Chris and Rich Robinson revitalized the Black Crowes in 2008 by en-listing two new members who then participated in the recording of inspired original material on the band’s first studio set in seven years Warpaint. The extensive touring that followed, from which this double live CD is taken, finds the quintet even further invigorated…and invigorating to hear.
Following the iTunes exclusive Live from Las Vegas – Exclusively at The Palms; Celebración De La Ciudad Natal is the second live EP My Morning Jacket's released just this year. Recorded in Louisville, Kentucky, at their hometown record emporium Ear X-tacy and Waterfront Park (the dual reference to the meaning of the title), this approximately forty-seven minute release is available only at indie record stores, whose customers no doubt form the source of the band’s greatest loyalty.
A magnificent songwriter and bonafide cultural icon, Bob Dylan has never been a truly skilled recording artist in the sense of using the studio as a versatile tool in enlarging the scope of his music. On the contrary, his best recordings are those in which savvy musicians capture their chemistry by instinct, inspired by the great material they’ve been given to play. That’s not what happens on this new album.
It should come as no surprise that, in conversation as in his playing, John Medeski is quick to respond and makes his points emphatically though never heavy handedly. As one third of Medeski Martin & Wood, the keyboardist has played an integral role in exploratory work that has rendered jazz ultra-contemporary while never losing sight (or grasp) of the genre’s roots. Like his two musical partners, Medeski has made the time to contribute to any number of side-projects over the years as both musician and producer, collaborating with The Word, The Campbell Brothers and The Will Bernard Group.
So wondrous was the sound of R.E.M.’s Murmur upon its release in 1983, that the deceptive simplicity and haunting air of this music is no less perfect in re-mastered and expanded form over twenty-five years later.
Whether or not it gives you pause to consider why so many of this young band's songs contain recurring references to death (“St Stephen's End”), guns (“Hey Hey Revolver”) and alcohol (the two aforementioned), the fact of the matter is the quintet–even without brother Simone who's on a temporary leave from touring -perform in such a disarming fashion, Felice Brothers can charm you wholly and completely into their world.
Tickets for Dumpstaphunk's March 27th show at the Highline Ballroom read "Post Allman Brothers Show,” but there were precious few Peachheads present for one A.M. start time or beyond. Not that it mattered because anyone entering the venue would've had the same reaction: an irresistible physical response to the overpowering rhythms exploding from the stage.
An all-star band the likes of which accompanied Will Bernard March 26th doesn't always work in the studio or on the stage. But the extended performance in the Highline Ballroom gave further credence to the chemistry of the diverse foursome
Medeski Martin & Woods' Radiolarians II suggests that each of the three musicians are taking turns setting the tone for the respective installment of the series. John Medeski takes precedence here, but not to the detriment of his partners or the music they create together.
The Clifford Ball is as good a summation as anything else officially available of the instrumental and vocal prowess at the heart of the Phish persona. The seven-DVD set of catches the band on the outer fringes of its innocence, consorting on stage with Ben and Jerry as headlines of ‘The Burlington Free Press’ emblazon the story of the August weekend in a tongue and cheek style that mirrors the quartet’s own sense of humor.
