Official Bio:
In a world of instant anything and disposable everything, Widespread Panic stands apart. The notion of a band surviving for more than two decades, continually thriving and creating vital music, is almost unheard of in this age of digital sound bites, corporate radio, and pretty video faces. One thing about Panic, they do things on their own terms.
“Part of being in Widespread Panic has always meant trying to break preconceived models of how bands are supposed to work and how they’re presented to the world at large,” explains bassist Dave Schools. This ethos permeates everything the band does from songwriting and recording to touring and finances. The music these six men make has earned them accolades in nearly every major music magazine, but it's their revolutionary business model that's led to features in The Wall Street Journal, The New York Times, Variety, CNN, Billboard Magazine, CNBC and Fortune Magazine.
Panic doesn’t follow the usual format of touring only when there's a new album and then laying low between releases. They tour constantly, and every show is different. In 21 years they’ve never repeated a setlist. They don’t fight for the limelight and search for recognition in the usual places. All songs are credit to the band, and their frontman, John Bell (JB), refuses to even acknowledge his place as the leader.
“I put pressure on myself to be a viable, equal member of the band” says JB. “And leadership - if that perception is imposed or present - that's more because I'm in that traditional role of standing in the middle, singing and playing guitar. But, there is nothing that goes down that's not a democratic process. And 99% of the time, we move unanimously.”
When something is this genuine and this uncompromisingly real, you can sense it immediately. “It still feels like it did when I first started,” says drummer Todd Nance. “That’s kind of crazy. I think we’ve done over 2000 shows and the night before we go on tour I still can’t sleep.” Through their passionate performances Widespread Panic creates a space where people can connect to something larger than themselves. Schools says, “It’s the same sort of fervor that happens at a big tent revival, except no one is telling you how you’re supposed to feel. People are just stumbling into a shared feeling all at once, and it’s overwhelming and surprising and quiet satisfying when it happens.”
JB continues, “The biggest selling point of Widespread Panic is the fan base that comes out to shows and buys our albums. Their relationship with the band, and with each other just as an entity all by itself, that’s the phenomena. And, it’s always been this way.” That relationship has been paramount to the success and longevity of the band. Their fans are some of the most dedicated in the world. In addition to the more than 3 million albums sold, fans follow them around the globe, setting attendance records at some of the most prestigious U.S. venues, and making Widespread Panic a fixture on Pollstar’s annual Top 50 Tours list for more than a decade.
Although the band-fan dynamic, timeless songs and wild rock shows are the defining aspects of Widespread Panic, it doesn’t stop there. The band is dedicated to leveraging their success for those less fortunate. There’s John Bell’s annual Hannah’s Buddies event (which raises funds to fight Spinal Muscular Atrophy), Panic Fans for Food (conceived and run by fans, helping feed hungry communities through donations at Panic concerts), Tunes for Tots (which, in just two years, raised $200,000 for musical equipment in public schools), and their ongoing work with Nuçi's Space to help keep music and arts alive in the state of Georgia.
There’s no way JB could have predicted this life when he began playing guitar with band namesake, Michael “Panic” Houser, back in 1981; and he probably never thought this far down the line when they started the band in 1986 at the University of Georgia with Schools and Nance, eventually joining up with percussionist Domingo “Sunny” Ortiz and keyboardist Jojo Hermann. Nance reflects on those early days with great fondness, “Our first year, I remember the Uptown wanted to raise the price from one buck to two bucks and we were like, ‘Nobody will ever pay two bucks to see us.’ So, we made them compromise at a buck fifty. I think we were all a little surprised that people wanted to come and watch this experiment. We were really just playing to make ourselves happy, and by doing that we made other people happy.”
The story of Widespread Panic is also inexorably tied to the dark summer day of August 10, 2002, when Michael Houser lost his battle to pancreatic cancer. “There’s not a day that goes by where we don’t miss Mike” says JB. “What we learned together as a band continues, with slight adjustments.”
Following Houser’s wishes, the band pushed on and never canceled a show. For a few years after Houser’s death, longtime friend and guitarist George McConnell joined the band on stage and was present for the Widespread Panic’s 2006 studio release, Earth To America. Recorded in the Bahamas with legendary producer Terry Manning (Led Zeppelin, Lenny Kravitz, ZZ Top, Al Green) at his renowned Compass Point Studios, Earth To America pushed the band to new creative heights and forged a lasting relationship with one of the best producers in the game. Manning was so impressed that he’s even equated Panic to what very well may be the greatest rock band of all time. “I worked with Led Zeppelin years ago, and I just felt a little bit of a similar vibe and energy with these guys," says Manning. "They have a similar mix of individual skill and power that Zeppelin had when I worked with them.”
Using the Earth To America sessions as a building block, Panic has already begun work on their next album with Manning. Although still in the very early stages, Schools also hears a bit of Zep in what the band has laid down, commenting, “Some of the songs really strike me as something you might have heard on Physical Graffiti. They’re complex, beautiful, deep, and it rocks. And its got some melancholy and a lot of color.”
Although the band is excited about the next album, there’s something much bigger going on in the world of Widespread Panic, and his name is Jimmy Herring. Having toured with The Allman Brothers Band, The Dead and the Aquarium Rescue Unit, Herring is the perfect lead guitarist for Panic. Taking over where McConnell left off, Herring brings a fresh dynamic to the band and everyone is feeling it.
“There’s a lot of musical happiness in my soul, which is due in part to having a like-minded experimenter. The bass and guitar really go hand-in-hand,” says Schools. Hermann continues, “I’ve just never played with a guitar player like Jimmy before. Everyone’s speaking the same language.” Perhaps Nance says it best, “It’s like our little dreams are coming true. How lucky are we to get another chance after Mikey, to be able to find that chemistry?”
