The Allman Brothers concluded their short autumn tour of theatres with three sold out shows at The Orpheum in Boston that simultaneously re-affirmed their own passion for their music and justified the loyalty of their fan base.
The best moments of Soulive’s last visit to Vermont, in April of ‘08 occurred when the core trio had the stage to themselves and ripped it up without interruption for over thirty minutes, reminding what a powerful band they’d become in their (close to a) decade together. The high points of the Halloween run at Higher Ground exceeded even that altitude.
In terms of musical culture, the Roman calendar could not accurately document when the 70's turned into the 80's. The explosion of experimentalism that ran through rock, jazz and pop during the latter part of the 60's morphed into strange and not always so wonderful things in the two ensuing decades. Still, there were those artists who confronted that stance, often in marked contrast to their previous efforts, offering work that’s still worth listening to (and reissuing on compact disc) today.
Public Domain (Spire Artists) is the follow-up to Charlie Hunter’s first such album, 2000’s Solo 8-String Guitar, now long out of print on disc from Contra Punto Records (though still available as a download). As indicated by its title, this new work consists of largely familiar tunes, all of which have been around long enough for their copyrights to expire (as stipulated by law, after seventy years). In doing justice to the material in his own imitable fashion, however, Hunter insures the songs will retain their indelible mark on contemporary culture.
Steve Berlin talks frankly and to the point about the creative process in general and in specific, dispelling any misconceptions about the means by which Los Lobos has created such memorable works as This Time and The Town and The City. In this age of iTunes, he may betray an old school mentality in referencing the concept of sequencing an album, but there’s no denying his passion for the process and the end result of music-making, especially when it comes to his bond with the other band members.
Hill Country Revue are at the vanguard of a new generation of Southern rockers and, like their illustrious forebears The Allman Brothers Band and Lynyrd Skynyrd, the band blends blues and country music with hard rock hearkening to 60’s icons The Jimi Hendrix Experience and Cream. HCR’s no-nonsense attitude makes the mix work without allowing themselves to slip into the caricatured stance that afflicted generic Dixie rock of the Seventies.
Boasting the presence of Wynton Marsalis and Allen Toussaint, Clapton does carry the distinction of impeccable craftsmanship, but without the famous name(s) attached to it, the album might not command much attention at all.
Anyone lucky enough to see Jackie Greene while he fronted Phil Lesh & Friends in 2007 and 2008 had to wonder if the young Californian could command the stage with his own band and exude the same charisma. Greene’s October 7th appearance at Higher Ground answered the question…and emphatically.
The bulk of his conversation with Doug Collette is devoted to the latest Soulive project, their homage to The Beatles, Rubber Soulive. Interestingly enough, considering the freshness and economy of the recorded work, the concept has been in discussion for years.
The title of Peter Case’s new album sounds more like a command the more you listen to it. A raucous rock and roll affair (in a mini-lp package right down to CD sleeve) Wig! is decidedly different than the generally low-key, folk-styled recordings Case has done over the last few years, but it’s no less credible.
