Introducing a new musical project formed in 2020 Interstellar Pilots Club is a synth-wave, retro-synth project exploring the cosmic sounds and vibrations of the universe. Coming Soon!
The Dead Space App (An App Beyond Description) and Interview With Dave Braeger
It’s been a few months since I joined the Dead Space App and downloaded the app on my iPhone. I haven’t been using social media as much lately because it’s been so divisive and completely irrational. I was looking for a way to connect with some of my fellow jam band fans and wallow in the anguish of not seeing live music for such a long time. I was immediately impressed with the layout and the complete focus on music and the community that the Dead Space App offered. The Dead Space App is a social media platform that is solely based around the Grateful Dead and its fans. One of the most powerful and enduring aspects of the Grateful Dead is its fans. I think that is what makes the Grateful Deads legacy a bit different and this translates to the internet like no other musical enterprise.
Dead Space is a place to share your thoughts, memories, pictures, or whatever seems relevant to you. Its an app beyond description but I will do my best to describe it. While there aren’t as many people posting lately, this is probably due in part to the lack of shows during this Covid-19 pandemic. Yesterday was Ron "Pigpen" McKernan's birthday, a founding member of the Grateful Dead who shaped the early sound of the band's bluesy roots. There were many posts dedicated to him on the Dead Space App and this is just one example of the things you will see on Dead Space on any given day. Some other posts from other members reminisce on their first shows or, past experiences. Since one of my favorite apps, fans.com switched over to being a live streaming service, I have lost touch with the community. The Dead Space App has helped me gain some of that feeling back. I hope that many of you reading this join me on Dead Space so that we can rekindle the vibes that we once felt. I know live music is coming back with social distancing rules, masks, and lots of drive-ins. I don’t think this will last forever but these have been some great options for those of us who are dying to see live music. Let’s use the Dead Space App as a way to share our experiences and hopefully gain a better understanding of what the future is for live music.
I got to speak with Dave, the founder, and creator of the Dead Space App for a short interview. It’s always a pleasure to have new entrepreneurs within the community come talk to me so that we can learn more about what they’re trying to do. I am still working hard to get my Podcast/VLOG (Out Of My Mind) fully up and running. It has been quite a journey so far. I’m afraid I might need some editing help. If any of you know anyone willing to help with video editing, please contact me. I am also still looking for advertisers, sponsors, or anyone willing to help me bring honesty and change back into the jam scene. Thank you all for hanging in there and enjoy learning more about Dave and what makes Dead Space special.
Interview Questions for Dave Braeger from the Dead Space
JBP: So, I have to start at the very beginning and ask you when you first fell in love with the Grateful Dead or what experience with the band changed your outlook on life?
Dave: I fell in love with The Grateful Dead when I was about 14. I am the baby of 7 kids and my older sisters turned me on to The Grateful Dead. I still remember hearing "Morning Dew" for the first time and it was the turning point that brought me deep into the band. My first concert was in the early ’80s at Alpine Valley. It was a two-night run and the music, as well as, the fantastic community at the show really changed my life. I have now seen 125 or so shows when including The Grateful Dead, Dead, and Company, Further, Jerry Garcia Band, Phil, Mickey Hart, and Bob’s various other connecting bands.
JBP: When did you initially get the idea for Dead Space and how long have you been working on it?
Dave: I founded Dead Space App and the game company in late 2019 and brought the app live in February of 2020.
JBP: What can people who download the app expect to see?
Dave: I created the app as a “one-stop-shop” for Dead and jam band fans to go to for their social media sharing, media coverage, access to Dead and jam band music, ticket purchases with Cash or Trade Tickets, and benefits such as merchandise and blog from famed Dead photographer Bob Minkin.
JBP: What has been your biggest obstacle in developing the Dead Space App? I once heard that some aspects of the internet were created because of the Grateful influence on some of the developers. What are your thoughts on the continued legacy of “free trade” and technological innovations coming from this realm of improvisation and even tape sharing?
Dave: The biggest obstacle has been the lack of concerts and festivals due to COVID 19. I brought the app out in time for concert season in which we would have been at all Dead and Co. shows. The Grateful Dead engaged, whether that was their goal or not in the best marketing of any band ever with the many years that taping was allowed as the music spread across the country like “wildfire.” Although not surprising due to the move to licensing restrictions, the days of taping and the sales of fan’s merchandise have deteriorated over the years which has taken away from the “environment” that gave so much enjoyment to the fans and added so much “community.” It is great that we have access to sites such as Relisten and Nugs.net now.
JBP: What is your ultimate goal?
Dave: The goal of Dead Space App and our game company is to bring the best experience we can to Dead Heads and jam band lovers. Facebook and Instagram simply do not work well as a social media platform anymore. Due to the algorithm that does not allow for all posts to be seen by the entire community, as well as, all the negative content, politics, and advertising. (we only allow approved advertising) I want the app to have the success that the other apps my developers have created. (The official Rolling Stones App and Official Luke Bryan App). Those apps have over 750,000 subscribers. This will lead to live streaming, merchandise, and other great features.
JBP: What’s your craziest concert/festival/musical experience?
Dave: In 1987 I had the ability to go backstage for a Grateful Dead show in Dallas, TX. I was able to meet the members of the band as well as have a fantastic time during the show. I also had a fantastic experience traveling the country on my first Dead summer tour in 1987 and once again in 1988.
JBP: The Grateful Dead, at its core, has always been about community. What about the Dead Space App is likening to this community aspect?
Dave: The only goal of Dead Space App is to create the very best and largest community for Dead Heads and the app and desktop version offer a great scrolling fan wall for the subscribers to post photos and content as well as have easy access to so much media content and music content all in one location.
JBP: Any thoughts on opening up the platform to new jam bands and other acts in the vein of The Grateful Dead?
Dave: Although Dead Space App was created for Dead and other jam band lovers, to date the largest percentage of subscribers has been lovers of The Dead. In the future, we plan on creating apps focused on other jam bands just like has been done with The Rolling Stones and Luke Bryan apps.
JBP: With so many other social media platforms becoming increasingly negative, politically driven, and all-around abhorrent, how does the Dead Space App look to change this?
Dave: The beauty of the Dead Space App is that we consistently monitor all content and posts every day and have keywords that will block political and negative content. The subscribers can also report posts or comments directly to the administrators and after “three strikes” the subscriber can be blocked from using the app. We will not allow the app to become another Facebook or Instagram “group” as it is the very reason we created the app: To get Dead fans off of the large social media companies as they offer a very poor experience for the fans.
Thanks so much to Dave and the Dead Space App for the informative interview.You can find the Dead Space App here:
or at Apple App Store:
Or Google Play:
I am sad to hear about the passing of Jerilyn Lee Brandelius, Author and Producer she was a big part of my Grateful Dead experience. Her family photo album was one of my first introductions to the Dead. Not only were the nude women interesting to a 10 year old mind but the images within evoked freedom, music, and expression, something that I always held onto. I remember thinking this must be some heavy metal band! 20 years I became friend with Jerilyn and got to tell her this very story! Sleep in the stars
Moose Almighty (Unpacks 'The Luggage Underneath') Album Review
Well, I’m back and with more album reviews and even cooler names like Moose Almighty! I had never heard of this band before getting their submission but was immediately intrigued and knew I had to get them on www.jambandpurist.com and hopefully Out Of My Mind (VLOG, Podcast) coming soon. Hailing from Seattle, Washington Moose Almighty includes: Dan Underkofler (Keyboards, Synthesizers, Vocals), Chris Young (Guitar, Vocals), Aaron Mitchell (Bass, Vocals), and Kevin Shoop (Drums, Vocals). This psychedelic, groove-rock quartet has released their sophomore album ‘The Luggage Underneath’ today, August 7, and will be performing the album via live streaming from High Dive in Seattle. ‘The Luggage Underneath’ will be available on Spotify or Apple Music and https://moosealmighty.bandcamp.com/. Please excuse me if I nerd out on this review a bit and describe things in a way that I usually would not. If you read terms like, sick, nasty, or tasty jams used more than once, please just overlook. Its been a while since I have reviewed a band with extended jams on their album.