Herring's magic is clear to anyone who's seen Panic play since he took over lead guitar duties on September 14, 2006. Magic is never easy to find, not even for the people making it. “I’ve been a fan of theirs for a long time and a friend since about 1989," says Herring. "I grew up wanting to be in a band [like Widespread Panic]. This is what I’ve been hoping for my whole life. It just came to me pretty late.”
With Herring on guitar, a new album in the works, and a major tour ahead of them, Widespread Panic continues to embrace the passion they’ve shared with fans for over 20 years. “We’re barreling down the tracks and beginning yet another chapter,” says Schools. “It’s not necessarily even an Act Three - life isn’t easily split into acts like theater. It’s been challenging, but it feels like there aren’t any limitations. We're still being children with active imaginations and finger paints.”
Live On Stage:
I'm pretty excited at about seeing Panic for the first time south of the Mason-Dixon line and outside for the first time in a long time. After some line-up reshuffling it seems like Jimmy Herring was the missing piece of the puzzle after the passing of Mikey. From all accounts, mostly from my friend Chilly Jackwater, the band seems hitting their groove again. Here they are with "Ain't Life Grand" from last October....
Also let's go with this performance on Conan from way back in '95....
Some shows for to get your Panic on....
Widespread Panic - 2007-04-18 - Tennessee Theater - Knoxville, TN
Widespread Panic - 2002-06-22 - Bonnaroo Music Festival - Manchester, TN
Widespread Panic - 1995-10-13 - Pompano Beach Amphitheater - Pompano Beach, FL
Widespread Panic - 1993-09-19 - Campus Center - SUNY Fredonia - Fredonia, NY
Widespread Panic - 1992-02-21 - Auburn University - Lamda Chi Alpha House - Auburn, AL
Widespread Panic - 1986-07-08 - Uptown Lounge - Athens, GA
Music Videos:
Widespread only has one music video as far as I know and it was directed by Billy Bob Thornton (who makes a brief cameo at towards the end) and features Laura Dern as well - how's that for some star power. Here's "Aunt Avis"....
I'll throw in one more clip for good measure. Here's this cool video of JB and Mikey jamming together....
For more on Widespread Panic head on over to their official website.
Set Time: 6/17, What Stage, 8:30 PM - 11:30 PM
Thursday, June 7, 2007
Bonnawho's Who - Widespread Panic
Wednesday, June 6, 2007
SuperJam Announcement
After a couple of weeks as to what the TBD on Friday night was going to be, the announcement came today....
Bonnaroo continues an annual tradition with an all-star SuperJam, starting at midnight on Friday, June 15. Former Led Zeppelin bass player JOHN PAUL JONES will anchor a trio featuring one of music's most innovative modern bluesmen, guitar wizard BEN HARPER, and Roots drummer AHMIR "?UESTLOVE" THOMPSON. The SuperJam is one of the most highly anticipated features of the festival, combining the talents of a diverse set of musicians for a one-time-only collaborative performance. Past participants have included Stewart Copeland, Herbie Hancock, Dr. John, Trey Anastasio, and many other musicians of the highest caliber - and if history is any indication, expect special guests to join the fun.
Since the break-up of Led Zeppelin in 1980, Rock and Roll Hall of Famer Jones has worked with bands including R.E.M. and the Foo Fighters. Harper's last album, "Both Sides of the Gun," debuted at Number Seven on the Billboard charts; Rolling Stone has called him a "natural-born superstar." In addition to his role as the heartbeat of hip-hop trailblazers the Roots, Thompson has played with and produced such artists as D'Angelo and Fiona Apple; at Bonnaroo, he will also be performing with his jazz-oriented group, The Philadelphia Experiment.
Thoughts?
Set Time: 6/15, The Other Tent, 12 AM - 3 AM
Bonnawho's Who - The Police
Official Bio:
The group originally broke through at the same time that punk was shaking up the music scene in the late 70’s. Each member came from a different musical background: Summers played with The Animals, Soft Machine and Kevin Ayers, Copeland was a member of Curved Air and had a brief solo career as Klark Kent, while Sting had played in various jazz fusion groups. The band manifested an understated virtuosity, applying their chops within reggae grooves and intricate arrangements. Between Summers' trenchant and ground breaking guitar work, Copeland's deceptively complex polyrhythms and Sting's loping bass and soaring vocals, The Police were indisputably the most adventurous ambassadors of the genre then known as new wave.
Their first album, “Outlandos D’Amour” debuted on A&M Records in 1978 and quickly climbed the charts with such hits as “Roxanne” and “So Lonely.” The following year saw the release of their sophomore record “Reggatta de Blanc” which also topped the charts and brought us such hits as “Message in a Bottle” and “Walking on the Moon” as well as honoring the band with their first Grammy for the record’s title track. “Zenyatta Mondatta” soon followed in 1980, resulting in two more Grammy awards for the group as well as Top Ten hits “Don’t Stand So Close To Me” and “De Do Do Do, De Da Da Da.” In 1981, The Police put out “Ghost in the Machine” which went double platinum with hit singles “Every Little Thing She Does is Magic” and “Spirits in the Material World.”
After a year-long sabbatical, the members reunited to record “Synchronicity”, an album that would prove to be their studio swansong and earn them three Grammy Awards in the process. The most successful Police album yet, it produced "Every Breath You Take”, one of the most-remembered rock ballads of the '80s and the recipient of the 2005 BMI Award for Eight Million Radio Plays. They were ranked the #1 most played band on U.S. radio in the '80s while achieving comparable success in the UK with 5 number one albums and singles to their credit. In 1982, The Police received the Brit Award for Best Group and in 1985 were honored with the Brit Award for Outstanding Contribution to British Music.
