Danica ‘honest’ with Stenhouse about wreck

first_imgSunoco Rookie of the Year contenders sort out Coca-Cola 600 accident on way home from track READ: Harvick’s late charge leads to 600 win READ: Kenseth, Johnson hopes wrecked in 600 READ: Pit crew key as Hamlin claws back DOVER, Del. — You bet. Danica Patrick readily admits she was miffed at her boyfriend Ricky Stenhouse Jr. after the two of them –- along with reigning NASCAR Sprint Cup Series champ Brad Keselowski –- crashed late in Sunday’s Coca-Cola 600.But after a ride home with Stenhouse that included many “silent moments,” Patrick insists everything was fine. They had beers together later that night and spent the next day relaxing on the lake. READ: Post-Coca-Cola 600 Driver Reports “We’re just very honest and keep things simple. We didn’t even talk about what we were going to say. The only thing to know is we are honest about the things that happened, and it was just a racing incident.”—Danica Patrick on relationship with Ricky Stenhouse Jr. Patrick was still good-naturedly answering questions about the incident Friday at Dover, Del. and wasn’t a bit surprised about all the interest the story has generated.“Of course, there’s a little bit of a human interest story there with having Ricky and I being involved in that accident and being in the same general vicinity,’’ Patrick told reporters prior to opening Cup practice at Dover International Speedway. “I understand that, but at the same time, he was part of the three-wide that made the accident so it’s legitimately something that should be asked.“We’re just very honest and keep things simple. We didn’t even talk about what we were going to say. The only thing to know is we are honest about the things that happened, and it was just a racing incident.“We’re going to give our perspective on what happened.  I understand it’s interesting. I’m sure I’d want to know how that all went down after the race too. We’re an entertainment sport.”“I was definitely upset and angry about the situation. I was a little bit upset with him and we talked about it. It’s absolutely fine now, and we were fine by the end of the ride home. That’s what happens out there. Tensions are high and so are emotions.’’Those emotions extended to Patrick’s team owner Tony Stewart, who criticized Stenhouse on SIRIUS XM Radio after Sunday’s race saying that although Stenhouse is “like family” he would “choke (him) right now if I could get to him” for some of his recent racing moves.Despite the fact Keselowski immediately shouldered the bulk of the blame for the Charlotte accident — he said he didn’t realize they were three-wide –- Stewart and Patrick questioned Stenhouse’s hard racing at the time. He was two laps down, and Patrick was contending to become beneficiary of the free pass that would have put her back on the lead lap as the race wound down.A week later, Patrick chalks it up to hard racing and different agendas.And, she reminded, Stewart and Stenhouse are actually good friends.“Don’t you want to choke your kids every now and then?’’ Patrick joked about Stewart’s word choice. “That’s between them, and I know they had a conversation about it Sunday night. He (Stewart) loves him (Stenhouse) like a son. You’d never hurt your son; you’d only help your son.’’Stewart didn’t just single out Stenhouse. He also suggested on the radio that maybe all the rookies and several young racers could use a reminder on racing etiquette.“If Tony’s hard on rookies, I just thank the good Lord above I’m on his team,’’ Patrick said laughing.“What I’d say about Tony is he wants to help teach the rookies. … the rookies he respects and feel like they should get that time of day. If he didn’t think they were good, he wouldn’t try to help them because they won’t be around for long in his opinion.“He wants them to learn to play the game the way he’s learned to play the game, and he’s been around a long time and has been very successful. It’s actually a good thing that he wants to help and will speak up because, at the end of the day, we don’t see each other every two weeks; we see each other every five days and you need to take care of those relationships or they can bite you.’’As far as Patrick is concerned, Charlotte was a good lesson in many regards. Since she and Stenhouse went public with their romance in the preseason, she had been expecting increased scrutiny during this first-of-its-kind Sunoco Rookie of the Year battle.“These are racing things, you know,’’ Patrick said. “We find ourselves frustrated with other drivers all the time along the way. There are lots of them. It’s just one of those things that we had to deal with, but we knew that and we’re better for it.’’READ MORE: ___________________________________________________________________________________________Comments are currently unavailable. We’re working on the development of a NASCAR fan forum – please stay tuned.last_img read more

