Glide Magazine

King Gizzard Drummer CAVS Emerges As Singular Jazz Force On Stunning Sophomore Effort ‘Sojourn’ (ALBUM REVIEW)

Glide Magazine — Wed, 22 Apr 2026 00:16:25 +0000

Five years ago, Michael Cavanagh, long-time percussion expert for psych-rock powerhouse King Gizzard and the Lizard Wizard, made his solo debut under the CAVS moniker with a self-titled effort. The ten-song drums-only effort was an exercise in the drummer’s ability to capture a listener’s attention with exclusively drum patterns, resulting in a groovy, atmospheric effort that ultimately didn’t catapult CAVS into the solo spotlight like similar artists of his ilk. The difficult transition from band member to lone musician is a bumpy, often misdirected endeavor that rarely seems to go well for the artist who dares undertake it. Still, in traditional Lizard Wizard fashion, Cavanagh wasn’t discouraged with the difficulties of his debut, but inspired.

If his debut as CAVS was a social experiment that toyed with the limits of our attention span and the artist’s percussion prowess, Sojourn is the moment CAVS truly becomes his own artist. Equally daring in concept yet far more robust, enthralling, and digestible, the sophomore effort from Cavanagh is the proper introduction to the artist’s unique brand of jazz we’ve been waiting for. Long gone are the days of drum-only arrangements, as the artist is joined by Mildlife’s Jim Rindfleish, fellow Gizzard Joey Walker, and a band of like-minded jazz adventurers. Sojourn bursts with hypnotic wind instruments, funky basslines that teeter on the absurd, and whimsical melodies that all exist in a peaceful world overseen by Cavanagh’s commanding drums. CAVS drums have been whirling through contemporary music for years now. Still, Sojourn feels like we are meeting them for the first time, almost like discovering a new secret from an age-old friend, if that secret were a collection of spiritual jazz compositions depicting a fantasy world.

Sojourn follows a character who stumbles upon an undiscovered island located some distance up a river that flows with peculiarly tinted water. These songs follow this character through the excitement and fear of the unfamiliar, depicting these strange creatures and alien plants through twisted melodies and palpable psychedelia. CAVS packs all of this imagery and wonder into every corner of these ten instrumental numbers, officially planting his flag in the fertile soil of a jazz revival scene on the upswing.

Cavanagh set out to establish an identity with Sojourn, yet nothing about these songs feels forced. The drummer beautifully executed each emotional moment of this bold concept LP. From the dramatic, dark encounter of “Death Bat,” with its harrowing undertones being delivered via bouncy tempos and exhilarating electronics, to the way he describes this fantasy land he’s concocted on “Silk Road,” detailing the sleek pastel and neon visions that line its streets, these songs paint fantastical images in the listener’s mind without feeling invasive. The artist makes the narrative of his sophomore debut manageable while interspersing moments of meditative solace, such as the otherworldly grooves of “Paititi” and the raw, organic rhythms of “Emerald Nile.”

This is not an extension of CAVS’s debut, but a complete reimagining of his approach to his solo material. Sojourn is captivating from the jump and even more so with every listen, a reimagining of a well-known musician who sounds more confident in his position as a bandleader. These ten songs position Cavanagh as an introspective player in contemporary jazz and begin to cement the drummer as a singular force of imaginative proportions.

Surfing The Tube: Ringo Tells Tales On ‘Kimmel’ Tortoise Shows Off What’s In Their Bag; Dermot Kennedy Has His Music Knowledge Tested,

Glide Magazine — Tue, 21 Apr 2026 20:15:04 +0000

Ringo Starr -Jimmy Kimmel

Ringo Starr visited Jimmy Kimmel Live and talked about not smoking weed anymore, seeing his friend Paul McCartney perform recently, doing a duet together on Paul’s upcoming album, traveling and sharing hotel rooms with Paul McCartney, John Lennon and George Harrison.

Tortoise’s “What’s In My Bag?” | Amoeba Music

Tortoise raids Amoeba Records and shows off the goods they grabbed, from albums by Tom Verlaine to Oneohtrix Point Never and even some literature.

Testing Dermot Kennedy’s Music Knowledge | Track Star*

Fresh off the release of his new album The Weight of the Woods, Dermot Kennedy has his music knowledge tested, from big names in hip hop to Bon Iver, David Gray, and more.

Gwenifer Raymond: Tiny Desk Concert

NPR Music’s Tiny Desk Concert series’ most recent guest is Gwenifer Raymond, who takes the stage solo to mesmerize fans, utilizing nothing other than her guitar.

Thundercat, Herbie Hancock, Flea, Gary Clark Jr., Angine de Poitrine, Robert Glasper & More Lead 2026 Newport Jazz Festival

Glide Magazine — Tue, 21 Apr 2026 20:04:37 +0000

This summer, the Newport Jazz Festival returns to Fort Adams State Park in Rhode Island for its 72nd edition, once again reaffirming its status as one of America’s longest-running and most revered musical gatherings. Set for July 31 through August 2, the festival continues its legacy of delivering once-in-a-lifetime performances, fueled by Newport’s signature blend of intimacy and artistic community. Year after year, fans and musicians alike make the pilgrimage to this historic setting, drawn by a tradition rooted in diversity, discovery, and virtuosity.

Produced by the Newport Festivals Foundation, the event enters a new chapter under recently appointed artistic director Nate Smith. The acclaimed drummer, producer, and bandleader steps into the role following the decade-long tenure of Christian McBride and the foundational vision of George Wein. Smith takes the reins after three consecutive sold-out years, signaling continued momentum for the storied festival.