“Gilded Guilt” opens with a nasty guitar riff (here I go, already) begins to follows the rules set down by the original jam bands: improvisation, extended leads, stops, and breaks, massive crescendos. Just listening to the first few notes of “Gilded Guilt” made me want to review this album in its entirety. I am impressed with Moose Almighty's sound and musical presence from this opening track. The presentation and musicality within this song have me looking forward to what they will bring forth next. The shredding guitar solo from Chris Young gives "Gilded Guilt" a silky smooth feel. The lyrics are thought-provoking and provide a precise mixture to the music. The intro to this song is what captivates the listener and draws them into the sound, readying them for what is to come.
“Lapis Lazuli Julie” reminds me of some transdimensional version of a Grateful Dead or String Cheese Incident song. "Lapis Lazuli Julie" embodies many of these jam band love songs. Much like “Scarlett Begonias,” “Lapis Lazuli Julie” invites the listener on a journey describing a beautiful hippie-type woman. While the guitar solos from Chris Young and rhythms from drummer, Kevin Shoop, sound a lot like Phish, they still very original. Man, It feels so good to be back reviewing real jam bands!
“The Wave” begins with heavy bass tones from Aaron Mitchell, the band slowly adds and develops more from there. Moose Almighty can add a reggae vibe but still keep this song jam-worthy. The changes in this song are inimitable, loaded with jams and exceptional instrumentation from the entire band. I love the change at 6:30, with a darker jam than what we have previously heard. “The Wave” is definitely my favorite song off of ‘The Luggage Underneath’ and remains so after a many listens.
“Blurry Lovers” encompasses an entirely different feel. A country and Western swing that we have not heard from Moose Almighty yet on ‘The Luggage Underneath.‘ Lyrically driven and compelling, “Blurry Lovers” is a capable segue into other songs on this album. While the vocal melody is not my favorite, I hear some real promise in their harmonic abilities.
“Spoonbender” brings mental powers like ESP and even The Amazing Randy, a notable psychic skeptic, and magician, to my mind. I have always been fascinated with paranormal studies and people claiming to have "superpowers." I am intrigued by the vocals of 'Spoonbender' and would love to hear Moose Almighty work this one up in a longer live version. I can envision the improvisational aspects of each of these songs from the recordings and try to picture myself in a concert setting while listening. It is the closest I can get right now. This song is creative, engaging, and musically progressive, right up my alley. I would listen to “Spoonbender” over and over again, more than any other song on the album.
“Impassive Aggressive” is quite the opposite of "Spoonbender" but does show the juxtaposition between the genres that Moose Almighty explores. The ending to "Impassive Aggressive" is high energy and nothing less than I would expect from what Moose Almighty has already given us on this album.
“Voice Of The Universe” begins with those heavy bass notes from Aaron Mitchell presenting this song with a darker tone that is different than the other songs on 'The Luggage Underneath.' I find the lyrics to “Voice Of The Universe” the most thought out and well arranged on the entire album. Quite introspective and still keeping those storytelling aspects alive. The descriptions within the lyrics envelope the listener in thought and sound. “Voice Of The Universe” opens up into an extensive ambient jam and again impressed me with the raw energy delivered.
“Six Plus Five” features Dan Underkofle heavily on the keys and seems to be a great track to end 'The Luggage Underneath.' This instrumental track is right behind "The Wave" for me in terms of excitement level. Jams like "Six Plus Five" are the reason I still love doing album reviews and sharing music with all of my readers. “Six Plus Five” is uplifting, exciting, and all-around rhapsodic. This song is comparative to many of the finest up-and-coming acts that I have heard in the jam scene today. Moose Almighty blows the doors off this last track, leaving me completely satisfied with my listening experience.
‘The Luggage Underneath’ in its entirety is something that Moose Almighty should be very proud to release. This album is possibly the most ambitious and most promising I have reviewed here at www.jambandpurist.com. While some aspects of the recording may be a little rough around the edges, Moose Almighty makes up for that with raw energy and impressive musicianship. As with many bands I review here at JBP, I am positive that Moose Almighty would be even better live and in person. While I have not been able to see any live music due to all the craziness in this world, I do hold out hope that we will all be able to return to the live music that we love soon. Until then, I will be checking out Moose Almighty's live stream tonight from High Dive. Join me!
For more from Moose Almighty check them out here:
George Fetner and The Strays- (Thrive on New Album 'Longer Like This')
Over the past 4 years of writing music reviews and album reviews here at jambandpurist.com, you'd be surprised how many albums I have received in the mail, mostly CDs, countless digital downloads, and every once in a while I get a vinyl to add to my collection. This makes all the difference when trying to decide which albums to devote a full review towards. Going the extra mile always gets my attention. I wasn’t sure what to think when I first put on 'Longer Like This' having never heard any of GFATS music. I was pleasantly surprised by the immediate interest in the full and dynamic sound coming out of my speakers. George Fetner and The Strays are an eclectic group of musicians from Colombia, South Carolina. The core musicians include Craig Butterfield on bass, Anthony Charles on guitar and vocals, Matt Fenech holding down the drums, Jeff Vaughn on percussion and fearless bandleader, George Fetner on guitar, vocals, and synth.
The album opens up with a crisp scratch as the record moves around the needle and sound begins to flow through. “No Longer You” ll Feel So Alone” reverberates throughout my entire house. George’s voice coming to me from what seems like everywhere. The opening vocals are profound. The track develops and opens up into a world all its own. The poignant lyrical development of this track readies the listener for what’s coming next but still leaves an air of mystery.
“Let Down” explodes through my speakers, “getting let down!” The horns absolutely complete this song and add another layer of musicality that makes you want to pump your fist in the air and sing along. The added female vocals don’t seem to be needed but still add to the sonic sound of “Let Down.” We can all relate to the lyrics of "Let Down" simple, yet engaging and memorable. Sometimes having unforgettable, singable lyrics can overshadow even the greatest music but this song is perfectly blended. The guitar solo on this song is very well done and lays in the mix precisely.
The drums come out heavy in “Carolina Moonlight” which is sang in a cadence that is old school funk, "Carolina Moon" reminds me of classic funk songs straight out of New Orleans with the entire band onstage partying and singing together. "Carolina Moonlight" is a party and the mix of instruments amalgamate to make something greater than what would be there without each one. This song is where the entire ensemble unites and works together harmoniously.
"Thrive" comes out hard and I could tell from the first notes I was going to like this one. This song has a very "yacht rock" or even a Steely Dan feel and I say this with respect not jokingly. Although if any of you haven't seen the short skits online called "Yacht Rock" do yourself a favor. I digress, remarking on the quality of the recording itself; the production is top-notch and makes the entire album better for it. "Thrive" exemplifies this outstanding recording quality and is by far my favorite track on 'Longer Like This'. The breakdown at 5:00 is what I live for and why I love to write reviews here at Jam Band Purist. This is one of the main reasons I do these album reviews, to find gems like this and share them with all of you. "Thrive" becomes quite the Jam towards the end and I can imagine George And The Strays bringing it home in a live performance setting.
"The Cosmos Blast" begins with a radio transmission that captures the interest of the listener and brings the story to the forefront. With a reggae sounding shuffle, this song relies on its thought-provoking lyrics and funky groove which had me enthralled with the message and the music. The bass from Craig Butterfield is heavy and strong, and when the horns build-up it has an almost "2001: Space Odyssey" feel. I enjoy the creativeness of "The Cosmos Blast" and the energy that is brought to this recording.
"The Matador" settles the listener back into a chill vibe, with a percussive, and lyrically driven song. It’s hard to pinpoint an exact genre for George Fetner and The Strays, they seem to be able to move fluidly between rock, folk, jam, and even experimental in each song. The chorus to “The Matador” is the best part of this song; it’s very smooth. The breakdown at 4:00 into the flute solo is also very well done and transitionally solid.