GRiZ Announces Headlining Performance At Red Rocks Amphitheatre

first_imgAfter teasing the announcement last weekend, beloved saxophonist/producer GRiZ has confirmed his return to the glorious Red Rocks Amphitheatre in Morrison, CO. GRiZ will perform on October 1st, 2016, though no other details about the event have been released.This will mark GRiZ’s second performance at Red Rocks, as he performed “An Evening Of Funk” there in 2015 with The Floozies, Manic Focus, SunSquabi, and Muzzy Bear. As of now, no additional artists have been announced for GRiZ’s 2016 Red Rocks set, potentially making it all the more special.GRiZ is looking ahead at a busy 2016, as he’ll be touring around some intimate venues to test out tracks that will ultimately comprise his new album. GRiZ also has a very unique performance on his schedule, as he’ll be collaborating with Lettuce for their first-ever computer-less performance at Fool’s Paradise Festival from April 1st-2nd. GRiZ and Lettuce have crossed paths before, as GRiZ remixed Lettuce’s “Slippin Into Darkness,” but this marks their first full set on-stage collaboration, and we couldn’t be more excited.For more information about Fool’s Paradise, which will also see sets from Lettuce, Vulfpeck, Chris Robinson’s Soul Revue, The Nth Power, Goldfish, Cory Henry, Marvel Years, and more, visit the official website. For more on GRiZ’s Red Rocks performance, head here.last_img read more

Gary Oldman Reveals David Bowie’s Final Thoughts On Music

first_img[via CoS] Before Lorde‘s surprise, stunning performance of “Life On Mars?”, David Bowie was posthumously honored at this week’s BRIT Awards for his contributions to music and to society. On his behalf, Bowie’s longtime friend and well-known British actor Gary Oldman accepted, while lending some words to console hurting hearts with snapshot memories and inspiring Bowie-esque wisdom.“The world lost an artist, a man, of transcendent talent,” Oldman emotionally began. After describing his career, lifepath, and legacy, defining him as the singular word “icon,” he went on to describe Bowie’s relationship with music, and the words he left before leaving our planet.“In recent years David sparingly spoke about music and his process; but in one of these rare instances, he graciously and elegantly expounded,” Oldman explained before narrating Bowie’s final words.”’Music has given me over 40 years of extraordinary experiences. I can’t say that life’s pains or more tragic episodes have been diminished because of it, but it has allowed me so many moments of companionship when I have been lonely and sublime means of communications when I have wanted to touch people. It has been my doorway of perception and the house that I live in.’”Oldman eloquently added to this profound statement, that “Over his career, David challenged and changed our understanding of the medium, whether in music or life, he emphasized originality, experimentation, exploration, and in his very unique way, he also reminded us to never take ourselves too seriously.”He continued, “David faced his illness with dignity, grace and his customary humor, even in dire circumstances. When he wrote to tell me he had cancer, he added, ‘the good news is I have my cheekbones back.’”You can watch the full speech,alongwithAnnieLennox’stributeandLorde’s performance here:last_img read more

Papa Mali Goes In-Depth On His Approach To Music, New Orleans, And Crawfish Boils

first_imgSince Papa Mali hails from Louisiana, it’s understandable that some folks suspect voodoo is behind his charmed musical life. His signature guitar sound is a blend of the blues of the twenties and thirties, the psychedelic sounds of the sixties and the funk of the seventies, all stirred together like a thick gumbo and simmered to perfection. He’s played alongside blues legends like B.B.King, jam band icons like Bill Kreutzmann and funk founding fathers like George Porter Jr., always with the same attitude of respect and humility.As he’s preparing for a special one of a kind set of tunes at the NOLA Crawfish Festival (Tickets Available HERE) our own Rex Thomson caught up with Papa and discussed the long and happy path that brought him to where he is today.Live For Live Music: You first started playing guitar at five years old. Could you even pick one up?Papa Mali: Basically, the first guitar I got was for my fifth birthday. The first one was kinda a toy, but it had strings on it and I would play. Then on my sixth birthday, my dad, he used to make frequent trips down to Mexico. He picked me up a handmade, nylon stringed guitar. It even had my initials carved in the headstock. I remember it had a price tag that looked like it said three hundred dollars, but it was actually three hundred pesos, which, at the time was only like