This year’s lineup reflects Newport’s forward-thinking ethos, bringing together boundary-pushing, genre-blurring talent across generations. Headliners include Jon Batiste, Thundercat, Gary Clark Jr., and Robert Glasper, with collaborations featuring Bilal and Ari Lennox. Rising artists like Leon Thomas, Sienna Spiro, and Mei Semones will make their Newport debuts, while global voices such as Little Simz, Arlo Parks, and Celeste continue to reshape the contemporary landscape.

Jazz remains at the festival’s core, with legends like Herbie Hancock and Charles Lloyd leading the charge, alongside collaborations featuring Jason Moran, Larry Grenadier, and Kweku Sumbry. Additional highlights include John Scofield with Dave Holland, and Terri Lyne Carrington with Social Science. Elsewhere, crowd favorites like Vulfpeck, Lake Street Dive, Snarky Puppy, and Cory Wong (joined by Joshua Redman) promise high-energy sets, while visionary artists including Anoushka Shankar, Chief Adjuah, Lalah Hathaway, and Chris Dave with MonoNeon showcase the full spectrum of modern creativity.

A special anniversary performance,Celebrating 100 Years of Miles and Coltrane featuring Kamasi Washington and Chief Adjuah, will honor two Newport Jazz alumnus with some of jazz’s most enduring legacies. Additional appearances from Flea and the Honora Band, Atomic Habits featuring Marcus King, Charlie Hunter & Ella Feingold, The Bad Plus, andAngine de Poitrine making their US debut round out the bill. Artistic Director Nate Smith will also take the stage, continuing Newport’s tradition of artist-led collaboration and innovation. The full line-up is listed below.

This year Newport Jazz will once again be offering a limited JAZZ LOUNGE Festival admission ticket. The Jazz Lounge Ticket allows you access to a separate Festival entrance, a premium parking space (one space per ticket order), and exclusive access to the Jazz Lounge – a tented lounge on the North Lawn/Fort Stage where you will find: Lounge seating, complimentary wifi, a private cash bar, TV monitors for a live view of the Fort Stage performances, and air conditioned restroom facilities. The lounge will also feature panoramic views of Newport Harbor, Narragansett Bay and the Fort Stage. This offering is in addition to 3-Day and Single day general admission tickets and discounted student tickets.

Specially priced 3-Day Passes will go on sale today, April 21st at 1:00 PM ET for 48 hours only. All other ticket types go on sale April 23rd at 1PM ET via DICE. Full pricing listed below. A limited number of specially priced 3-Day Tickets are available for purchase on a first come first serve basis. Student tickets are only for students aged 10-25. Current College students are required to present a student photo ID. Middle and High School students are not required to show ID. All students must enter through the student gate only. Children 9 and under are free except for Jazz Lounge Tickets. Only 2 children allowed per ticketed adult. All children 10 and over will need a full priced admission ticket.

Ticket Pricing

**All Prices Listed include all fees

LIMITED THREE DAY (Limited Discount) $278.10

THREE DAY WEEKEND TICKET (GA) $314.15

LIMITED THREE DAY STUDENT TICKET $189.52

THREE DAY JAZZ LOUNGE TICKET $1,514.10

SINGLE DAY TICKET $117.42

SINGLE DAY TICKET STUDENT $63.86

THREE DAY PARKING $90.64

SINGLE DAY PARKING $33.99

Newport Jazz Festival encourages fans not to purchase tickets you see on the secondary market, or from any individual or corporate resellers claiming to have tickets. Those speculative listings may not be real tickets that the seller actually owns. Only purchase from official Newport Jazz sources during the official on sale or waitlist. All Newport Jazz tickets are mobile digitally from our ticketing partner DICE.

For complete information visit https://newportjazz.org/

Newport Jazz Festival 2025 Full Line-Up

Herbie Hancock

Celebrating 100 Years of Coltrane & Miles feat. Kamasi Washington & Chief Adjuah

Vulfpeck

Jonathan Batiste Trios

Thundercat

Gary Clark Jr.

Lake Street Dive

Robert Glasper feat. Bilal & Ari Lennox

Leon Thomas

Sienna Spiro

Little Simz

Cory Wong with Joshua Redman

Flea and the Honora Band

Angine de Poitrine

Snarky Puppy

Nate Smith

Arlo Parks

Atomic Habitz feat. Marcus King, Chris Dave & MonoNeon

Celeste

Charles Lloyd Sky Quartet feat. Jason Moran, Larry Grenadier & Kweku Sumbry

John Scofield & Dave Holland

Anoushka Shankar

Chief Adjuah

Lalah Hathaway

The Bad Plus Farewell Tour

Bernard Purdie & Friends

Butcher Brown

The Dip

Gotts Street Park

Dana and Alden

Terri Lyne Carrington + Social Science

Charlie Hunter & Ella Feingold

Billy Hart Quartet

Mei Semones

Maya Delilah

SML

Mohini Dey

Linda May Han Oh Trio with Ambrose Akinmusire & Tyshawn Sorey

Marquis Hill

Braxton Cook

GENA

Olive Jones

Michael Mayo

Tia Fuller feat. Shamie Fuller Royston – “Fuller Sound”

Nduduzo Makhathini

Sullivan Fortner Trio

Brandon Woody’s Upendo

Fonville x Fribush

Chicago Underground Duo

Concurrence

Beck Announces ‘Ride Lonesome Tour’

Glide Magazine — Tue, 21 Apr 2026 13:28:27 +0000

Following his surprise single, “Ride Lonesome”(below), Beck has announced the Ride Lonesome Tour, a 25-date trek stopping at some of North America’s most renowned theaters and amphitheaters.

The Ride Lonesome Tour, promoted by Live Nation, will kick off September 16th at Vancouver’s Queen Elizabeth Theatre, with stops including the Santa Barbara Bowl, the Greek in L.A., Red Rocks, two nights each at The Masonic in SF, Massey Hall in Toronto and the Brooklyn Paramount, and more, before concluding October 31st at The Truth in Nashville.