"Ain’t Going Back" has blues and southern roots, it reminds me of a lot of up and coming jam bands but with a twist. Again the Lyrics make the listener think and relate. The guitar solo is very progressive and delivers us right into the cacophonous conclusion that made the hair on my arm stand up. "Aint Going Back" explores the creative songwriting from this group and I would have loved to have seen more of these "breakdowns" or terraced dynamics used throughout.
"Love Like A Rocket" is the only song that didn't particularly resonate with me but still has an undeniable interesting aspect that the listener can immediately grasp onto. "Love Like A Rocket" makes sense and is most definitely a love song. "If You Need Me" is a great conclusion to 'Longer Like This' and left me wanting more from this diverse group of performers.
Overall I thoroughly enjoyed ‘Longer Like This’ and receiving the vinyl copy made me appreciate the experience even more. There is nothing like opening up a new vinyl, plopping it on the turntable, and dropping that needle. The process, the sound, is the ultimate home music experience. George and The Strays have created something unique and new. I dare say that 'Longer Like This' is something entirely distinct altogether and stretches the limits of genres and categories. With an entire ensemble of performers, it's hard to give each of these musicians a shoutout but Id like to recognize all of the players on 'Longer Like This" here: Davis Bowers on tenor sax, Will Melven on trumpet, Catherine Allgrim on bass trombone, Moses Andrews on organ, and Wurlitzer, Katie Leitner on vocals, Desiree Richardson on vocals, Lauren Watkins Vaughn on flute. Teamwork makes the dream work. I truly wish I could see this band live someday. Heck, I'm hoping to see any live music before 2022! Do you want to see your band on jambandpurist.com and be added to the list of prestigious reviews? Contact us and submit your album in whatever form you prefer, extra points for creativity.
'Longer Like This' can be found on Spotify, Apple Music and here at: https://www.gfats.com/longer-like-this and
Sol Roots 'Live From The Hamilton' Album Review and Exclusive Interview
Well, things have taken quite a turn here. Is everyone ok? Are you ok? Is music still relevant? I’m still plugging away here, trying to find a bit of normalcy. It’s few and far between but music is truly my guiding light. I have recently started a music vlog “Out Of My Mind” where I discuss the ins-and-outs of the Jam Music Scene and much more. I hope you all will be joining me. Feel free to comment, share, and interact. Let’s get the ball rolling!
I recently introduced Sol Roots, the prominent DC Bluesman, to all of you. After receiving so much interest, I have decided to give you even more. I talked with Sol about life, music, the blues, and the DC music scene in an exclusive Jam Band Purist interview. I also got the opportunity to review his most recent live album release 'Live At The Hamilton' and I will add it below.
Sol Roots ‘Live At the Hamilton’ is a diverse and well-recorded album that immediately draws each listener in. This live album includes Phil Wiggins on the harmonica and Eddie Christmas on the drums. From the opening notes of “Sugaree” The Grateful Dead staple, the band immediately comes together and the harmonica work from Phil Wiggins lies heavily in the mix adding something new to this rendition. This version of the song is much more upbeat with a great funk feel. The vocals are off the charts and overall it has a great sound. Good lord, that harmonica can wail. I have heard countless covers of this immortal classic about a lady of the night but Sol Roots makes this one all their own, adding a quality that transcends genre.
“Goin' Home” is up next on 'Live From The Hamilton' and this one immediately gets my blood pumping with a New Orleans swing. Besides these infectious grooves taking over my brain waves, the lyrics to “Goin' Home” are poignant and endure with each listen. “Take the girl out of the country, not the country out of the girl.“ This track is the perfect example of what Sol Roots brings to the stage. I can hear the sizzle of the energy in the room, I can feel the music reverberate through me, I can even smell the faint reek of musk, sweat, and alcohol. I can see the people dancing to the sound. I must be missing live music.
“I Bet You” is compelling from the opening guitar riffs. The groove starts when the harmonica begins to whine out the long soulful notes. For me, "I Bet You" is right up my alley; bluesy with a Motown feel to boot. This is definitely my favorite track off of 'Live At The Hamilton.' Although all the tracks have a unique sound and flavor to them. "I Bet You" is filled with just the right amount of blues, funk, and great improvisational solos from Sol himself.
“Roberta” is straight-blues, no twist or turns. This song makes you want to shake your hips with a partner or even alone. The drums from Eddie Christmas are laying down a heavy groove here. This song is filled with improvisational solos between Sol and Wiggins. I can tell from the recording that this band's chemistry comes from tons of practice and working together sonically.
“St. James Infirmary Blues” is played like I’ve never heard, a little faster and with a lot more gusto. The live aspect of this album makes me feel like I am at the show watching this band work together harmoniously to create something greater. This recording lends itself to the ever-shifting change in music and covers that last throughout the ages.
Overall ‘Live From The Hamilton’ does a great job conveying Sol Roots live performances. Sol Roots shows its listeners why they are one of the best in the DC area. I can’t wait to get a chance to see this band live and experience their performance. It was my pleasure to chat with Sol and talk about all things music below. 'Live From The Hamilton' can be found here https://solrootsmusic.com/home I implore my readers to help Sol and his band raise funds in this struggling musical era. Sol Roots will also be doing a live stream performance for Events DC on their Instagram page this Wednesday, June 24 & live at JV's in Falls Church Thursday, June 25. Check them out!
Exclusive JBP Interview with Sol Roots:
JBP: Is there a story behind the name, Sol Roots?
Sol: "My name is Sol Creech, and my last name would get messed up a lot, or not remembered. The band would perform a lot of old school soul, blues, funk, and rock. Digging back to the roots of each genre. The band went by "Sol Creech Band" at the very beginnings, just "Sol" for a while, then "Sol and Funk Root" and then evolved to "Sol Roots". Sol Roots seems easier for people to remember and gives a better impression of what the crowd can expect. It just grew naturally, I suppose."
JBP: How has coming up in the D.C./Northern VA/Maryland area helped shape your career as a musician?
Sol: "Actually, I was born in NC, and lived in NC, Arizona, VA, and TN, and have family in Brazil and Costa Rica, later moving to the D.C. area.
The D.C. area is home, while still maintaining contact with family and friends all over. D.C. has an awesome musician community and we're very glad to be a part of it. My trio has had a weekly residence on U St in DC for around 9 years, and shared in a rich musical community, right up until the global pandemic hit. We are all very thankful for the amazingly talented musicians that we have had as special guests regularly. My main drummer Vic Chase, grew up around D.C. and has been an integral part of the jazz/funk/fusion scene for decades. My main bassist Andreas Holmstom performed and studied in his home country of Sweden, then cut his teeth in NYC, before coming down to D.C."
JBP: What are some of your most thrilling experiences working as a musician?
Sol: "I've been working with the non-profit company Music Maker Relief Foundation since I was a kid, from their very beginnings. With Music Maker, I've gotten to perform with, record, produce, tour, and learn from some of the real pioneers of American Music. Musicians like Robert Lee Coleman (a fantastic guitarist who was in James Brown's band, with Percy Sledge and others), Albert White (deep blues/ soul Atlanta guitarist, whose uncle Piano Red inspired The Beatles and others), Cool John Ferguson (phenomenal guitarist who Taj Mahal calls "one of the five greatest guitar players in the world"), Beverly "Guitar" Watkins, Lil Joe Burton, John Dee Holeman, Cootie Starks, Kenny Wayne Shepherd, Taj Mahal, Guitar Gabriel, Captain Luke, and the list goes on and on. All of these artists have been involved with laying the foundation for today's music. Even if they are not as well known, it's an incredible blessing to hang out, perform, and travel the world with all these wonderful musicians and great spirits, and I will keep broadcasting their names and stories as long as I'm able."
JBP: In your personal music style, do you use a lot of improvisation?
Sol: "I would say a strong YES to that. I like to let the particular group of musicians, and the audience, both set the tone for whatever is going to happen in the shows. Ideally, each musician can listen, lock in with each other, and create something new every time. A huge part of it is listening. That's when the real magic can happen. Many times blues can be the hardest, mostly because many musicians might start thinking "this is too easy" and just jump into automatic pilot and miss the nuances that are happening. With my trio, we all bring together some various influences of funk, soul, jazz, fusion, and blues and these guys can really take off into some cool variations every show."