twenty-four dollars. But it was a really nice guitar. I guess back then you could get a great guitar for twenty-four dollars in Mexico.L4LM: For your parents to be buying you better and better instruments, you must have been showing a lot of love and talent.PM: I was determined, I’ll put it that way. I don’t know how good I was, but I was determined. I was the youngest of three siblings. My brother was seven years older than me and my sister was eleven years older than me, and I learned pretty early on that if I wanted something, I better make a lot of noise.L4LM: Well, looks like you have kept that noise making going.PM: Yeah. (Laughs)L4LM: Tell me about the impact seeing The Meters for the first time had on you.PM: Wow man. Me and my cousin, with were in New Orleans for Mardi Gras. I grew up in Shreveport, my mothers family is from New Orleans. I learned really early on that for a young musician, New Orleans has a lot more going on than Shreveport. Not that there isn’t some really good music in Shreveport, there’s actually some really interesting music being made there.Anyway, I was in for Mardi Gras and my cousin and I were riding our bikes around when we heard some music, and saw a band playing on the back of a flat bed truck. From a distance I could see that Leo Nocentelli, I didn’t know that was his name at the time, but he was wearing a head band, and had an afro and was playing a Fender guitar. And man, I thought it was Hendrix, y’know? It was 1969, and I was a huge Hendrix fan, and I thought it was Hendrix. He was playing a guitar solo and I was so excited, so I fought my way down to the front.But it was actually The Meters playing on the back of a flatbed truck. There was a big group of Mardi Gras Indians there too, who I’ve since come to realize it was The Wild Tchoupitoulas. Big Chief Jolly, who I met as George Landry, was the Neville’s uncle. He was the Big Chief of The Wild Tchoupitoulas at the time. Most of them were offstage, but they were all dancing. For me, I was still young enough to where just seeing the Mardi Gras Indians for the first time and The Meters blew my mind. Seeing a bunch of people dressed up like Indians and dancing was pretty amazing when you’re young. It’s still amazing.But seeing something like the Mardi Gras Indians for the first time…hearing The Meters for the first time. Actually hearing a live band at all. The Meters were the first live band I ever really saw. I had seen some older kids practicing in their garage, but I hadn’t been to a concert yet. It made a huge impression on me. A two years later I saw Dr. John when he was doing his Night Tripper thing. It was a year or two later. The “Flatbed Meters” thing was in February of 1969. So it would have been sometime late in 1970 when I saw Dr. John do his thing. That was an even bigger revelation to me. Honestly, I was listening to a lot of funky, gritty music and I didn’t realize it was possible for anybody white to sound like that. (Laughs)Seeing the Meters was a big revelation. Seeing the Mardi Gras Indians was a big revelation. And seeing Dr.John pull it all together as a white cat doin’ it…and also, bringing the psychedelic aspect…that was big to me. I got into psychedelic music at an early age…I started taking psychedelics at a pretty early age too…(Laughs) Seeing those elements come together with Dr. John doing the “Night Tripper” set, that pretty much solidified it for me. It gave something to strive for, something to kinda grow into.L4LM: Like a lot of musicians you’ve spent a bit of time busking on the streets. I always like to ask artists how they did.PM: I did pretty good. To be honest, I really didn’t do it that much time doing it. From the time period when I first left home…I left home pretty early. I was just seventeen, and I realized it was pretty easy way to make some fast money. Going out and opening up my guitar case I could always make twenty or thirty bucks in a couple of hours. It’s not that hard to realize it could tide me over, but really I was out there trying to look for gigs and establish a professional career. It wasn’t something I wanted to do for very long.I did want to travel a lot. I did want to remove myself from my suburban upbringing. The only thing that was really different for me was that my situation was in a bayou. I could walk a block and be in a snake infested, alligator infested swamp. And I did. It was my playground, and I loved it. Like all kids I wanted to get out and explore. It was heaven. I learned how to kill snakes pretty early on, not because I enjoyed killing them but I was just defending myself. There were water moccasins everywhere.L4LM: Did you ever get a gator?PM: No, I never had to kill a gator. We did have a few though. There was actually a law in our neighborhood…I guess it wasn’t just in our neighborhood but any neighborhood along