Tickets for Beck’s Ride Lonesome Tour go on sale Friday, April 24th at 10am local time. For further information, go to Beck.com.

Citi is the official card of the Beck: Ride Lonesome Tour. Citi cardmembers will have access to presale tickets beginning Tuesday, April 21st at 11am local time until Thursday, April 23rd at 10pm local time through the Citi Entertainment program. For complete presale details visit www.citientertainment.com.

BECK
Ride Lonesome Tour

09/16/26 – Vancouver, BC – Queen Elizabeth Theatre
09/18/26 – Woodinville, WA – Chateau Ste. Michelle
09/19/26 – Portland, OR – Keller Auditorium
09/22/26 – Santa Barbara, CA – Santa Barbara Bowl
09/23/26 – Los Angeles, CA – Greek Theatre
09/25/26 – San Francisco, CA – The Masonic
09/26/26 – San Francisco, CA – The Masonic
10/01/26 – Morrison, CO – Red Rocks Amphitheatre
10/03/26 – Omaha, NE – Steelhouse Omaha
10/04/26 – Kansas City, MO – Uptown Theater
10/06/26 – Milwaukee, WI – Landmark Credit Union Live
10/07/26 – Minneapolis, MN – Orpheum Theatre
10/09/26 – Chicago, IL – The Auditorium
10/12/26 – Detroit, MI – Fox Theatre
10/14/26 – Toronto, ON – Massey Hall
10/15/26 – Toronto, ON – Massey Hall
10/17/26 – Boston, MA – MGM Music Hall at Fenway
10/18/26 – Philadelphia, PA – The Met Philadelphia presented by Highmark
10/22/26 – Brooklyn, NY – Brooklyn Paramount
10/23/26 – Brooklyn, NY – Brooklyn Paramount
10/25/26 – Washington, DC – The Anthem
10/27/26 – Durham, NC – Durham Performing Arts Center
10/28/26 – Asheville, NC – Thomas Wolfe Auditorium
10/30/26 – Atlanta, GA – Coca-Cola Roxy
10/31/26 – Nashville, TN – The Truth

Modest Mouse Announces New Album ‘An Eraser and a Maze’

Glide Magazine — Tue, 21 Apr 2026 12:50:17 +0000

Modest Mouse has just announced their first new album in five years, and their first album on Glacial Pace Recordings, the longtime imprint of lead singer Isaac Brock, after over two decades on Epic Records. An Eraser and a Maze will be released on June 5 and was produced by Brock with additional production by Jackknife Lee (U2, The Killers), Suzy Shinn (Weezer), and Justin Raisen (Charli xcx, Kim Gordon, Lil Yachty). An Eraser And A Maze” is available for pre-save and pre-order now. The album will be released on CD and 2LPs, with exclusive vinyl variants available at www.modestmouse.comand select retailers HERE.

Modest Mouse also shared today the opening track. “Picking Dragon’s Pockets,” a bombastic kickoff to the album with an anthemic chorus that’ll have you singing loudly about navigating a manipulative, self-destructive world. The album kicks off bombastically with the opening track, “Picking Dragon’s Pockets.” Featuring an anthemic chorus, this song will inspire loud singing about navigating a self-destructive and manipulative world.

Modest Mouse will embark on a North American spring/summer tour beginning May 12th in Spokane, WA, that includes festival stops at Bonnaroo, Outside Lands and Shaky Knees. New tour dates in cities such as Austin, Los Angeles, New York City, and Seattle were announced today, with tickets going on sale this Friday at 10am local time. The complete tour schedule, with new dates noted in bold, is listed below and can be found at www.modestmouse.com.

Modest Mouse tour dates:

5/12 – Spokane, WA – Knitting Factory *

5/13 – Missoula, MT – The Wilma *

5/14 – Bozeman, MT – The Elm *

5/15 – Salt Lake City, UT – Kilby Block Party

6/4 – New Haven, CT – College Street Music Hall #

6/5 – Sayreville, NJ – Starland Ballroom #

6/6 – Allentown, PA – Archer Music Hall #

6/7 – Virginia Beach, VA – Virginia Beach Dome #

6/9 – Wilmington, NC – Greenfield Lake Amp #

6/10 – Charleston, SC – Charleston Music Hall

6/12 – Asheville, NC – The Orange Peel #

6/13 – Asheville, NC – The Orange Peel #

6/14 – Manchester, TN – Bonnaroo Festival

7/2 – Bellingham, WA – Mt Baker Theatre &

7/3 – Vancouver, BC – Orpheum Theatre &

7/5 – Calgary, AB – Calgary Stampede

7/7 – Saskatoon, SK – Saskatchewan Jazz Festival

7/10 – Seattle, WA – The 5th Avenue Theatre @

7/11 – Seattle, WA – The 5th Avenue Theatre @

8/4 – Ojai, CA – Libbey Bowl &

8/5 – Del Mar, CA – The Sound &

8/7 – San Francisco, CA – Outside Lands Music Festival

8/8 – Jacksonville, OR – Britt Pavilion &

8/9 – Portland, OR – Pioneer Courthouse Square !