After the band parted ways in 1984, their individual careers continued to flourish. Sting released “Dream of the Blue Turtles” in 1985, which featured a cast of accomplished jazz musicians, including Kenny Kirkland, Darryl Jones, Omar Hakim, and Branford Marsalis. Sting’s solo success continued with the release of “Bring On The Night”, “Nothing Like The Sun”, “The Soul Cages”, “Ten Summoner's Tales”, “Mercury Falling”, “Brand New Day”, “All This Time”, “Sacred Love”, and his latest endeavor, “Songs from the Labyrinth”, a personal tribute to 16th century composer John Dowland, which debuted at #1 on Billboards’ Classical chart, where it remained for 15 consecutive weeks. In 1979, Sting made his cinematic debut in the film adaptation of “Quadrophenia” and has appeared in 14 films since, including the cult classic “Dune”. Most recently, he also executive produced the critically acclaimed, “A Guide To Recognizing Your Saints”. He also enjoyed a stint on the Broadway stage when he starred in the 1989 production of "Threepenny Opera". In 2003, Sting published a memoir entitled Broken Music, which spent 13 weeks on the New York Times Best Sellers list. Simply put, Sting has evolved into one of the world's most distinctive and highly respected performers, collecting as a solo artist an additional 11 Grammys in addition to 2 Brits, a Golden Globe, an Emmy, three Oscar nominations, Billboard Magazine's Century Award, and MusiCares 2004 Person of the Year.
Stewart Copeland has been responsible for some of the film world's most innovative and groundbreaking scores, working with a broad array of directors on nearly 40 films and television works since 1984, including Oliver Stone's "Wall Street", Francis Ford Coppola's "Rumblefish", receiving a Golden Globe nomination for Best Score, as well as scoring Academy Award nominee for Best Foreign Film 'Four Days in September' and Emmy nominated TV shows such as 'Dead Like Me'. Solo albums include the cult soundtrack to ' The Rhythmatist' his aural odyssey across the African continent. Copeland continues to stretch himself compositionally, writing work that includes Operas, Ballets and Orchestral Concert works, among them: 'Holy Blood and the Crescent Moon' for Cleveland Opera, 'A Casque of Amontillado', and 'King Lear' for the San Francisco Ballet. Most recently utilizing a brass section, a four-piece percussion quartet and a chamber orchestra to bring the album "Orchestralli" to life, he earned a 2006 Grammy nomination. Performing live, Copeland has toured successfully with a number of world music and rock ensembles including that featuring the uniquely esoteric and fiercely melodic music from 'La Notte della Taranta'--ancient trance music originating from the Grecia-Salentina region of Southern Italy. Copeland enjoyed a sensational return to the rock stage when he re-joined Trey Anastasio of Phish and Les Claypool of Primus to perform as Oysterhead at last year's Bonnaroo Festival. Cited as a 'mighty' performance by Billboard, the trio recorded a sparkling album on Elektra Records in 2000 and toured in 2000 and 2001. In January 2006 "Everyone Stares: The Police Inside Out" debuted at the Sundance Film Festival. This feature length film documents the formation, subsequent worldwide success and the then demise of The Police. Directed, produced, narrated and filmed in Super 8mm by Stewart from his unique perspective behind the drums, it has been warmly received. Now out on DVD around the world and screened at numerous Film Festivals worldwide, it will open in theatres in Japan on March 31st. Amidst all of this activity Copeland has also begun a career as an on-screen personality and judge on the highly-rated BBC1 ' Just The Two Of Us' series. Copeland is the recipient of the 2003 Hollywood Film Festival's Outstanding Music in Film Visionary Award and will be receiving the Cinequest Maverick Spirit Award on March 3rd.
Since the Police split in 1984, Summers has recorded 12 solo albums, collaborating with such artists as Robert Fripp, John Etheridge, Victor Biglone, Roberto Menescal and Benjamin Verdery and has maintained a consistent touring schedule appearing as a headliner at various jazz festivals around the world. In March 2005, Summers made his Carnegie Hall debut with the orchestral concerto Dark Florescence, a piece specially commissioned by Yale University for Andy. He has also arranged the scores for several films, including “Down and Out in Beverly Hills” and “Weekend at Bernie’s”. Celebrated by Guitar Player magazine, Summers was voted the number one guitar player five times in the 80's and was subsequently inducted into their permanent Hall of Fame. Both Gibson and Martin have created a signature guitar in Andy’s name, he received the Gibson Guitar lifetime achievement award in 2003 and most recently, Fender released a Tribute model of his iconic Telecaster. In October of 2006, he released his autobiography, “One Train Later: A Memoir”, a revealing work chronicling his years before and during The Police, providing an intimate look at the band during the height of their meteoric success. Since the 1983 release of his first book of photography, “Throb”, Summers has also enjoyed considerable critical acclaim for his work behind a camera, including a highly-regarded showing of “City Like This” at the Beaux Arts gallery in London and “Light Strings”, a photographic collaboration with the pre-eminent New York photographer, Ralph Gibson. In March of 2007, Taschen Books will publish “I’ll Be Watching You”, an extensive photographic journal of his years with The Police.
In March of 2003, The Police briefly returned to the stage for the band’s induction into the Rock & Roll Hall of Fame. The three-song set included the classics “Roxanne”, “Every Breath You Take”, and “Message in a Bottle” and the renewed hope in music fans worldwide for a future reunion of one of the most innovative and influential bands in rock & roll.
Although they existed for just over six years, the band's contribution to the lexicon of rock was immense. They were the first band to fully integrate the no-nonsense approach of punk rock and the spirit-moving positive energy of reggae. Having sold an excess of 50 million albums worldwide, The Police had phenomenal chart success and won a multitude of accolades both public and critical, but they never allowed such peripherals to overshadow their commitment to the music itself. The band’s history bears that out from the beginning to end, providing a clear, concise picture of a musical group that took us on a short but unforgettable trip through the inner reaches of its soul - and let us have a great time in the process.