JBP: What's it like working/opening with some of the jam world's biggest acts?
Sol: "Over the years, we've been blessed to do some co-bills with killer acts like Soulive, Dumpstaphunk, Jon Cleary, Jackie Greene, The Wood Brothers, Robert Randolph & the Family Band, etc. Each show is different, and each band has a different vibe. I think it's interesting to see how music, bands, and situations evolve. I met master New Orleans drummer Eddie Christmas when we were all on tour over in Australia. He was with Jon Cleary, and I was playing bass behind a few Music Maker artists. We kept in contact, talking about doing some gigs and recording and a gig finally came up earlier this year where we could do a collaboration we'd been talking about for a while. It's been great having musicians from other bands sit in with us, and to sit in with other bands from time to time. You never know what can happen, you just have to be open to what the universe presents you."
JBP: How about your relationship with master saxophonist, Ron Holloway?
Sol: "Ron Holloway is an amazing saxophonist, great person, and just a fun guy to hang with, and hear his stories. His roots run deep in D.C. (and world-wide), from working with Dizzy Gillespie, Sonny Rollins, and others, having a huge mural painted of him and other music legends, and a street named after him in D.C.! Ron and I first did some gigs together when we were all part of a local jam band called "Covered With Jam". We did several gigs with other different formations too. After a while, our calendars lined up and I had him be a special guest performing with my group. We would end up doing some shows together throughout the Mid-Atlantic region, and I had him regularly on our shows on U St in D.C. I'm already looking forward to the next time! It's always a real pleasure for the audience, and musicians as well."
JBP: I can tell from this new live album you are influenced by the blues but what other music has inspired you in your musical career?
Sol: "I truly love all styles of music and being a full-time musician I've ended up playing with groups as varied as African highlife bands, jazz combos, acoustic folk bands, live hip-hop bands, reggae groups, various funk and rock bands, singer-songwriters, gospel groups and more. I think my main focuses have been funk, blues, soul, rock, jazz, and reggae. Having family in Brazil and Costa Rica has influenced me as well. I sometimes feel like a musical crossroads, a spot where everything meets up. It gets deep when you see how the musical tree has branched off in so many ways, but a lot of the roots can be drawn back to the blues. One of my mentors and friends Tim Duffy describes it as "The blues traditions of the South have formed a deep aquifer of music that contemporary artists around the world draw from daily".
JBP: Do you prefer studio work vs live performances?
Sol: "I love both. I went to school for studio engineering, so that's another passion of mine. Studio work has really helped out during the time where all these venues were closed. Many times it seems easier to make musical magic happen with just live performances, the musicians can be more relaxed. Some awesome things can happen in the studio, and that's some of my next focuses. I have a big stash of unfinished pieces waiting to be polished and then released."
JBP: Any recent projects to promote besides this album? What's next?
Sol: "A few things are cooking. I was a hired gun for some recordings for some singer-songwriters recently, Louisiana based Daniel Lee, Virginia based singer-songwriter Ashleigh Chevalier, and Virginia based Jamie Potter. Also, some older original tracks need to be released, that feature some awesome musicians I've worked with from around the Mid-Atlantic: drummer "King" George Penn, bassist Jake Dempsey, drummer Scott Rabino, drummer Paul Dudley and more."
JBP: Where do you see the music industry after Covid-19 and how have you been staying afloat?
Sol: "I pulled off a few solo and trio live-stream performances, and had donations coming indirectly, the music fans truly helped immensely, it's been humbling. It's been rough, to say the least. I've done some recording gigs, a few teaching gigs, and also have to give special thanks to organizations like The Hamilton, The DC Legendary Musicians, DC After Dark, and Music Maker Relief Foundation. Last week, we just did our first actual live gig after a few months of quarantine/ hibernation. It's going to be a long road to get back to "normal" but I believe people are ready to come out and support all the independent venues, bands, and be safe and smart about it."
JBP: Being on the road, I'm sure you have seen some pretty wild stuff, any crazy experiences you've been dying to tell?
Sol: "Some of my favorites have been at venues where you really feel the deep history....like performing in France, where the venue was an old amphitheater with seats of stone cut out of the mountain, that dated back to the Roman times. Everything had been designed in ancient times to carry the acoustics naturally. Or other spots in Italy or Spain, seeing all the deep architecture and art. Or some of the blues cruises, jam-packed full of music heavyweights and intense fans. Or providing music entertainment for a deep-sea fishing tournament in Guatemala."
"Something that pops in my mind now, is one of the times we were at Bluesfest, the largest roots and blues festival in Australia. There is an Australian act called Yothu Yindi, whose album I picked up when I was a kid. They blend traditional aboriginal music with more modern rock music, with messages about mutual respect and understanding in the coming together of different cultures. They are hugely popular in Australia. To see an immense sea of people, all coming together, for the roots and having the music vibe in modern times and styles, is really powerful. Music has that power. Love has that power."
"From touring and traveling all over the world, I believe there are way more people that have compassion for others, and who have an understanding of how to work together, than the destructive groups of people. Regardless of whatever the media is blasting in our face, and regardless of who is trying to "lead" - the people who stand for togetherness, vastly outnumber the ones who hate, and who want to destroy. There are some aspects out there who want to divide people up, create fear, and encourage battles. Because if people are fighting each other, they are more easily controlled and directed. There are many things to be justly angry about, and many things to join together to change, urgently right now, and out of love of humanity, not out of hate. Now's the time to join together. And we've seen many examples of that in recent protests, all across the world."
"I'm very grateful for all my teachers and influences and grateful for all my family and musical family, of all cultures and walks of life. Good can happen when people join together. It's about a way of life. Not just now, not just on social media posts, not just in the next few weeks or months, but for the rest of life. Just about all the musicians I've known can see that bigger picture."
JBP: Thanks to Sol Creech for this interview and look for more from Sol on my upcoming VLOG 'Out Of My Mind.'
"Once in a while, you get shown the light in the strangest of places if you look at it right."
Quarantine Hot 🔥 Take #2-after all this is over, they should really bring back matinee shows like in the 60-70s. I would love to see a band play for lunch and then go back and see them do it all again later that day. #matineeconcerts
The Cat Attic's 'A House With Stairs' (Climbs Into The Mind Of Each Listener)
It is my sincerest pleasure to introduce, The Cat Attic, to all of my readers. The Cat Attic is a Boston-based Folk-Rock band that has been getting quite the amount of attention within the scene. I was asked to review their recent album entitled, 'A House With Stairs' which will be available this coming Friday. I encourage you all to download "Monsters" off this album here: https://hypeddit.com/track/1rw5qm Also, Check out The Cat Attic on all socials and at their website below. Without further ado, here are some of my thoughts on 'A House With Stairs.'
"Cut Her Teeth" opens up 'A House With Stairs' and it exemplifies what The Cat Attic is bringing musically to this album. I am immediately impressed, not only with the dynamic sound of The Cat Attic but the clearness of the album's mix itself. The breakdown of this song reminds me of Railroad Earth, which is a great thing. I also get a Greensky Bluegrass or Yonder Mountain String Band vibe but The Cat Attic has an immediate sound that is all their own.
"Monsters" driving backbeat stood out to me from the opening seconds of this song. Drummer, David is the backbone of this song and many others. He is always recorded crisp and clean. "Monsters" is another song from 'A House With Stairs' that is lyrically evocative and confronts the monsters that live within us all.
"Civics And Cats" shows extreme vocal skills and harmonies from Richard and Holli who seem to have a palpable music connection that is relayed through their songs and vocal harmonies. The entire band works well together in "Civics And Cats", and within the entire album; working almost as a symbiotic creature to form this musical mixture.
