Carlos Santana and the band are set to launch their summer 2011 (SOCC) Sound of Collective Consciousness Tour of North America on August 25 with a concert in Seattle, Washington.
Anti- Records has announced the release of Jolie Holland’s new album PINT OF BLOOD. Set for a June 28th release, on this record the critically acclaimed songwriter and multi-instrumentalist draws
Black Dub, the acclaimed and innovative new quartet helmed by Grammy Award-winning producer and guitarist Daniel Lanois, today announced a full tour of North America. Kicking off in Anaheim on
The beauty of live performances is you take everything as it comes. If an artist flubs a line, misses a chord or hits the wrong key vocally, there’s no going back. A lot of “live” albums, however, fall short because they use a number of production tricks to cover over mistakes, or to make the audience sound louder than they really are, so they end up sounding disingenuous and in a way are a waste of time. Brandi Carlile’s new live album, thankfully, does not use these tricks and the performances are pretty damn great as a result.
Influenced by artists such as The Black Crowes, Tom Petty, Band of Horses and Arcade Fire, The Northstar Session develops their style based on the musical characteristics of old rock and roll bands and contemporary artists. Although they have plenty of original material, they will sometimes break into a cover song.
If you’ve ever seen and heard Warren Haynes perform Otis Redding and Delbert McClinton covers, you know he has more than a passing interest in both soul and rhythm and blues. But the passion in this man’s singing on “Save Me,” the final cut on Man in Motion, borders on desperation: arguably the most confessional vocal he’s ever done, this single performance alone is enough to redeem the inconsistencies that otherwise afflict the exercise in style that constitute his second solo album.
Bon Iver has confirmed an extensive US tour which will bring them to their largest venues to date, kicking off with two home-state shows at Milwaukee's Pabst Theater on July
The classical and Deadhead worlds met head on last night at the Marin Veterans Memorial Auditorium in San Rafael, CA where Grateful Dead/Furthur guitarist Bob Weir teamed up with the
While technically Bob Dylan doesn’t turn 70 until May 24, it’s my turn in the Mix Tape rotation, so I thought I’d use this opportunity to do a little early
Max Creek @ Sullivan Hall, April 29
Max Creek’s wearing 40 well. Or, to put it another way: you’re not regularly seeing shows by 40-year-old bands that were as effortlessly enjoyable and musically nourishing as the band’s two set monster at Sullivan Hall – the middle show in a three-night anniversary swing through Connecticut, New York and Rhode Island – and that don’t feel like canned revues coasting on nostalgia.
[All videos by NYCJamGal]
Max Creek is a curious institution. It never hit the big time or got much close to it, but it was a jamband before jambands were jambands: established long before Phish, Panic and the generations of improvisational rock acts since then, and really, a near-contemporary of both the Grateful Dead and the Allman Brothers Band, though with the tiniest fraction of the fame. It pulled back on touring just as the late ’80s/early ’90s jam seeds were sewn and the scene mushroomed, morphed and moved into the popular, yet fractured state it’s in now. But Creek still has particular renown, especially in New England, and its tri-state fans were out in force at Sullivan Hall.
Bassist John Rider is technically the lone original member, but guitarist Scott Murawski and keyboardist Mark Mercier have been around almost as long, and the band’s drum chair is now occupied by one- and two-man configurations of its various drummers since the mid ’80s: Scott Allshouse, Greg Vasso and Greg DeGuglielmo. Bands with such long-established chemistry are sometimes hindered by that comfort, and Max Creek, too, can sound workmanlike. But shit, can they still motor when they’re feeling good. It’s a well-stocked repertoire of originals and covers both well-worn and less-remembered, so often opened up with jam segments that are hearty, brilliant and powerfully expressive.
READ ON for more on Max Creek @ Sullivan Hall…