8/12 – Chicago, IL – The Salt Shed

8/13 – Saint Paul, MN – Palace Theater

8/14 – Milwaukee, WI – Riverside Theater

8/18 – Washington, DC – Nationals Park ^

8/19 – Philadelphia, PA – The Fillmore

8/20 – South Deerfield, MA – Tree House Brewing

8/21 – Shelburne, VT – The Green

8/28 – Palmer, AK – Alaska State Fair

9/16 – Clearwater, FL – The BayCare Sound

9/17 – St Augustine, FL – The Saint Augustine Amphitheatre

9/18 – Orlando, FL – House of Blues Orlando

9/20 – Atlanta, GA – Shaky Knees Festival

9/22 – Fayetteville, AR – Ozark Music Hall

9/23 – Kansas City, MO – Grinders KC

9/24 – Columbia, MO – Rose Park

9/25 – Omaha, NE – The Astro Theater

9/29 – Madison, WI – The Sylvee ^^

9/30 – Cleveland, OH – Jacobs Pavilion ^^

10/1 – Cincinnati, OH – MegaCorp Pavilion Outdoor ^^

10/2 – Grand Rapids, MI – GLC Live at 20 Monroe ^^

10/4 – Ottawa, ON – HISTORY Ottawa ^^

10/5 – Toronto, ON – Meridian Hall ^^

10/7 – Boston, MA – Roadrunner ^^

10/8 – New York, NY – The Rooftop at Pier 17 ^^

10/9 – Baltimore, MD – Pier Six Pavilion ^^

10/10 – Pittsburgh, PA – Citizens Live at The Wylie ^^

10/13 – New Orleans, LA – The Fillmore New Orleans ^^

10/15 – Austin, TX – ACL Live at The Moody Theater ^^

10/16 – Irving, TX – The Pavilion at Toyota Music Factory ^^

10/17 – San Antonio, TX – Boeing Center at Tech Port ^^

10/19 – Phoenix, AZ – Arizona Financial Theatre ^^

10/20 – Hollywood, CA – Hollywood Palladium ^^

10/22 – Avila Beach, CA – Avila Beach Golf Resort ^^

10/23 – Sacramento, CA – Channel 24 ^^

* with Mattress

& with Sun Atoms

# with Silver Triplets of the Rio Hondo

^ with My Chemical Romance

@ with Pinback

! with Mike Watt & The Missing Men

^^ with Caroline Rose

LISTEN: Levi Foster’s “Fat Elvis” Evokes Imaginative Imagery Through Twangy Storytelling

Glide Magazine — Tue, 21 Apr 2026 12:48:22 +0000

Levi Foster writes songs that feel like tall tales told at the end of a long night—part humor, part hard truth, and always rooted in the storytelling traditions of American music. Drawing on country, Americana, and Red Dirt influences, Foster’s songs wander through strange characters, human flaws, and moments that feel too real to be made up.

With a down-to-earth sense of humor and a natural rapport with audiences, Foster built his reputation the old-fashioned way—playing clubs and festivals across Virginia before relocating to Nashville to pursue songwriting full-time. He had already opened for artists including Ashley McBryde, Trace Adkins, John Conlee, Lorrie Morgan, Pam Tillis, Vince Gill, and The Time Jumpers.

Writing several times a week with some of Nashville’s rising songwriting talent, he released two EPs before recording his first full-length album, We Made Fire, a ten-song collection produced by KenCoomer at Cartoon Moon Recording. Coomer—known for his work with alt-country pioneers Uncle Tupelo and indie rock mainstays Wilco—helped shape a record that blended country grit with an expansive Americana sensibility. Continuing to push his sound forward, Foster later traveled to Los Angeles to record his second album with Grammy-winning producer Shooter Jennings at the legendary Sunset Sound. The forthcoming record, Appalachian Funk Tree, set for release in 2026, expands Foster’s musical palette across country, Americana, Red Dirt, and bluegrass influences while leaning into the humor, unpredictability, and storytelling that have become hallmarks of his writing.

“Fat Elvis” is our first preview of the highly anticipated sophomore effort from Foster. In a time when country music tends to lean toward the overly sensationalized glitter pop or the trope-fueled nostalgia trip through the most mundane retelling of the genre’s history, Foster emerges with a captivating, cheeky single that lands outside of the whole spectrum. With a booming, powerful vocal tonality that carries both the emotional weight of a burdened veteran and the vibrant joviality of an artist on the brink of a breakthrough. “Fat Elvis” brings a warm familiarity through the sleek Jennings production, while the immersive storytelling details a night of quick getaways and drug-fueled explorations of debauchery. Foster brings an exhilarating fascination to contemporary country on “Fat Elvis,” a preview of the young artist’s new album that is preparing to live up to expectations.

LISTEN: Fulton Lights Brings Eerie Undertones To Bright Experimentation On “Best World”

Glide Magazine — Tue, 21 Apr 2026 12:44:24 +0000

Since 2004, the American musician known as Fulton Lights has brought together noise, melody, resilience, and self-discovery in a brilliant, bullheaded survey of the solo songwriter tradition. Emerging from Washington, DC’s DIY scene with projects like John Guilt and Maestro Echoplex, Andrew Spencer Goldman debuted Fulton Lights as an instrument for musical exploration and self-reliance; through four albums and numerous EPs, on adventures from Brooklyn to Baltimore to Geneva, across tragedy and true love, viral videos and the blog-rock boom, Fulton Lights’ youthful restlessness has gradually given way to a father’s capacity for abiding.

Goldman returns to his beloved moniker with the release of “Best World,” the first piece of Fulton Lights’ music since their 2025 EP, Well the Night Has Come. The 2026 return is a blazing, atmospheric listen that refuses to be labeled as anything besides beautifully executed art. While there are hints of infectious pop throughout this brooding vocal performance, crashing percussion more akin to punk, and glimpses of electronic experimentation, Goldman never made music for the sake of categorization. All of these nuances are cloaked in a palpable psychedelia that blankets “Best World,” adding an ethereal layer to the playful, apocalyptic songwriting. Almost as if it were meant to both soundtrack and warn about the end times, Goldman croons of destruction, landing somewhere between hopeful and defeated, giving their latest single an eerie open-endedness. “Best World” ushers in a new era for Fulton Lights, one that is hopefully equally as daring as its starting line.