Live On Stage:
As we all know by now The Police are back together and doing a massive reunion tour which includes the the headlining spot at Bonnaroo. When the rumors where floating around that they may headline I for one didn't think it would happen, but I guess if you can get Radiohead you shouldn't have too much a problem getting The Police. They just kicked off their tour last week, here's "King of Pain" from their first show back....
Stuart bitched about their performance the other night - jokingly of course (well at least you hope) it may be in your best interest to download some classic shows. Here's a few to consider (via Dimeadozen)....
The Police - 1983-08-18 - Shea Stadium - Queens, NY
The Police - 1983-08-21 - Capitol Center - Landover, MD
The Police - 1979-10-02 - Live at My Father's Place - Roslyn, NY - WLIR FM Radio Broadcast
And if you're curious about what they sound like now, here's the aforementioned kick-off show....
The Police - 2007-05-28 - GM Place - Vancouver, BC
Music Videos:
There really is only one video to go with, it's got to be Synchronicity II. This video just screams '80s new wave band - a bodiless guitar, big hair and a weird Mad Max, post appocalyptic theme (ok maybe that's not new wave), enjoy.....
Few more to take you back to the '80s....
Don't Stand So Close To Me
Every Little Thing She Does Is Magic
Every Breathe You Take
Roxanne
Message In A Bottle
For more on The Police head over their official website.
Set Time: 6/16, What Stage, 9 PM - 11:30 PM
Tuesday, June 5, 2007
Bonnawho's Who - Gov't Mule
Official Bio:
Big riffs, massive grooves, and expansive improvisations are the hallmarks of Gov't Mule's legendary live shows. Likewise, their well-crafted songs feature larger-than-life characters bearing life's heaviest burdens, performed by four musicians – guitarist/vocalist Warren Haynes, drummer Matt Abts, keyboard player Danny Louis, and bassist Andy Hess – whose powerful musicianship and chemistry along with their tireless work ethic have earned them the respect of their peers.
With their new ATO Records release HIGH & MIGHTY produced by Haynes and Gordie Johnson, former leader of Canada's acclaimed Big Sugar, effectively bridges the gaps between rock and improvisational music. Laced with influences from blues, folk, reggae, soul and jazz, HIGH & MIGHTY has appeal for everyone, yet stubbornly refuses to be categorized.
Most of all, HIGH & MIGHTY is big, both in scope and in sound. Built upon the rock solid foundation of 12 original songs and clocking in at well over an hour, the disc boasts an urgent, in-your-face sound reminiscent of the band's thunderous live concerts.
"Our goal was to capture the chemistry and the spirit of the band, which has progressed into something beyond what it was for the last record," says Haynes. "The last record was the first with the new lineup, and this being the second one I feel that the chemistry is that much stronger. We took the interplay that happens on stage and utilized it to create something magical in the studio."
Yes, HIGH & MIGHTY was recorded the old-fashioned way – four musicians in one room, together – capturing in the studio the band's uniquely telepathic interplay. It's a high level of improvisation for a rock band. "Even within the structures of straight ahead rock songs, this band plays with a jazz sensibility," explains Haynes. "Nobody is just playing a part. It is all about listening and call and response. We are all steeped in jazz and blues, so improvisation is our life's blood."
So is rock and roll, as evidenced by the leadoff song that gives the disc
its title, "Mr. High and Mighty." Opening with the irresistible punch of a
mammoth riff riding atop a colossal groove, the song is quintessential Gov't Mule – strong and catchy, with memorable guitar and bass lines and dramatic organ flourishes. The dynamic interplay between band members adds considerable flavor to the song's melodic structure. In short, a new Gov't Mule classic, and one that introduces the listener to yet another of Haynes' flawed character sketches.
"Mr. High and Mighty, standing with your back against the wall…They better jump when you say jump, they better crawl when you say crawl."
"Most of my characters are composites, and that song was inspired by several people," the guitarist explains. "My life has been very colorful, and I've been around a lot of characters who find their way into my songs." True to Haynes' word, HIGH & MIGHTY's songs detail the trials and travails of characters encumbered by guilt, pain, and regret, who have obtained their personal golden ring only to find bleakness and darkness undermining their success.
"We're at a place in history where the bar is at an all time low…We've
applauded mediocrity till there is no lower we can go"
"There's a generation coming up now, as far as people pursuing entertainment careers, their only goal is to be famous," says Haynes in reference to the song "Like Flies." It's not about being good at what you do, it's about doing what will make you famous, even if that means destroying your integrity. I heard someone say that art is less important in today's society than it has ever been, and I think that's true in a scary sort of way."
"Fake liberty is just another form of hate…Unring the bell, before it's too late." The values – or lack thereof – in much of our society is explored in "Unring The Bell," a song that questions our definitions of liberty and equality The song is buoyed by a strident reggae rhythm that righteously underpins its socially conscious message. Dub-mix sound effects, courtesy of Gordie Johnson, enhance the song with a vibrancy that is new for the band, yet enticingly familiar.
"A million miles from yesterday and a million more to go…Still I search each day, trying to find my way home."
That decline of values is echoed in "A Million Miles from Yesterday," a
heavy rock ballad featuring a gospel background singers, organ, and an undeniably soulful groove. ("A Million Miles from Yesterday" is the only song not written in the last eighteen months by Haynes.) As he does throughout HIGH & MIGHTY, Haynes sings with the fervor of a gospel singer and the grit of a blues troubadour. The song's narrator searches for the principles – real or imagined – of an earlier time that he can never return to. "That song works for me now, but it was actually written ten or fifteen years ago," recalls Haynes. "When I wrote it, maybe the timing wasn't right, but I dusted it off recently and suddenly it made sense to me, much more so than when I wrote it."