the bayou, that said you couldn’t tie your dog up. Because there were alligators that would come up out of the bayou at night, and if they couldn’t run away the alligator had itself a nice snack. If you had a fence it wasn’t a problem but a lotta places didn’t, and if you tied your dog up at night you might come back to find a empty leash.L4LM: Sounds like a rough neighborhood.PM: Nah…it didn’t seem that way at all when I was a kid. Maybe it could look that way in retrospect I suppose. But wherever you live out in the country there’s something you gotta watch out for. Where I was it was snakes and alligators but it wasn’t like we lived in fear of them or anything. There was one time, my first year of school, and I was running late. When I showed up everyone was standing around outside and when I asked what was going on they told me there was a twelve foot alligator in the foyer. I was like “We can’t even go in the building? Can’t we just go in the other doors?” And sure, any reason to get out of class is a good reason, but it just seemed to me that if the alligator was in the foyer why couldn’t we even go into the other parts of the building.L4LM: It sounds like Louisiana has a very different version of snow days.PM: (Laughs) Yeah, alligator days instead of snow days. That only ever happened one time though.  But still, maybe a small dog that couldn’t get away was in danger, but it wasn’t like we lived in fear. It was just part of growing up.L4LM: That fear may just be me. Alligators are like what happened when nature decided it needed armored killing tanks.PM: They certainly can be. (Laughs)L4LM: So how long has it been since you became a full time New Orleans resident?PM: It’ll be five years ago next month, that I actually became a permanent resident of New Orleans. I’ve lived here in different periods throughout my whole life because my mother’s family from here. Some of my grown children moved here before I did. In the late nineties and early two thousands I would come and spend a lot of time either living at their house or with other members of my family. The first time I ever really became a permanent resident of New Orleans was five years ago.I lived in Austin, Texas for many years. A lot of people still think of me as being from Austin, but the truth is I was brought up in Louisiana, and didn’t move to Austin until I was an adult. But I lived there long enough that people started thinking of me as being from there. Funny enough, no matter how long I lived in Austin people there thought of me as being from Louisiana. I was quite obviously not a Texan. (Laughs) It’s one of those things. Where you’re from is where you’re from, and that’s that. I was born in Vicksberg, Mississippi but my parents moved to Shreveport when I was three years old. I was raised there til I was seventeen when I left home and fillin’ out the rest of the years I’ve lived a bunch of different places.I’ve lived in New Orleans, I lived in Austin, I lived in New Zealand for awhile, I lived in Tennessee for awhile. I did a lot of traveling, I did a lot of hitch hiking. Just travellin’ with bands when I was really young. But I’ll always be from Louisiana. When I was touring from B.B. King, the first night he asked me “Papa, where you from?” I said “Shreveport” and he said “Where you really from?” I said “Well, I was born in Vicksberg,” and he said “I knew it! Us Mississippi boys better stick together!” (Laughs) But I was really young when I moved from Vicksberg, so yeah, if people ask me where I’m from…I’m from Shreveport.L4LM: You’ve played with some legends, like B.B. King. Did you see an impact on your style, playing alongside them?PM: B.B. had an effect on my style way before I met him. I think it’s changed now, because of the internet, there’s like an information bank that everyone can tap into. But when I was growing up you either had to know somebody who was a record collector or you had to be one yourself and fortunately I was both. I knew somebody who was really connected to the blues word, and I collected records from the time I was six years old. By the time I got to be about fifteen or sixteen it was quite obvious that my blues influences were setting me apart from a lot of other guitar players who were just learning rock and roll. They were listening to Led Zeppelin and the Allman Brothers, and I was listening to the music that Led Zeppelin and the Allman Brothers were listening to, y’know?I also had this guy, named Johnny “Slim” Campbell…John Campbell is the way most of the world came to know him but we always knew him as Johnny Slim. He was the real deal, he was steeped in Delta blues and lived it and breathed it and played it. He took me under his wing when I was fourteen years old and showed me the right way to approach the blues. As a white kid coming from the suburbs you have to humble