Best World by Fulton Lights

Tuesday’s Gone: Muddy Waters & The Rolling Stones Meet Up at Chicago’s Checkboard Lounge (1981)

Glide Magazine — Tue, 21 Apr 2026 04:20:52 +0000

The Rolling Stones had built their entire early identity around Chicago blues, covering Muddy’s songs and even taking their name from his track “Rollin’ Stone.” So when they finally played together, it felt less like a collaboration and more like a reunion between student and master.

The most famous meeting went down in 1981 at the Checkerboard Lounge in Chicago. After a massive stadium show, members of the Stones—Mick Jagger, Keith Richards, Ronnie Wood, and Ian Stewart—slipped into the tiny club where Muddy was playing. What followed was a loose, electric jam session- check out parts of it below..

Parlor Greens’ Tim Carman Dives Into New LP ‘Emeralds’ & Details the Organ Trio’s Evolution (INTERVIEW)

Glide Magazine — Tue, 21 Apr 2026 04:06:00 +0000

Much modern soul and jazz music seeks to honor the cherished legacies of these genres. Over the past few years, artists have been emerging from corners of the internet, tipping their hat to the heyday of these genres by seemingly imitating their heroes. While these artists and albums are not things to ignore, they leave a gap in the contemporary scene, a hole patiently awaiting some innovation to bridge the gap between modern and classic music. Parlor Greens, the organ trio consisting of drummer Tim Carman, guitarist Jimmy James, and organist Adam Scone, began construction on this bridge with the release of Emeralds, their stunning 2026 sophomore effort that beautifully toed the line between organ trios of the past and Parlor Greens’ lofty visions for the medium in the future.

The eleven-song LP, recorded and released with the illustrious Terry Cole and Colemine Records, is an expansive listen. With sentimental instrumental balladry like the emotional closer “Queen Of My Heart,” the bouncy, digestible “Eat Your Greens,” and their refreshing organ trio extravaganzas like the push-and-pull of “Red Dog,” Emeralds is a daring leap for both Parlor Greens and organ trios as a whole. The surreal amount of colors and emotions covered across the trio’s second outing together is an ode to their open-minded creativity and trust in each other’s prowess, something drummer Carman is incredibly proud of.

Carman, one part of the three-headed beast that is Parlor Greens, is a modern-day workhorse. Between his work with James and Scone and his work in the Blues scene with bands like GA-20 and now Canyon Lights, Carman has stamped his individuality across multiple contemporary acts. With Parlor Greens, the band in which he and Cole helped conceive and materialize, has proven to be a fruitful, egoless collaborative spirit, one conducive to the drummer’s wide-ranging prowess and ever-evolving creative visions.

Glide had the absolute pleasure of hopping on a Zoom call with Carman to discuss Emeralds, how Parlor Greens evolved into the trio we see today, and how he balances his many musical projects. You can read our full conversation below.

Emeralds has been out for a few days now. How are you feeling now that the record is finally out of your hands? How are you feeling about the reception?

Excited. It’s been a long process of recording and getting everything ready for release, but it’s always exciting and refreshing to just put it out in the world and see how people respond. So far, the response has been really great; we’re all happy about it.

What was it like getting back together with your Parlor Greens bandmates for a sophomore effort? How has your vision for what this trio can become changed since you first started playing together?

I’d say the only difference between Emeralds and our debut album is that, when we recorded the debut, we had never even really played together. We were kind of just put together and put into a studio, and things just happened organically that way.

For this sophomore record, though, we have been touring and spending more time together, coming up with ideas as a group. It was informed a little differently in the sense that we showed up in the studio knowing each other better as humans and musicians, so I think we had a little bit of a different approach.

Who put all three of you together in that studio initially?

It was Terry Cole, the owner of Colemine Records, and me. We had talked about doing an organ trio record together. Cole kind of formed the group; he was the one who threw out the idea for Adam Scone and Jimmy James. I know Jimmy and Adam, but I had never played with them in a musical setting, while those two had played together on a record for Jimmy’s Scone Cash Players. The first time the three of us ever made any sort of sound together was when we recorded the song “West Memphis” in the studio at Colemine Records.

It was only last year that you debuted your Blues-rock project, Canyon Lights. What is it like bouncing between these different genres? Was there any overlap in the recording of these two projects?

Yeah, I was working on the Canyon Lights record at the same time I was doing Parlor Greens. It’s been really challenging to juggle the two, to be honest. I’ve actually had to get a sub to play in Canyon Lights on drums, because gigs are just happening at the same time, and I can’t be in two places at once. For example, in early May, both Parlor Greens and Canyon Lights have shows in Europe at the same time. I have a good buddy of mine, a great drummer, Harrison Fauea, who’s playing with Canyon Lights while I’m with Parlor Greens.

Is that a matter of compartmentalization, or are you just so in the moment that you’re able to bounce between these two worlds?

Yeah, I mean, I love both styles of music. I do think there is a bit of shifting gears between the two, which was initially a bit of a challenge. There was one period last year when I was out with Parlor Greens, then we had a little break, and I flew straight to a tour with Canyon Lights, then flew back to be with Parlor Greens.

It’s kind of a shifting mindset, but my heart’s in both of those styles of music. It keeps me on the edge of my seat a little, which is nice.

Have you always had this diverse taste? What drove you to start this new outlet with Canyon Lights?

Well, I’ve always done stuff like that. I was in GA-20 for five or six years, which was a heavy blues band, and Canyon Lights was formed by me and the former lead singer of GA-20, Pat Faherty. I’ve always played that type of music, but since high school, I’ve tried to diversify as much as possible. I was in the jazz combo and in the big jazz band, but then I was in a punk band with my older brother. I like having diversity in playing and being able to express myself in different situations.

Was it always the drums? Was this your first instrument, and what drew you to the drums from such an early age?

