set 2

Around And Around
They Love Each Other
Me And My Uncle
Don't Ease Me In
Me And Bobby McGee
Mississippi Half-Step Uptown Toodeloo
Playing In The Band ->
Uncle John's Band ->
Playing In The Band
Row Jimmy
Greatest Story Ever Told
Not Fade Away ->
Goin' Down The Road Feeling Bad ->
One More Saturday Night

Jam of The Day: Emmitt Nershi Band

Emmitt Nershi Band Live at Hoogland Center For The Arts on November 9, 2007.

Set 1

01 Blue Night
02 Clinch Mountain Backstep
03 Lonesome Road Blues
04 This House
05 Good Times Around The Bend
06 Gold Hill Line
07 Restless Wind
08 Long Road Back To You
09 Big Sciota
10 Think Of What You Done
11 Cross That Bridge
12 Rollin In My Sweet Baby's Arms

Set 2

01 Midnight Run
02 Instrumental???
03 Texas
04 Molly & Tenbrooks
05 Whiskey River
06 Rocky Top> Lime In The Coconut
07 Midnight Blues
08 AinĂ­t Gonna Work Tomorrow
09 Black Clouds
10 Meet Me In The Morning
11 Whiskey Before Breakfast
12 High On A Mountain
13 Down In A Hollow
14 Encore Break/Banter
15 Darkest Hour
16 Love Is Like A Train
17 Breakin Thru