Perhaps the song's newfound poignancy comes, at least in part, from the very real values inherent in Haynes' songs and in the band's music. Gov't Mule is a democracy of four, in which each member inspires the others to greater heights of creativity. "When we are onstage, we pay more attention to ourselves than we do to the audience," says Haynes. "It's not that we are ignoring the audience, rather, we are utilizing them as a source of energy. We are listening so deeply to each other in hopes that our interplay will take the music as far into as many directions as it possibly can go."
That interplay is what Gov't Mule's legion of devoted fans crave. Haynes says that Gov't Mule is "blessed with an amazing fan base. They not only allow us to experiment onstage, they encourage it, to the extent that we can feel that encouragement coming from the crowd. I trust the band implicitly, and I trust our audience, because they want to be a part of the experience.
They didn't come to hear the records, they didn't come to hear the same show we played last night, they came to be part of a moment in time, and that's what we are there for. It's an experience that we all share together. A high percentage of our audience is deeply in tune with our music, and that is the most you can ask for."
That unique relationship is something Gov't Mule has cultivated since its formation in 1994 as a power trio offshoot of the Allman Brothers Band.
Their self titled debut was released in 1995; in 1997 Haynes and bassist Allen Woody followed their collective muse and Gov't Mule became a full-time band. After Woody's death in 2000, Haynes and Abts performed and recorded with over 30 bass players for the celebrated "Deep End" projects. Longtime acquaintance Danny Louis joined the band on keyboards in 2002, and the following year Andy Hess became the band's permanent bass player.
"Moment by moment, this current band is the most exciting ensemble that I've ever worked with," insists Haynes. "There are constant surprises, and the interplay is borderline telepathic. It's just one of those unspoken things that happens when you get these four musicians together. Something can be really good, or it can be beyond that, and what we've discovered and kindled goes way, way beyond."
In early 2003, "Sco-Mule," a funky instrumental track from THE DEEP END VOL. 1 featuring jazz guitarist John Scofield, was nominated for a Grammy Award. This marked Haynes' seventh overall Grammy nomination; in 1995 he accepted an award along with the Allman Brothers Band for an incendiary live take on the band's classic "Jessica."
In 2004, Gov't Mule celebrated its 1,000th live show. The past year has seen the band headline venues across the nation that include Colorado's famed Red Rocks Amphitheatre and multiple nights at New York's historic Beacon Theatre. In 2005 Warren Haynes was ranked No. 23 in Rolling Stone's list of all-time top guitarists, elevating him into the prestigious upper echelon of six-string heroes.
And there is plenty more excitement to come. With the release of HIGH & MIGHTY, Gov't Mule will once again hit the road, thrilling its devoted fan base while introducing their thunderous sound to even more aficionados of rock and improvisational music. Opening select dates on Gov't Mule's tour will be artists such as My Morning Jacket, Wolfmother, Robert Randolph and the Family Band, and Michael Franti and Spearhead.
Quite simply, the time for Gov't Mule is right now, and there is no better place to start than with HIGH & MIGHTY. So, as the band's diehard fans would say, get on the Mule train. Have a serious ass-kicking. Get up on a soapbox, and get all HIGH & MIGHTY about Gov't Mule.
Because, my friend, this one is going to be very, very big.
Live On Stage:
What is there to say about the busiest man in jam world - Warren Haynes - and his band? Warren and company will be playing a late night set which I believe is a first for the band at Bonnaroo. Their website is also claiming this won't be a normal Gov't Mule festival show, so interpret that how you will. Warren is usually the man sitting in with everyone, so maybe we'll see a bunch of people return the favor. Here's Mule with "That What Love Will Make You Do".....
And let's kick it old school with one from '99 with the late, great Allen Woody. Here's they are ripping the holy hell out of "Mississippi Queen"....
There is no shortage of Mule show for download, here's a few to check out...
Gov't Mule - 2007-06-02 - Mountain Jam - Hunter Mountain Ski Area - Hunter, NY
Gov't Mule - 2007-05-05 - Contemporary Arts Center - New Orleans, LA
Gov't Mule - 1998-05-29 - Wilmer's Park - All Good Music Festival - Brandywine, MD
Gov't Mule - 1995-12-10 - Randell McMurphy's - Queens, NY
Music Videos:
Not too often you get to post a jamband music video, but here's Gov't Mule with the very sentimental "Million Miles To Yesterday"....
For more on Gov't Mule head on over to their official website. Also any guess on the over/under on number of Warren sit-ins this year? Leave your guesses in the comment section.
Set Time: 6/16, This Tent, 12 AM - 3 AM
Monday, June 4, 2007
Bonnawho's Who - Ornette Coleman
Official Bio:
For more than five decades, saxophonist/composer Ornette Coleman has played a pivotally seminal role in American music. The inventor of what has been called "free jazz," Coleman belongs to that rare breed of artists/thinkers whose influence extends far beyond the realm of their chosen medium. Always putting his remarkable virtuosity at the service of melody and emotion, he has had and continues to have a powerful impact on how musicians play, improvise, and compose, on how music lovers listen, on the color and sound of music the world over.
While Coleman has led a wide variety of formations, from duos to symphony orchestras, electric and acoustic, his basic musical concept has been remarkably consistent. He is interested in writing and performing music that allows all players to give free reign to their imagination and ideas. His musical system, which he named “harmolodics”and now prefers to call "sound grammar," is a remarkable exercise in applied democracy. All voices are given equal weight; all musicians are free to make deeply individual contributions while listening closely to one another, at once giving & taking space for their respective creativity.
The release of Sound Grammar marks several firsts: the first release on Coleman’s own, new label, also called Sound Grammar, the album is his first in more than a decade; his first live album in 20 years; and the first recording featuring his latest, now three-year-old, band. Composed of Ornette Coleman on saxophone, trumpet & violin, his son Denardo Coleman on drums, and acoustic bassists Tony Falanga (Orchestra of St. Luke’s) & Greg Cohen (Tom Waits, Elvis Costello, John Zorn’s Masada), this group sounds like no other on the music scene or in Ornette’s career.