My first instrument was piano when I was super young, but I never really could get into it; I didn’t practice much. My older brother started a punk band and was looking for a drummer, and I remember I was just drawn to the drums since I was like 10. So I convinced my parents to let me start playing drums, and I haven’t really looked back since.

I was fortunate that I was able to gig from a pretty young age with my older brother. I think I was around 11 years old when I started recording and playing shows around Boston.

Along with your many musical projects, you’re also a published author with books like Philly-ISM, which explores the works of jazz drumming great Philly Joe Jones. Are those your biggest inspirations as a drummer, or what drummers inspire you the most?

In the jazz world, it’s definitely Roy Haynes, Philly Joe Jones, Jimmy Cobb, those are my guys. Elvin Jones, people like that. But I’d say in the world of the organ trio thing, my guys were Idris Muhammad, Ben Dixon, and Donald Bailey. I love Blues as well, so I have Fred Below, who’s one of my all-time favorites.

I’m all over the place. I have sort of different influences depending on the style of music.

Going back a little bit to that first Parlor Greens album, what excited you about making an organ trio album in the first place?

Well, I think Scone and I both bonded over the 60’s organ trios that sort of do some more of the straight-ahead stuff, like Big John Patton and Jimmy Smith. Personally, I felt there was a void in current organ trio settings, where people were leaning more toward the funk side, and I wanted to approach it through the traditional soul jazz, kind of straight-ahead elements, and some boogaloo and stuff like that. That’s what got me excited about Parlor Greens, and throwing James into the mix adds a whole different element because he brings in Steve Cropper and Hendrix elements as well.

I just think the unit as a whole is a special and unique thing that, personally, I feel is different from a lot of organ trios going on today. What I will say, though, is it’s awesome to see how organ trios are coming back in a big way. There’s a bunch happening right now, and some are amazing. The Breaks, which is Eddie Roberts, Stanton Moore, and Robert Walter. They’re about to release their first record, so it’s just cool to see. I love the organ trio format.

That leads perfectly into my next question. Soul and jazz, as you’ve mentioned, are both going through a bit of a renaissance period. Do you feel that excitement when recording Parlor Greens, and how do you see the band fitting into this revival scene?

I feel like we’ve found our own little avenue within that world. But again, you have people like Same Fribush, he’s got a great trio that he plays in, and there’s a lot of younger artists that are popping up. I really enjoy what the three of us are doing, and I’m grateful to be part of this project. To be honest with you, it’s kind of hard, in my opinion, to define exactly what our sound is, because we kind of hop all over the place. We’ll play a straight-ahead swing shuffle thing, and then go into a boogaloo, or go into a heavier funk thing, and then Jimmy’s playing with his teeth, taking a solo; it’s just all over the place. We just see where the music takes us; every night is an adventure.

Emeralds feels much more daring and experimental than Parlor Greens’ debut. Was that a conversation that was had, or did it happen more naturally?

It kind of just happened organically, and I think a lot of the reason why is that we’ve gotten so comfortable with each other playing live. One thing I love about this band is that no one’s afraid to take the music in a direction. There’s no ego, no judgment, and I think that free space that we create for each other allowed for this new record to get more experimental.

All three of us are pretty open-minded about where the music can go, and I think that led to this record having some different elements.

Was Emeralds also recorded in Ohio at Colemine Records?

Yes, this one, we had no edits, no overdubs, no click track, nothing like that—just a lot of performances.

How do you think your own personal evolution as a drummer influenced the sound of Emeralds?

For a while, most of the bands I was playing in, I had more of a supportive role. With Parlor Greens now, I’ve been challenged to take some more solos and really express myself in that way. I’ve been able to do that, especially on this new record, and take some more risks. I also just get to play some feels that I don’t normally get to play, which has been a lot of fun.

You’ve touched on this a little bit, but how collaborative is the writing process for Parlor Greens? Are all three of you bringing ideas to the studio, or are you all going in with a blank slate?

It’s a mixture of both. For Emeralds, we had the idea to do the “Jolene” cover, so we knew we were going to do it. And then “Eat Your Greens,” that particular track, we had sort of put together while we were on the road, and we had played that live before we recorded it. The rest of the record, though, for the most part, we wrote as a group in the studio, and it’s interesting how that happens. Maybe Scone will come up with a melody idea, and I’ll put some drums behind it, and Jimmy will come up with something, and we’ll arrange together. A lot of times, it happens so quickly, and we’ll do it in one or two takes and just move on, and we kind of forget what we did.

For example, after we were in the studio, Terry sent us the roughs of what we had done, and when we heard “Drop Top,” none of us remembered writing or recording that one. It was early in the morning, and we were just in the zone and had moved on to write and record another one. So when we heard “Drop Top” back, we were like “Oh, damn, this is a cool one.” It’s an interesting process, but it’s definitely collaborative. We all bring different elements to the table when we write.

How long was the process from deciding to do another Parlor Greens record to releasing Emeralds?

Well, we knew from the beginning that we were going to be doing a second record. We did two different sessions at Terry’s. In early January 2025, we went in and recorded for 4 days. We got most of the record done then, and about six months later, we went back and added a few more tracks in a few days, too. So we never spent that much time in the studio, really. It was probably like seven days altogether, at most. Terry is an incredible engineer and great to work with; he mixes everything.

So do you record these songs and then leave the other elements of an album’s release, like the sequencing and title, to others?

No, we’re super hands-on with it. It’s definitely a team effort. Even during the mixing process, Terry is mixing everything, but he’s sending us roughs, and we’re all giving notes, coming up with song titles together, and developing general album concepts and titles.

What was it like sequencing Emeralds? How many songs were recorded during those short in-studio sprints, and how did we land on the eleven that we see today?