"Weird Song, Richard" begins with a long reverbed whistle. It’s my opinion that there should be more whistling in songs altogether. "Weird Song, Richard" is my favorite song off of this album. I enjoy the imagery and lyrical content that juxtaposes with a great musical breakdown. When the song gets into the "jam" it completely changes the dynamics of what The Cat Attic can do. Turning more jam and progressive as the song develops, this is where the elements combine to get my blood pumping. I would have loved to have heard more of this throughout the album but I can imagine this improvised at a live performance.
"King Of All" really exemplifies the musicianship from the entire band. Polished and familiar, "King Of All" is one of the most well-done tracks on this album. "Preacher" is classically composed with a string band bluegrass feel in mind. Again we see evocative imagery "blood on your hands." This song meshes well with the other tracks on this album and it is placed within the others in perfect order.
"Holding All's" lyrics shine through from the onset of the song. Lyrically driven "Holding All" is a profound song with lyrics that relate to each listener. The mandolin work by Richard is prominent within this song and shows his level of musicianship.
"Broken Roses" beginning has a very progressive rock feel relying heavily on Jenna the outstanding fiddle player but as the breakdown transitions the band transforms into a rousing bluegrass-folk feel. The dichotomy between the beginning of the track and the rest is very different and I love the transitions in and out of this song.
"Saint Simons's" begins "Freedom tastes like NoDoz and caffeine" poignant lyrics that begin this song and draw the listener in with storytelling. The Cat Attic seems to hit their stride telling a great story and matching music to word, driving the album forward. Both "House Of Debris" and "Firefly" are examples of how The Cat Attic uses storytelling to their advantage. The bass playing from Mike can be heard prominently throughout all of these tracks, holding down the driving force in this band.
After listening through 'A House With Stairs' three or four times now, there seems to be a real connection between the band and their songwriting. This connection is shown throughout the entire album and it’s what draws the listener in: closer to the story, closer to the sound. Some bands are good at songwriting or working together while other bands are tight vocally or improvisationally. The Cat Attic seems to combine all of these elements into one cohesive unit that is beyond what each element brings on its own. While I did enjoy the more progressive bluegrass sounds from songs like, "Broken Bones" or, "Weird Song, Richard" the lyrical developments throughout this album are what is most important. All in all, each song on 'A House With Stairs' works well with the next and takes the listener on a sonic journey ascending the musical stairs into The Cat Attic. The Cat Attic have put an exuberant amount of work into this album and it shows. I hope that each of my readers who listen takes something away from 'A House With Stairs' because there is a lot to uncover in the attic.
Written by RA Fadley
- Facebook: https://www.facebook.com/thecatattic/
- Instagram: https://www.instagram.com/thecatatticmusic
Sol Roots Artist Spotlight-(Light In The Darkness)
I have been in contact with Sol Roots, the Premier Blues Jam Band from the DC area, for many years now. I have finally found the right time to review some of their music and add them to the JBP collection of reviews! It’s hard to believe that we have reviewed over 100 bands on Jam Band Purist.com and we are just now getting around to Sol Roots.
Sol Roots are raw, yet musically polished, they are easily one of the best bands coming of the DC area today. With a soulful voice that matches the power and dynamic playing from its lead member. The man behind the name is somewhat mysterious though and seems to hide in the cracks of Blues and straight-up Funk. He reminds me of many of the old Bluesmen or even a figure like a Wolfman Jack. Sol Roots have shared the stage with some of the greatest acts and has even collaborated with artists like Ron Holloway regularly.
Their recent releases and singles can be found on SoundCloud and here https://solroots.bandcamp.com/. It has been a pleasure to stay in contact with Sol Roots as they continue to grow and evolve in the DC Maryland Virginia music scene. While things have been quite difficult lately for musicians, Sol Roots has had some cool virtual gigs and you can see those online, as well. I see big things in the making for Sol Roots and I am happy to add them to the list of JBP Artist Spotlights. Look for a big announcement soon! I am also working hard to bring to all of you the JBP Presents: Video Podcast and am looking for all the help I can get with sponsors, editing, and content. If you have anything you'd love to hear me rant about email me or comment below.
Erin Lunsford Album Review: 'The Damsel'
It’s been a while since I’ve talked about Erin Lunsford from Erin and The Wildfire. I wanted to let all my readers know that my friend, Erin has recently recorded a solo album ‘The Damsel’ and I am digging what this Virginia native brings to my ears. ‘The Damsel’ runs the gamut between rock, folk, and bluegrass. Erin does a wonderful job transitioning these songs into a cohesive sound; a universe all her own. 'The Damsel' is like a spotlight into her secret world. Erin has control over this musical process and it’s exemplified by the natural tonality of her voice and her solid musicianship.
"How Many Birds" opens the album up, setting the precedent for what is about to come. I enjoy the timbre of Erin’s voice and the vocal arrangement in this tune. The backing music adds a smooth, and transitory quality. Lyrically, I could feel the emotion and the descriptive imagery within made me feel the cold in the air, while I flew away south all alone. A lonely lament of a migratory bird.
"27 Summers Down" leans more into the bluegrass feel. The banjo is featured heavily. This song's lyrics resonant with me because I too seem to be chasing a dream into the ground no matter what cost. "27 Summers Down" brings to life the anxiety and torture of making a dream come true while still being uplifting and thought-provoking. The vocal delivery on this is wonderful.
"Virginia Brother" and "Goodbye To Greenbank" are both rooted in an Americana feel that vibe well with the other tracks on 'The Damsel.' I can hear Erins voice clearly, shining through all else. "Whatever U Like" and "Wherever You Are" are more rock-oriented and they also fit nicely within the pallet of what Erin has created.
All in all, 'The Damsel' hits home for its listeners. There is something for everyone to hear. During these crazy times, I find it relaxing to listen to all genres of music, and 'The Damsel' certainly delivers a diverse arrangement that I am happy to review here at Jam Band Purist. I hope Erin has great success with this album. You can get it here at www.erinlunsford.com I also hope to see her and her band The Wildfire do their thing live as soon as possible. Thanks for reading and stay safe.
Hey out there in virtual-internet-land. How's it hanging? I have been working my butt off to get some content on Jam Band Purist for you! This coming week will be filled with Hot Takes, an Album Review for Erin Lunsfords 'Damsel', Artist Spotlight with Sol Roots, and it is with great pleasure that I share some great news. www.jambandpurist.com has teamed up with Dead Space App to bring some exclusive content and partnership. We aren't sure exactly what else will happen but I want to reach out to my readers and welcome all of you aboard. With your help, we can make Dead Space App a home for our community. I have worked with a few other apps that are dedicated to music but Dead Space encompasses all of these great features into one place. If you haven't heard of Dead Space App or want to know more download it on IOS or Android right now and let us know what you think.
Quarantine 🔥Hot Take #1:
When concerts and festivals are back on, let’s find new lead photographers to capture Jam bands onstage. I’m so tired of seeing Jay Blakesberg with his hands on his hips onstage at every freaking festival! I have more pics of him then any band ever.
The Future of Live Music?
Well, there hasn’t been a lot of live music to write about as of late and I am so saddened by all the festival cancelations. I know everyone is affected by the current situation. I feel as though, my musical life has been taken from me but it could be a lot worse!
Although I do have more time at home, writing songs and playing every instrument I can get my hands on, it’s not the same. What has been my saving grace is these live music streams! The musical community has stepped up and delivered something completely unexpected and ingenuitive. I have seen more concerts on "Couch Tour" this past week than I ever have. Like: Relix Live Stream, Nugs.net, Andy Frasco doing his podcast live and other bands playing in their homes or even in empty venues. Other festivals and bands have released their live shows and flooded social media and the internet with music. Another great resource for live streams is Virtual Festival, an aspiring promotional page that has recently started to combat the lack of live music. Check them out. Perhaps I should start reviewing some of these streams? As there is a lack of live music to write about what do you all want to read? To be as honest as possible, I have already paid the 120$ yearly fee to keep this site alive and truly want to use it. I have been seeing so many bands come together and share their live music every day and it has inspired me. I will be doing the same, playing music, talking with y’all and putting myself out there more.