Beautifully recorded live in concert in Germany in late 2005, Sound Grammar showcases six brand new Coleman compositions and two remakes: " Song X, " originally featured on the 1985 album of the same name, and " Turnaround, " from the classic 1959 LP Tomorrow is The Question. He explains: " When I get a job to perform I write a whole new program of music so that we don't perform something I have played before and that my musicians have not. I want them to be affected the same way I'm being affected. I only do that for the sake of equality, not because I want to be a great composer."
Ornette explains further: "Sound grammar is to music what letters are to language. Music is a language of sounds that transforms all human languages." As original, innovative, and groundbreaking as anything Coleman has released in nearly five decades of record making, Sound Grammar is also one of his most accessible and melodic works to date. It is poised to rank among the key musical events of 2006.
Live On Stage:
I have to hand to the Bonnaroo folks they certainly know how to book a festival and how to introduce people to music they may normally not seek out on there own - case in point Ornette Coleman. Sure I may have heard of him, but without the motivation to check him out I probably would have let him fly under my radar. So take 8 minutes out of your day and watch this vintage clip of Ornette rip it up from back 1974....
Here's a few shows to check out (via Dimeadozen)....
Ornette Coleman - 1987-07-03 - Live at Ravenna Jazzfest - Italy
Ornette Coleman - 1965-11-30 - Tivoli Koncertsal - Copenhagen Denmark
Ornette Coleman - 1991-07-04 - Estival Jazz - Piazza Della Riforma - Lugano, Switzerland
That's all I got for you. Head on over to his official site for all this Ornette.
Set Time: 6/17, The Other Tent, 6:30 PM - 8 PM
Saturday, June 2, 2007
Bonnawho's Who - String Cheese Incident
Official Bio:
The fans get it.
590 thousand albums sold. Performances in front of half a million fans worldwide in 2004 alone. 150,000+ unique web visitors each month. Prestigious festival gigs, like New Orleans Jazz & Heritage, Telluride Bluegrass, Newport Folk. Sold–out headlining shows at Colorado’s Red Rocks Amphitheatre, New York’s Radio City Music Hall and San Francisco’s Warfield Theater. A New Year’s run that annually sells upwards of 20,000 tickets. A thriving, innovative family of businesses including a record label, in-house ticketing, merchandise and travel agency.
What attracts hundreds of thousands of fans to The String Cheese Incident? Mainstream critics have been slow to embrace them. But the fans know that the five guys who make up the group play their asses off. They know that String Cheese has spent more than a decade making innovative, genre-defying music, and that each member has brought their own unique approach to the band’s now five studio albums and countless live performances.
Bill Nershi, who works out his passion for bluegrass on acoustic guitar, often follows lyric paths that reveal a fascination with psychological themes. Bassist Keith Moseley brings a love of hooks and concise songwriting evident in the way his playing serves the song. Violinist/mandolinist Michael Kang possesses an uncanny ability to quickly master instruments that befits his interest in intricate rock compositions. Drummer/percussionist Michael Travis balances innate spirituality with a keen ear for all sorts of rhythms, from ancient to electronic. Keyboardist Kyle Hollingsworth, the most intensely trained musician of the group, embraces the heavy bottom of funk and jazz.
Five distinctly different voices, all of them with equal say. In most bands, there’s a leader, sometimes two, but democracy rules in The String Cheese Incident, both in their music and their business. It’s not some happy, hippy collective, either. A band is like a marriage, and it takes enormous compromises to make it work.
“How many years has it been to this day / We’ve known each other in so many ways / Sometimes it seems so hard to agree / I don’t even know if you’re listening to me / It’s time for the Big Compromise…Maybe too many heads are better than one,” Bill Nershi sings on “Big Compromise,” a song from One Step Closer, the band’s fifth studio album, that seems to embody the conflicts and resolutions of this five-way partnership.
“Everyone has a stake in the music and the organization. It can be difficult. We often struggle to make fast and easy decisions,” Nershi says.
The ‘Big Compromise’ that Nershi sings about is an inherent part of the ever-changing sound of The String Cheese Incident, reinventing what they do at every show and on every record. “With every album we realign ourselves, not because we didn’t like what we did before, but because there are so many faces of the band and we want to show them all,” Nershi says.
Because of their egalitarian nature, bringing in outside producers for their studio albums has become critical for SCI. On One Step Closer, they co-opted Malcolm Burn (Bob Dylan, Chris Whitley, Emmylou Harris, Daniel Lanois), a wiry, energetic Mephistopheles who became the unofficial sixth String Cheese member during the recording of the album and coaxed the group into a catharsis. Burn co-wrote, arranged and played on some of the tunes; he also uprooted the band’s artistic conflicts and used them to uncover The String Cheese Incident’s genuine songwriting voice – all five of them.
Percussionist Jason Hann, who started touring with the band in the fall of 2004, was also recruited to join the band in the studio and add his dynamics to some of the songs. “We invited Jason on the road with us to help keep the live dynamics fresh,” Moseley explains. “It was great having him in the studio for a few songs, too.”
For the first time on a String Cheese studio album, each SCI member sang and contributed at least two songs, and each sought out co-conspirators to help them develop their voice: such as Robert Hunter, the Grateful Dead lyricist who collaborated with Kyle Hollingsworth on “45th of November,” and renowned Nashville songwriter Jim Lauderdale, who co-wrote “Big Compromise” and “Farther” with Nershi and with whom Keith Moseley penned “Brand New Start.” “Our roles in the band are evolving,” Moseley says. “This time we all got off on the experience of crafting songs, and Malcolm was good at helping us develop our individual voices and still find a forum for them within the band unit. Lyrically, the songs reflect what’s happening with each of us personally.”