I think we recorded maybe 15 or 16 songs, so a few of them didn’t end up coming out. We might end up working on those a little bit more for the next record. Sequencing is always an adventure and an interesting process to go through. I think we all sort of like to view the sequences almost like playing a live set, what you start with, what you finish with. Also, because we’re putting the record out as an LP, with an A-side and a B-side, I personally like to think of the first song of the A-side and the last song on the A-side as the beginning and the end of a set, so you fill in the middle, and the same with the B-side.

I think Scone played a large role in sequencing this record, in particular, too. He had some great pointers and thoughts. After recording “Queen of My Heart,” I think everyone knew that that had to be the last track on the record, and then “Eat Your Greens,” we pretty much knew would be the first as well.

And the album title, Emeralds, is that as simple as the stone being green and you guys being Parlor Greens?

No, that one took us a little bit to come up with. We kind of went back and forth on some different tile ideas, but happy we settled on that one. The cover is fantastic too; it came out great.

Do you remember any of the other album titles you guys were kicking around?

It was almost “Emerald,” just singular, and we made it Emeralds. It was other things that were using the green idea, but Emeralds was definitely the strongest.

By the time you, Jimmy, and Adam became Parlor Greens, you were already pretty established in multiple music circles. What do you think this project provides to you that some of the other acts you’ve worked on or with?

It’s a group where all three of us can be in a supporting role while also shining a little bit. Most of the bands I’ve been in, there’s a front person and people supporting that front person. I do really feel like Parlor Greens is three equal members who all have their own moments to do their thing. But at the same time, there’s no ego in this particular project, which I love. Everyone knows their role in the project, and we’re all in it to make the best music and have the best time we can.

It’s definitely forced me to stretch out, and as I mentioned earlier, I take a lot more solos now than I did before. That’s been great for me as a musician: stepping out of my comfort zone a little bit and playing some feels. With GA-20, for example, I was playing a lot of shuffles, which is my bread and butter. I love playing shuffles; I can do that all day. Now, getting to do some more of the 16th-note funk stuff or the Idris Muhammad type of stuff, I’ve always had a love for those, but I haven’t been able to play them as much, so it’s been really exciting to be able to express myself in those formats.

Parlor Greens is heading out for a few tour dates in support of Emeralds. Are you excited about getting back out on the road, and which song on the new album are you most excited for fans to experience live?

I’m definitely excited to be on the road. We’re playing the New Orleans Jazz Festival, we’re going to Europe with labelmates Kendra Morris and Taylor Williams, and we’ll be out there for a week. I’m so excited about that.

We’ve had a chance to play most of the songs on Emeralds live already. I think my favorite of the new ones, which is hard to pick, but I love “Mustard Sauce.” That one in particular is just fun as hell to play live; it has a cool feel to it. “Red Dog,” as well, I like playing, “Drop Top” has been fun.

It’s cool because we write and record these songs in the studio, and then once we start playing them live, they sort of develop a whole new life to them, and they start going different places that we wouldn’t expect. We’re still in that exciting moment where every time we play these songs live, because they’re so new, we don’t really know what’s gonna happen within them. It’s been a lot of fun to just explore each one of those.

Have any of your other projects brought you out to Europe before? It must be a real treat to know these songs you’ve written have that far of a reach.

GA-20 went to Europe a bunch. It’s always a pleasure to get out there and play. It’s incredible, and I try not to take it for granted. Last year, Parlor Greens got to go to Japan twice to play out there. That was surreal. I try to remind myself to be grateful for those experiences and to appreciate them as they happen. At the end of the day, it’s pretty incredible to be like “Oh, the music we’re making, my two drumsticks, is allowing us to go overseas and interact with different people, experience those cultures, and see other cities. It’s pretty fantastic.

Going back to the start of Parlor Greens, did you go into that first album with the mindset that this is an entirely new entity you’re undertaking? Or did you initially see the band as a one-off experiment?

I went into it not really knowing what it would become. I was literally just talking to a friend about this; he asked me a similar question. I knew it was going to be a cool record, but I didn’t know if we were going to tour. I didn’t know what it was going to turn into. Once the first single dropped, I was running the Parlor Greens social media page, and I just started getting crushed by messages like “Oh, you guys should come on the road with us,” and I was like, “This is a lot to handle.” That’s when I hit up a friend of mine who manages a bunch of bands, including the Monophonics, and he started managing us. Once he hopped on board, a booking agent got involved, and it just turned into this beast, in a good way, and then we started touring.

I didn’t know what to expect when Parlor Greens started. Long story short, when we first met to record, I was just looking forward to making some good music. It’s exceeded all of our expectations in terms of the response and what it’s led us to do.

What do you credit all of your ambition to? What drives you to be in so many projects at once?

I think I’m not very good at sitting still, to be honest with you. Also, just making a living in this business as a musician, it’s hard to be doing just one thing. I think you have to diversify and get involved in as many different avenues as you can. Also, I love so many different styles of music, and I want to play them all. So I find myself drawn to doing different things for my musical growth and to express myself in different settings.

Throughout our conversation, it’s clear that you never lost that fandom you’ve had for music since you were a child. Is that something you make a point to stay connected to?

No, I think it’s more natural. I’m grateful that I can play in projects where the music is really fulfilling, and I’ve played in scenarios where that isn’t necessarily the case. That being said, I always want to approach music and play music from the standpoint of a fan and a person, because I think if you approach it any other way, then your ego gets involved, and you’re playing for yourself. At the end of the day, we’re all serving the music, we’re all fans of the music, and we want to present the song in the best possible light.

I think if you come at it from the perspective of “I want to show off” or “this is about me,” rather than as a fan of the music, it can be less genuine.

Since you seem to be constantly recording or touring, do you listen to much new music? When you’re going in for one of those few-day sessions with Terry and Parlor Greens, do you isolate yourself artistically, or are you still being a fan of it all?