Also if you would like to contribute to www.jambandpurist.com I am now accepting donations at Venmo: Robert-Fadley and PayPal via email@example.com. I gotta keep the lights on somehow. Anything would sincerely help. Look for upcoming content here and on my Instagram, Facebook and YouTube channel. I have some musicians stopping by and I’m hoping to share with as many of you as possible. I don’t get a lot of social media attention but if you are reading this please consider supporting our site. Thank you so much and our prayers go out to John Prine and all the others fighting this crazy shit. Stand together, just do it from a safe distance.
FACEBOOK GIVEAWAY CONTEST!!! Our friends at Phantasy Tour have given us a pack of their recently released trading cards including The Disco Biscuits TAUK Leftover Salmon Goose
Like, share and comment on this post on FB for a chance to win! The winner will be announced on Friday 1/13.
We are also looking for sponsors and advertisers to keep this site thriving and evolving. Contact firstname.lastname@example.org for more information and please share this with as many people as possible! Again, thank you all for your continued support and look for new content daily as festival season approaches.
(25 Years of NOLA Funk)-Galactic with Southern Avenue at The Jefferson (Jam Band Purist’s 150th Review)
(25 Years of NOLA Funk)-Galactic with Southern Avenue at The Jefferson (Jam Band Purist’s 150th Review)
After reviewing my notes for this show, it looks to be the 150th review on www.jambandpurist.com It’s hard to believe I’ve reviewed so many concerts and festivals in just under 5 years. Many of them have been this band right here: Galactic. It’s been my pleasure to see Galactic, as much as, I have over the past few years. The classic New Orleans based, Funk outfit has been making their rounds for a 25th-anniversary tour and they stopped into the Jefferson Theatre in Charlottesville, Virginia. I had just seen them aboard Jam Cruise and while I had gotten quite used to seeing Erica Falls with the group, with her recent departure, the new addition of Anjelika “Jelly” Joseph has been a growing experience.
Opening for Galactic was Memphis’s own, Southern Avenue, who I have seen a few times on Jam Cruise and at FloydFest. Southern Avenue has a sound that is very original but their roots in southern blues, rock, and funk shine through. Check out my album review here. https://familyjamhouse.com/southern-avenue-keep-on-album-review-many-musical-stories-begin-at-home/ It was my pleasure to write something up for this growing band and hope the best in the future. Southern Avenue would go on to open up for Tedeschi-Trucks band later that week in Richmond, Virginia, which is a huge accomplishment. Look for this band at festival near you.
What’s there to say about Galactic that I haven’t already said in many other reviews? “Galactic would come on like a jet plane.” Ever since I found my heart in New Orleans and Tipitina‘s, Galactic holds a special place in my heart. And if I can’t get to New Orleans, then by God, I’ll make New Orleans come to me. I wish I could work with Galactic or, with the Tipitina‘s Foundation in the future. That would be a dream come true.
Galactic‘s music is hard and heavy at times with Robert Mercurio on bass and Stanton Moore both a driving full force. There’s songs especially the classic funk, are easy to dance to and lose yourself within the music. When the songs add a singer, it only significantly amplifies the excitement and energy on stage. I am hooked on their cover of “Walking On The Moon” by The Police. It has a different feel and I think you all would enjoy it below. Anyway, I’m sure I will be seeing, Galactic, as soon as, possible. I will be making it to the Crescent City for Jazz Fest or die trying. Keep on keeping on Galactic! 25 Years strong. It’s my dream to interview this band and work with the Tipitina’s foundation!
Eric Gales Stirs Emotions At 5 Points Music Sanctuary
Having seen Eric Gales countless times on social media (usually shredding the guitar to “Voodoo Child,” the Jimi Hendrix Classic) when I saw he was playing at my favorite venue Five Points Music Sanctuary in Roanoke, Virginia, I had to make the trek back down to the Church Of Music. I didn’t know what to expect from the show but I knew that there was going to be a lot of guitar prowess onstage and that was perfect for me.
Mark Nicholson and The Distance opened up the show and I was impressed by the vocals from Mark and his blues-guitar work. His voice reminding me of Robert Plant crossed with Peter Green. The Distance was the perfect band to open up for Eric Gales. Tyler Godsey, did a great job orchestrating this event for 5 Points. I see Mark Nicholson and The Distance, as one of the best local acts I have come across. They could easily take it to the next level and tour; gaining followers who like Marks vocal styles and bluesy guitar tones. Mark, if you ever need another member, I am here! It felt great to get back to 5 Points, which has been growing exponentially and almost looks like a new venue from the inside. If you haven’t seen a show in this venue, I implore you to make the trip down to Roanoke just to see this Church Of Music.
Eric Gales came onto the stage with so much excitement; the crowd was bristling with energy. I was pumped to see what would happen when he was actually playing music. Addressing the crowd and telling his story: reliving hard times, addiction and the sacrifice of music, Eric made everyone feel at home. This is where the shreds began to happen and between the limited vocals and instrumental parts, there were long solo segments that showcased Eric Gales unique left-handed guitar style. It’s hard to describe Eric’s guitar playing, it’s somewhere between Eric Johnson and Jimi Hendrix: raw and visceral, while still being light and twangy. In the video below you can witness the sheer energy and adrenaline that is rushing through Eric Gales as he plays like his life depends on it. Mr. Gales is no slouch on the vocals either. His voice is as juxtaposed as his guitar work; rough and scratchy while still being light and soulful. Eric Gales is one of a kind and there is no getting around that. While Eric Gales is technically skillful on his guitar, his true talent lies in his energetic and infectious energy. I have rarely seen guitar players play with such vigor and excitement on stage. He would even shed a few tears during the show, recollecting his past experiences. I will see Eric Gales again and while he only played about five songs, I think I have a great grasp of what Eric Gales can do on the guitar. The video that I shared on Twitter received over 3000 views in under a week. Thanks to Eric Gales and 5 Points Music Sanctuary for making this a great valentines experience happen.
Thanks for all your recent views, shares, likes and comments. We have seen over 5,000 of you this month and counting! I just wanted to take the time to thank each and everyone of you for following and reading www.jambandpurist.com Without you, we would not be able to cover such great musical events but let's be honest, I would still be writing because it's my passion. This site is a labor of love and we would love for you to share, like and invite you to help us grow. We are looking for sponsors and advertisers to keep this site thriving and evolving. Contact email@example.com for more information and please share this with as many people as possible! Again, thank you all for your continued support and look for new content daily, as festival season approaches.
BIG NEWS! I was recently contacted by phantasytour.com (If you don’t know about this site then check it out! I have been using it for years to log shows and even keep up with set-lists for my reviews) they are releasing sets of collectable trading cards. I am happy to be working with phantasytour.com and think this is one of the coolest collectables I have seen come out in sometime, and I will most likely, be doing a give away on a deck of these trading cards, which include:
“In the inaugural set, collectors will find cards featuring STS9, Leftover Salmon, The Disco Biscuits, Pigeons Playing Ping Pong, Tropidelic, TAUK, Goose, Bumpin Uglies and The Jauntee. Each pack of Series One Phantasy Tour Trading Cards contains 9 randomly sorted collectible cards featuring a musician or entire band. There are a total of 50 unique cards in the series. There is also a checklist card in every pack.”
Packs of Phantasy Cards can be purchased directly from the bands in the series at their upcoming shows or in their online stores. Here is a list of confirmed dates and locations at which cards will be available:
2/26/20 Tropidelic at The Orpheum Theatre, Flagstaff, AZ
2/26/20 Bumpin Uglies at The Pour House Music Hall, Raleigh, NC
2/28/20 The Jauntee at Old Town Pub, Steamboat Springs, CO
2/29/20 Pigeons Playing Ping Pong at 10 Mile Music Hall, Frisco, CO
3/5/20 Goose at The Agora in Cleveland, OH
3/6/20 Leftover Salmon at Crystal Bay Casino, Crystal Bay, NV
3/12/20 The Disco Biscuits at The Fillmore in Philadelphia, PA
3/13/20 TAUK at 9:30 Club, Washington, DC
Online pre-orders are also being accepted at Phantasy Tour’s Merch Store found at https://merch.phantasytour.com. Online orders will begin shipping March 16.