“Things have changed a lot in the last few years, both with the music and with our personal lives,” Nershi adds. “Some of us have families, babies and houses now. We’re right in the middle of re-assessment, re-evaluation, coming up with a new game plan, imagining where we want to be in five years. It’s an interesting time.”
The bonus DVD that accompanies One Step Closer offers an inside peek into the recording sessions, and into the heart of The String Cheese Incident itself. Caught up in the recording process and urged by Burn to confront anything holding them back from the best possible performance, the members of the group dish out rare candid insights into their music and into one another. The video footage also features a track that didn’t make the final cut, a Michael Kang song that the string player was having a hard time committing to tape. Burn tells Kang to forget what his bandmates think and do it the way he wants. “Opinions are like assholes - everybody’s got one,” Burn says.
One thing that the entire band agreed upon was to take a stripped-down, rootsy approach to making One Step Closer, a 180-degree turn from 2003’s dense, proggy Untying the Not. With bright, catchy melodies and 3-to-5-minute songs that revolve around hooks instead of solos, One Step Closer feels like a deep breath on a splendid sunny morning. “Ain’t it good to be alive” the group proclaims on the song “Drive.”
“When it came time to record, we had just come off another long year on the road and we wanted to spend some time closer to home,” Moseley says. “Making Untying the Not was such an intense experience. We were in a studio in California and the clock was ticking. We were under enormous pressure to work quickly and efficiently. That’s a difficult environment to stretch out and be creative. For this album, our momentum took us back to a more bare bones approach.”
For One Step Closer, String Cheese sought inspiration from Music from Big Pink, The Band’s landmark 1968 album recorded at an upstate New York house. So the group abandoned the idea of a traditional recording studio in favor of a friend’s sprawling abode in the hills of Boulder, surrounded by inspiring mountain views. Burn moved into the house, and the band members went home at night after recording. “It was a very homey set up,” Moseley says. “We could hang out as long or as late as was necessary. Malcolm’s girlfriend would cook dinner for everyone, and we got to sleep in our own beds.”
GETTING ONE STEP CLOSER
One Step Closer brings The String Cheese Incident back to the magnificent Colorado region not far from where they initially bonded while skiing off breathtaking peaks and embarking on insanely long mountain bike rides. Only these days the band is in a more reflective mood. Just listen to “Farther,” in which Nershi stands at the edge of a cliff and ponders rather than jumps. “It’s so much easier to let a situation take you with it, even if it’s spiraling out of control, than it is to really try to make something work, and risk failure. Sure, there’s always a long list of excuses why something didn’t work…but what about just being willing to say you gave it your very best, and it still didn’t work,” the guitarist explains. “You have to make a leap of faith.”
It takes a leap of faith to start any band, to choose a winding artistic path over a more certain, and tested one. But for The String Cheese Incident, the leap is elemental. When they quit their day jobs more than a decade ago, they set out not to get signed but to forge their own way in music. In an industry desperate to slap labels on artists for marketing purposes, this band has built a thriving business while making art that defies branding.
It takes a leap of faith for a band to reinvent itself, too. The short, laidback songs on One Step Closer may mystify longtime fans looking for lengthy solos and extended jams. “I’m not sure that the fans who come to our live shows will immediately embrace this record; we’re hitting the opposite end of the spectrum on this album,” Moseley says. “But that’s the way we see the studio process – it’s a different side of the art of making music. And starting this summer, when we play the new songs live, a 3-minute song may turn into a 6-minute song or longer. On stage is great place for the improvisational vibe and the hook to co-exist,” he adds.
So whether you’re a fan or a critic or both, shed your preconceptions of what The String Cheese Incident can do and listen to the melodic triumphs of One Step Closer. The way the dobro cries beneath glistening organ on “Big Compromise.” The percussive mystery of “Betray the Dark.” The gentle balladry of “Silence in your Head.” The good-time, highway-bound groove of “Drive.” Tune in to the sound of five accomplished players whose diverse musical inclinations turn into remarkable songs, and breathe in the Colorado mountain vibe.
Ain’t it good to be alive.
Live On Stage:
I'm sure as most people know String Cheese will be calling it quits after this summer, so Bonnaroo most likely will be most people's last chance to see them. I'll spare you my whole dissertation about them and their place in jamband history, because who really needs that. I will say that I've always enjoyed their music, though their forays into jam-tronica and more Phish-y sounding stuff kind of turned a lot of people off. It's the bluegrass and roots stuff that really did it for me. Anyways that's gone on long enough, here they are with "Black And White" from Austin City Limits.....
Here's a hodgepodge of shows from their career....
String Cheese Incident - 1997-10-28 - The Bayou - Washington, DC
String Cheese Incident - 2001-04-20 - Fox Theater - St. Louis, MO
String Cheese Incident - 2003-03-22 - The Fillmore - Denver, CO
String Cheese Incident - 2006-10-07 - Thomas Wolfe Auditorium - Asheville, NC
String Cheese Incident - 2007-03-24 - Fillmore Auditorium - Denver, CO
And let's kick it old school with a "Land's End" from way back in '98 in Austin....
I have a feeling they'll be bringing the goods with their late night set this year. For more on SCI head over to their official website.
Set Time: 6/15, Which Stage, 12 AM - 3:30 AM
Bonnawho's Who - The Roots
Official Bio:
1987. Philadelphia High School for the Creative and Performing Arts, second day of school. A student named Ahmir Thompson walks into the principals office seeking a lunch pass. At the same time, a freshman named Tariq Trotter stumbles in, gripped by school guards who caught him engaging in extracurricular activities with a ballerina in the ladies bathroom.