Yes, I like to. Especially for Parlor Greens records, I’ve been doing this a lot recently because we’re planning the next session. I usually go back and focus on listening to stuff from the 60s and early 70s. I’m constantly looking for new things in that decade that I haven’t heard before to provide some inspiration for grooves, especially because that’s how I approach music. It’s almost like a research mode where I’m just trying to get inspiration from different things. I will say, I look into that period of time for anything new, not that there’s anything wrong with the new music coming out, but I like living in that world in particular.

Wrapping up with Emeralds, and since you’re in so many projects at once, is there a sense of relief when an album like this is put out in the world? Or are you already thinking of the tour and all of the next steps? What do you hope people take away from the new album?

I do have the mindset of “now it’s on to the next thing,” but I’m trying to work on that. I’m trying to take a step back and be grateful for what we just created, and now that it’s out in the world, appreciate it.

With Parlor Greens, we just want to make instrumental music that makes people feel something. Whether they want to dance or with a song like “Queen of My Heart,” a lot of people have become emotional listening to that one, because it’s a really heavy tune that Jimmy wrote about his mother, who passed away. I think that’s our goal. We don’t have a vocalist on our music, but I still think there’s a lot of emotion in the instrumental music we make. Live, it’s a whole different thing, so we want people to come out to the live shows and check out how we’re interpreting these songs live, because it’s exciting and it’s been cool to see audiences of all ages just enjoying the music.

We’re trying to introduce and expand the love of the organ trio to as many people as possible.

Songs, Stories, and Skeletons: Terry Allen & Jo Harvey Allen Evolve With ‘Blood Sucking Maniacs’ (ALBUM REVIEW)

Glide Magazine — Tue, 21 Apr 2026 04:04:23 +0000

Blood Sucking Maniacs from Terry Allen, Jo Harvey Allen, and the Allen family seems to be a weird title choice. While “Blood” is central to the theme, vampires are only figurative through this indirect reference, partly stemming from a device that Bale, their son, assembled in the front yard of the Allen home in the ‘70s-a bizarre mixture of crucifixes and mirrors suspended in deadfall. Bale explained it to his parents as a vampire trap. Beyond that, it is this expansive family ‘feeding off’ each other.

The project spans five generations of the Allen family. It’s the first album for Terry Allen since 2021’s Just Like Moby Dick by the Panhandle Mystery Band, but it couldn’t be more different. The family spans five generations and 121 years, including (this is not the full list) their sons, Bukka (keyboards) and Bale Allen (drums); grandsons Kru (piano, accordion), Sled (drums), and Calder Allen (guitars); Panhandle Mystery Band mainstaysCharlie Sexton, Lloyd Maines, and Richard Bowden; and frequent collaborator Will Sexton. So, the concept of ‘blood’ is obvious, yet this project doesn’t represent an organized or harmonious flow. Instead, this collection of songs/poems is complex and disorderly, perhaps maniacal, but held together by the theme of family.

To complete the lineup, we have pianist Pauline Allen, who passed in 1984, but whose piano instrumentals grace the album in a couple of places. Cru similarly follows suit. There is granddaughter-in-law Sophie (music executive and mother), and Sophie’s boy Lucky Marlo, whose fetal heartbeat opens and closes the album. The Allens are all labeled “The Allen Family.” Bowden and Maines are the “Blood Brothers,” and the Sextons are the “Bastard Children.”

The album was written and recorded at the Allens ’ Santa Fe home. Musically, the album is rather staid. The appeal lies in the poetic lyrics, with the river theme running through many of them. Terry Allen reprises his country, Flatlanders-like “Bloodlines,” one of the few real musical songs. Jo Harvey’s “Peaches and Sap” is a plodding spoken word lullaby that sets the stage for many of the spoken word pieces that follow. Bale Allen’s “A Pogo Is a Logo” introduces electronics and a spacey backdrop that colors the rest of the tracks. His fascination with religious imagery is apparent –“Dip your brush in that blood and paint me a picture/Of good things that fly and evil that slivers/Walk under a ladder and test your faith/There’s a green light glowing at heaven’s gate.”Sled Allen recites his “Dirt Road” in punk poetry style over acoustic and electric guitars.

Jo Harvey’s “Down to the River” is arguably the pivotal track, given the river as the central theme. She recites over simple guitar and piano, making references to the Bay of Bengal, the Nile, the Rio Grande, the Mississippi, and the Seine. – “How about the Nile at Aswan/We’ll watch the sunset off a felucca/Float between the lush Bougainvillea and the ancient sand dunes.”

“Just Pray” by Calder Allen and Charlie Sexton presents Calder’s haunting voice and another major theme, the Power above, in a mix of spoken word and multiple hymn-like verses. Jo Harvey and Susanna Clark (wife of Guy Clark) offer an ode to nature in “Let It All In,” while Bale Allen toasts his newborn in “Little Baby Boy.”

The musical quotient finally picks up on the second LP. Dobro and piano accompany Calder Allen’s existential “No Rush to Fly.” The band renders Terry Allen’s “Red Leg Boy” Up-tempo. The song references Terry’s father, Sled, a wrestling and music promoter and professional baseball player. Terry’s grandson, Sled, introduces the song, just as he did as a four-year-old on Terry’s 1999’s Salvation. Four generations call out their forbear on the choruses. For his part, grandson Sled presents vivid imagery about the family abode in the spoken word, “Sante Fe,” while Calder delivers emotive sentiments in “Arroyo.

The final LP side is devoted completely to family. Bukka Allen’s “Four Rocks” traces to the sons’ pocketing four small stones from the Mojave Desert, claiming them as family tokens of unity. Jo Harvey’s most famous poem, “Shuck Some Corn,” is appended as part metaphysical riddle, but ultimately, also a nod to family.

In the end, Blood Sucking Maniacs isn’t meant to be tidy listening—it’s meant to feel lived-in.