Work has begun on compiling the next series of Phantasy Cards. Fans can vote for the bands they are most interested in seeing in a future series by visiting https://phantasy.cards/vote.
LOOK FOR AN UPCOMING GIVEAWAY ON ALL JAMBANDPURIST SOCIAL MEDIAS. Thank you!
Andy Frasco and the U.N. vs Big Something (RVA Royal Rumble)
I once hailed, Andy Frasco and his wild onstage performances as, “the closest thing to the WWE in the music world.” Last night, these visions came true. Included in this augmented reality were the heavy hitting, Big Something, who have amassed quite a following over the past few years. While Andy is my clear favorite, I wasn’t sure what the night had in store or if he could keep the run of outstanding performances going. Never short on energy, Frasco comes alive onstage, transforming into a beast, a creature of music. His base instincts kick in: party, rage, drink, and fight. It’s the heady mixture, the musical brew; the alchemical reaction we all have when it’s time to party. No need to review the songs just one will do, “Blame It On The Pussy” was played and I’m glad to see it’s still alive and well. It was certainly the crowd favorite of the night. I totally caught a few people, who will remain nameless, in the bathroom making exuberant amounts of sniffing sounds... cold and flu season is going around. Nonetheless, everyone was having a blast in RVA.
Big Something aren’t always my favorite band, not because of their obvious talent but some of their songs don’t connect with me due to their almost, Alt-Rock nature. This show however completely shattered all my expectations of what BS can bring to the stage. While I’d love to see them take more chances and improv more, they still brought The Broadberry down. I am very impressed with the growth from guitarist, Jessie Hensley and the rhythm section in general. They seem to have grown exponentially as musicians. I am sure I will be seeing this band again on summer tour.
At the end of the performance, both bands would join the stage together in a massive throw down that would see wrestling moves, erroneous dancing and even, a pole climbing competition. I think that’s about the only thing that pole is good for. Both bands would play Peter Gabriel’s, “Sledgehammer” and The Talking Head’s seminal classic, “Psycho Killer,” all wearing Luchador masks and jumping on top of one another. Oh, and I must touch on Kyle Ayers who was the referee and opening comedian. I certainly was not expecting to hear comedy that evening and honestly, didn’t pay attention. I guess my headspace was not ready for this combination. After reviewing some of the other videos and shows, I have come to the conclusion that, Kyle, did a great job opening up the audience and his birthday roast of “Sweet Dick” Andy Frasco was hilarious. I want to commend everyone involved for taking chances and trying something different.
These two bands are very important to the up-and-coming Jam scene that we have all have been cultivating for the past few decades. Things have been changing but what remains the same is the love for music and new ways in which bands carry us forward. Improvisation, long solos and collaborations are what make this world turn but stage presence and energy are just as important. Bands like BS And Andy Frasco and The U.N. are the reason that I am still going to shows and covering live music. Both bands keep this scene alive and we have to support them in anyway possible. Go see live music, support the music you love and tell everyone you know. Better yet, take a friend to a show and you change their lives. It truly changed mine.
(Turkuaz Evolves In Charlottesville Virginia)
There is not much to say about this amazing performance from Turkuaz here in Virginia. After returning from Jam Cruise, I was completely enthralled with Turkuaz and was delving deep into their catalogue, pulling out gem after gem. Their shows are always high-energy, full of extreme Jams and improvisation. I can’t help but lose my mind and dance all night to their music.
As I said in my previous review, Turkuaz could be the chosen one; the band to rule them all. The band that could transcend this musical scene and become “popular.” If you ask me what band could go totally mainstream, it’s Turkuaz. Or they could morph into a super-futuristic-funk-robot and destroy us all! Turkuaz is the only band that can make every single person I know dance. No matter what your musical tastes may be, you will find yourself dancing to their infectious grooves. Oh yes the tired cliché, “infectious” but it is, it’s like a dance virus, a parasite of the hips. When Shira and Sammi, are synchronized you are completely transfixed, hypnotized and must comply in full to dance.
I could go through, song for song, telling you how pandemic, “Murder Face” was or, how, “Babies Making Babies” probably impregnated the whole audience but instead I implore each of you to listen to Turkuaz for yourself. I witnessed the crowd raptured in funk, mesmerized in Jam and spellbound in Electo and you too can join the cult of UAZ.
Jam Band Purist
Jam Cruise 18: (Jamais Vu On The High Seas)
Déjà Vu is the feeling that one has lived through the present situation before while Jamais Vu is the complete opposite. Boarding this year’s Jam Cruise on the MSC Divina, I had the strangest feeling of jamais vu: “Jamais vu involves a sense of eeriness and the observer's impression of seeing the situation for the first time, despite rationally knowing that they have been in the situation before.” This feeling would remain intertwined in my thoughts throughout the entire Jam Cruise experience, crystallizing into some strange emblematic dream. It is indeed a New Year, a New Decade and there is a lot to be grateful for. Climbing aboard Jam Cruise is like entering a world all its own. A world with an expiration date of only 5 days but these days transmogrify into a lifetime of experience. Swirling musical energy surrounds this vessel and the constant capitulation and undulation of the vast sea becomes atoned to the rhythm of our bodies. While this is only my second year, it’s as though I’ve been doing this my entire life. The people, all familiar, the bands, I’ve been seeing for over 15 years are just eating at the same buffet as me. Seeing the same shows and having a similar experiences. This relationship is transcending, changing what it means to be a fan, and bridging the gap between artist and audience.
Over the years I’ve been known to get caught-up in the glamour of stardom. Seeing these people as more than they are. Idolizing a life that is completely devoid of normality. After going on Jam Cruise these past two years, I have seen and talked to more musicians than I have in my entire life. Just seeing Ivan Neville walking around everywhere puts things into perspective. Or running into Samantha Fish while she is getting breakfast or, talking with the guys from Galactic on the pool deck. These little day-to-day activities really opens ones eyes to the reality of their musical lifestyle. The truth is these musicians are just like you and me but with a heck of a lot of talent and lots of drive! It’s hard to sit-down and write this out, seeing 5 days of music, everything gets convoluted in my head. I won’t waste too much of your time but I will go into my favorite shows of Jam Cruise 18 and share some of my thoughts.
Life Aboard The MSC Divina:
Boarding the boat itself is always an adventure and having a new boat, the MSC Divina (new to me) was like starting all over again. The Divina is a much bigger boat but traversing those narrow hallways at 5 AM, sliding and hitting the walls like bumper cars, takes some getting used too. It’s almost like you have to take two steps to either side with the motion of the ship to stay balanced. While last years experience aboard the Norwegian Jade was all around a more luxurious experience, better ship, nicer crew, food and amenities were better, but it really doesn’t matter because it’s Fucking Jam Cruise. Where else can you do this crazy shit? The only real issue I have with the MSC is the disembarkation time of 7 am. Ughh what the fuck! Are you out of your minds!
Best Sets On The Ship:
The Lennon Claypool Delirium Pool Deck set was one of the best shows I’ve seen on planet earth not even just on Jam Cruise. This neo-psychedelic amalgamation blew my mind. I was familiar with their catalogue of music but not ready for such a raw, visceral performance with absurdities to boot. Lennon and Claypool really brought out the weird for the first day and I hope to see them again soon.
Every Turkuaz show I’ve ever seen on the boat has been phenomenal; I even skipped out on half of moe.’s Atrium set to check out one of the most hype version of “Flashlight.” Listen, don’t sleep on Turkuaz they may be able to make it the next level of the music industry. Turkuaz could transcend the Jam world and go mainstream or become something we weren’t prepared for morphing into a super-futuristic-funk-robot and destroy us all!
The Marcus King Super Jam was filled with classic Disco and Motown songs. The lineup included but was not limited to: Nigel Hall, Ivan Neville, Tony Hall, Robert “Sput” Searight, Luther Dickinson, Eric Bloom, Roosevelt Collier, Nicki Bluhm, Danny Mayer, members of Turkauz, Karina Rykman and that basically says it all. Marcus seems ready to transcend the Jam world but in a different way, taking Nashville by storm and even getting his own billboard in “Music City.” That’s one way to make an entrance ol’ boy. We will try to keep the lights on for you. Don’t stray too far from home.