Luckily, Thompson has designs larger than lunch, and Trotters game is wider than women. Thompson is a jazz drummer and Trotter is an MC, and decides to create music together. They cant afford turntables, microphones, or DJ equipment. But then again, they are secretly glad about their dollar deficiency--their collaborations wouldnt have that something-from-nothing spirit that built hip-hop and rock. So, Trotter rhymes over Thompsons rented drum kit. Eventually, they call themselves the Square Roots, and Thompson adopts the name ?uestlove and Trotter takes on Black Thought.1989. Valentine's Day. The Square Roots debut their first show, facing off against classmates Boyz II Men. ?uestlove now looks back and asserts that the R&B group cheated, doing a New Edition routine complete with matching gear and glitter in their hands. The Square Roots are upstaged by the glamour and glitz. It would become a recurring theme. South Street, Philadelphia. If you're not familiar with it, think of Manhattan's Greenwich Village or San Francisco's Haight Ashbury. Bohemia and art so democratic it is literally on the street. This is where ?uestlove and Black Thought perform on corners using buckets, pans and pots for percussion. Even today, The Roots' live show exposes their rigorous training ground, rocking it despite hecklers, police, thrown objects, competing artists. Club owners take note, and offer them indoor shows.
1991. Black Thought attends Millersville University, outside of Philadelphia. In between sitting "in class dreaming about 50,000 fans up in the stands screaming out," he meets fellow student and rapper Malik B. Bassist Leonard "Hub" Hubbard also joins the band and they become The Roots. Keyboardist Scott Storch rounds out the sound.
1993. The Roots proceed to Germany for a concert and industriously decide to record an album to sell at live shows. Indie label Remedy Records releases it; called Organix. As part of their European excursion, they all cram in a London flat.
1995. The Roots graduate to Geffen, or what Black Thought called it, "sharecropping", and release the album Do You Want More?!!!??! At the height of the industry's over sampling phase, this album includes none. Instead, they rely on new group member human beatbox Rahzel the Godfather of Noyze as well has guest jazz artists Joshua Roseman, saxophonist Steve Coleman and vocalist Cassandra Wilson. "Proceed" and "Silent Treatment" become hits. The Roots' live show gets further exposure on the second stage at Lollapalooza and the Montreux Jazz Festival in Switzerland, originally made essential by Miles Davis and Marvin Gaye.
1996. Quickly reloading after their major label debut, The Roots release Illadelph Halflife, starring the popular single "What They Do," whose music video is hailed as one of the most eloquent and innovative of all time. The Roots' renaissance begins. Keyboardist Kamal Gray and human turntablist Scratch become members of the band.
1999. Commercially, things come together with the release of Things Fall Apart. The album soars close to platinum, selling 900,000 copies, and included the Grammy-winning hit single "You Got Me," featuring Eve and Erykah Badu, written by Jill Scott. Even as they are excelling in the stores, The Roots showcase their strength on stage with the double concert album The Roots Come Alive. At the same time that their commercial base expands, they create one for other people. Along with the Jazzyfatnastees and Jaguar Wright, they organize the musical salon Black Lily which gives Beanie Sigel, Bilal and Musiq their first shine.
2000. The Roots win the Best Rap Performance by a Duo or Group Grammy for "You Got Me" and back up Jay-Z for his MTV Unplugged special.
2001. The Roots support Moby on his Area One Tour.
2002. The Roots release their sixth album Phrenology. Black Thought's lyrics are their most personal to date. The 10-minute plus "Water" anchors the album. It's a message to now-former group member Malik B. about his descent into drugs and is the luxuriating and ambitious type of song not heard since Issac Hayes' dropped sitcom-long compositions. Amiri Baraka, Nelly Furtado and Cody Chestnut co-star, and for the first time added punk and 80s R&B influenced guitarist Ben Kenney to the mix to hone a rock edge. Kenney goes on to play with Incubus. Rolling Stone proclaims that with Phrenology, The Roots created a "blueprint for twenty- first-century pop music."
2003. The Roots attend the Grammys, in honor of their nominated album Phrenology and to back up Eminem's performance. Having completed several years of the Okayplayer tour and ?uestlove having produced for D'Angelo, Christina Aguilera, Justin Timberlake, Macy Gray and Joss Stone,
The Roots begin work on their seventh album. Harkening back to the golden era of jazz and their method of recording The Roots' first album, ?uestlove, Black Thought, Hub and Kamal create their latest opus through a series of jam sessions with artists that fortuitously pass through Philadelphia. The exchange of ideas, long sessions and loose vibe create unexpected results. Guest musicians - Brooklyn-based guitarist Captain Kirk (Kirk Douglas) and percussionist Frank Knuckles -- collaborate as well. The band replay jam session tapes and develop songs from the cells within.
Live On Stage:
What can you say about The Roots that hasn't been said before they're a band that blurs the lines of hip hop and rock by presenting it in an organic way - an MC backed by a live band. The Roots certainly don't as much credit as they deserve for consistently putting out such great music. Check out this inventive take on Bob Dylan's "Masters Of War" with ?uestlove holding it down with a military drum beat as well as getting to shine with a killer solo at the end....
You really need to see these guys live to get it, here's some shows to download...
The Roots - 2006-10-29 - Vegoose Music Festival - Jokers Wild Stage - Las Vegas, NV
The Roots - 2005-06-17 - Red Rocks Amphitheater - Morrison, CO
The Roots - 1994-07-04 - Montreux Jazz Festival - Miles Davis Hall - Montreux, Switzerland
Music Videos:
Here's The Roots with the video trilogy "Don't Feel Right"....
Got a bunch more for you to check out, you'll want to....
I Don't Care
Don't Say Nuthin
The Seed 2.0
You Got Me
What They Do
Break You Off
The Next Movement
For more on The Roots head over to their official website.
Set Time: 6/15, What Stage, 6 PM - 7:30 PM