Moe. in the Theatre and the Atrium both were exactly what Jam Cruise is all about, true headliners having fun with the audience and melting faces. Chuck and Al both duel shredding guitar solos on the backs of sofas. It was great to get back on the couch with moe. having only seen them a few times in past few years. They were one of the first bands to really turn me onto the scene and their songs play in that special place in my heart. I would love to see moe. return to Jam Cruise next year and finish what they started.
Galactic always puts on a strong performance and this years was no different but what was different was the female performer who is still learning her place onstage. I was surprised to not see Erica Falls onstage but welcome the new comer. I was really impressed with Circles Around The Sun, who put on a hard, yet effervescent performance. Their sound is difficult to explain but its somewhere between the Grateful Dead and funky psychedelia. With the addition of Eric Krasno, CTS set was really transcending. I had heard about these guys with Neil Casal but never had the chance to see them. This was a great way to honor Neil and Jam to their music, I cant wait to see them again soon in Charlottesville, Virginia at The Southern. I wish that Karl Denson would come around my area more often because his shows are always high-energy and I need more of him in my life. Lettuce really impressed me with their Pool Deck set, which seems more original Funk than Dub. This may have been the best Lettuce show I’ve ever seen and their theatre set didn’t seem to compare.
Samantha Fish basically blew me out of my sandals. She is something else and can shred on the guitar which, I got to tell her to her face. She graciously accepted my compliment and gave me a little wink. This would be my first time seeing Samantha Fish and I wasn’t sure her live shows could match her videos but she is even better in person. I really enjoy the cigar box sound and respect her six-string skills immensely. Joe Marcinek was also another performer I wanted to touch on, supporting his own All Star cast of players. This was also my first time catching Joe and his guitar work is truly unmatched; very harmonic and instinctive.
Lastly I want to touch on my friend Marcus Rezak who sat in with Maddy O’Neil and was a great guest on the boat. Marcus is a fantastic player and adds so much to every performance. Check out his other groups like Shred Is Dead and various projects where he works with members of Frank Zappa’s band. Let’s get him and “Sweet Dick” Andy Frasco back on the boat next year for Jam Cruise 20!
No matter how many times I write it, Jam Cruise is the experience of a lifetime! I implore each and everyone to come with me on the most amazing musical adventure! I know many of you say you can’t afford it but if you just skip those local shows, skip those trips to bars, save those pennies, you can make if work and it is well worth it. I can’t imagine not returning next year and reliving this adventure. I hope to see you all there.
Jam Cruise Purist
Oh what a difference 10 years can make on one’s soul. 10 years of change, 10 years of music, love, life and the pursuit of happiness. It seems as though, 10 years have got behind me but I strive forward. I want to thank each and everyone of my faithful readers here at www.jambandpurist.com I have watch this site grow from literally, 1 reader to over 10,000! It has been a dream come true but now is as good a time as any to announce big changes coming.
While being the self-proclaimed, Jam Band Purist has been fun, I need to expand my horizons and will be working on changing this site in hopes to encompass many more aspects of the music world. My main goal as JBP was to express honest and forthright opinions of concerts, music festivals and the Jam music that I love but the every day politics of the music industry including but not limited to, publicist, artist relations, managers and the ever encroaching Live Nation type conglomerates have made it almost impossible for me to express my honest opinions. For example, say I ranted about John Mayer being a douche bag, I wouldn’t be able to get Dead and Company tickets but do I really want them if it comes with that price? At what cost do I give up my integrity? I will still of course, be writing on great festivals like, Floyd Fest, LOCKN’ and many other Jam festivals/concerts but perhaps in a different way or for another publication.
Jam Band Purist will survive however, it will be integrated into the next evolution of my writing dreams. Who knows, I may start covering the latest Rap or Pop music, at least then, I can be completely honest without worrying about hurting anyone’s feelings. I truly do not want any of this to sound negative because I have learned so much about Freelance Journalism, the music industry and reviewed some amazing shows and even interviewed some amazing bands. This has been a dream come true and I look forward to the evolution of a dream. 2020 will be the beginning of something grand. Anyway, the show must go on. I’ll be pumping out reviews here at Jam Band Purist. Until further notice. So look out for Jam Cruise reviews soon and for now for No BS New Year’s Eve Extravaganza. Thanks to everyone for the support!
No BS NYE Specacular!
Picking a New Year’s Eve show this year seemed more difficult than it should’ve been. I had lots of musical choices but truthfully: limited funds, a broke down car and the always prevalent, procrastination. Looking at the local choices, it was either the Infamous Stringdusters in Richmond, Virginia or No BS brass and some other acts in Charlottesville. While I love the Infamous Stringdusters, I have previously seen one of their New Year’s Eve shows with one of my exes and prefer not to relive that experience. The only choice remained, No BS Brass, the high-energy act from Richmond who I have seen a few times before. I couldn’t make it to New Orleans this year so, I had to get a taste of those horns. To say 2019 hasn’t been an easy year is an understatement. Wild, crazy and completely unpredictable. I was looking forward to leaving it all behind and mustered up enough strength to proceed to Charlottesville, Virginia. The Jefferson Theater is easily one of the finest venues in all of Virginia. I have been to countless shows over the past 10 years, a decade of music at this venue from Little feat to Marcus King. This venue has become a part of my history.
I arrived at the venue in time to see the tail end of Shagwuf and when I mean “tail-end“ I mean the lead singer’s backside. I can’t can’t comment on the music but enjoyed what little I did see. The Falsies came on directly afterwards and I was not prepared for what I was about to witness. Charlottesville Natives, The Falsies are a raw, wild and at times, incoherent group of misfits. The lead singer/drummer came out on stage in a chicken suit and began to hack balloons reading 2019 with a butchers knife. What a way to begin their performance and really caught my attention. The onstage antics continued from there with a hotdog, lobster and bright swinging balls of glory. There songs like “My Balls,” “We Want To Fuck” and “Are You Sexually Available?” remind me of some of Frank’s Zappa’s later performances, chaotic and sometimes, nonsensical. The Falsies walk the line between Art Rock, Glam Rock and Punk. There were 11 people onstage and at times, it was a bit much to focus on. The spectacle takes away from the music itself. I was most impressed with the guitarist, Carter and her rock star vibes and obviously the lobster. The Falsies are quite the musical circus and could be someone’s strange ethereal dream or someone else’s existential nightmare. The entire band ended the show writhing in an orgasmic pile onstage. I can say this was perhaps one of the strangest shows I have seen to date and really sets a precedent for what 2020 will bring.
The main event, No BS Brass is just as the name implies, no bullshit, straight Funk Rock, Jazz and Hip-Hop all combined into an energetic mixture. Reggie always brings the energy and the inclusion of the female singer really completes this group. I was not disappointed with the level of excitement and musicianship onstage. I would recommend anyone who has the chance to see No BS take the opportunity to get down with this group of outstanding musicians.
The end of 2019 came to a conclusion with little to-do, I watched drunken couples mash faces together in some wretched display of tradition. Others slam alcoholic beverages into their gullets in hopes to drown their lost dreams and sorrows. I make it a point to try to see a concert every New Year’s Eve but decided not to stay out much past 12 because a lot of the people who go to concerts during holidays are just there to get drunk and talk to each other. Somewhere in my mind, I was still preparing for the upcoming Jam Cruise and the amazing music that I was about to see aboard the best ship in the world. So, fuck it! Bring on 2020!
Happy New Year! Let the roaring 20s’s commence🎉 Bringing in the New Year with Shagwof, The Falsies, and No BS Brass.
WARNING: The views and opinions expressed on this site may not be in conjecture with your own. Be Advised
Editor: Robert (R.A.) Fadley
Freelance Writer, Musicologist, Music Journalist, Music Critic, Music Writer, Author, Musician, Singer-songwriter, Composer, Guitarist.