yourself. You have to realize that this music is created by people that suffered for it. You can’t just come into it and say “Uhh…now I’m a bluesman.” That just doesn’t happen. There has to be a certain level of humility and devotion that puts you on that path, that makes you respect it.To this day I still feel like I am a student of that genre, an interpreter. The real cats, the guys that laid it down, many years ago, they came from a time and place that can never be replicated. But the music can live on through guys like me who really respect it and take the time to carry those traditions forward.L4LM: You’ve played with legends, and you’re regularly involved in jam sessions and frequently do sit ins. Have you learned any secrets to stepping into those kinds of musical situations that you could share with us?PM: I definitely have some tips. A lot of it is what I just said…it’s a path. It’s not a phase that you can go through, it’s not a career path. It’s a like a spiritual path. Just like a holy man who decides to shed all of his possessions and follow the one true way. That’s the way a musician really needs to be to…you need to humble yourself you have to realize that this is a devotion.I have a lot of friends, and I respect them for what they do. They’re not professional musicians, they learned to play when they were younger and may have kept playing as they became doctors or lawyers. They’re great doctors and lawyers, and they can actually play the guitar pretty well too. But these people, and I’m not actually talking about anyone specifically, don’t quite understand why guys like me get to play these great gigs with guys like B.B. King or all these great festivals and so on, and they can’t even get booked to save their lives.They didn’t take the path, they took a different path and that’s why. It’s not because they’re worse guitar players or whatever…it’s because they chose a different path. There’s a reason everybody chooses the path they’re on. The best you can do is be the best you can be along that path. But the music path is hard. You have to humble yourself. You have to devote yourself. It only makes sense if you realize it’s a life long thing. It has nothing to do with money. It has nothing to do with fame. You’re doing this because you want to be a part of something much larger than you are. That’s my advice. That’s what I’ve gleaned from listening to my heroes, from watching the way they play and the way they live.L4LM: Humbling yourself and striving to be your best seems like good advice for any path you’re on.PM: Musicians aren’t any better than anybody else. If you’re a great gardener, and you put heart into being the best gardener you can be. It’s every bit of noble as being a musician and getting up onstage and making music or whatever. The simplest of tasks, if you put your heart and soul into it can be magic, that’s the most noble way you can be.L4LM: Now that Bill Kreutzmann is back drumming, any chance for a 7 Walkers reunion?PM: Oh, there’s always a chance for that. I mean, we ‘re all still friends, there’s no animosity or anything. I feel very fortunate we were able to keep 7 Walkers together as long as we did. Bill is obviously a guy who has seen and done everything. There’ll always be amazing opportunities available to Bill because he’s one of the best drummers in the world, and one of the nicest people in the world. I just feel really fortunate that he was able to devote almost four years of his life to that. So there’s a chance for that to happen always there, and I would love it if it did. He calls me once or twice a year to come do stuff with him. I played the Lock’n Festival with him last year, and one of the Voodoo Dead shows during Jazz Fest. I’m still friends with him, and all the guys in the band. So yeah, from my point of view it could happen anytime.But you know, Dead & Company is doing great right now, and they’re awesome. I’m out here doing my own thing. If nothing else, we’ll remain friends, so there’s that.L4LM: There are a lot of folks who call 7 Walkers their favorite post Dead project. What made it so unique?PM: I’ve been flattered when Deadheads told me the same thing. I think part of it has to do with the fact that it was very organic. We weren’t thrown together or brainstormed into life. Bill and I became friends. We started playing. Bill introduced me to Robert Hunter. Robert and I started writing. It just happened organically. Bill liked it, Robert liked it, I liked it…I think everybody involved liked it. So if it happens again, that’s the way it’ll happen. I have had a lot of people ask me about 7 Walkers, about what we’re gonna do and when we’re gonna do anything.  It didn’t really end, we just took a break.  And we all have so much going on. It could always happen again.L4LM: When the Walkers were touring, you were actually a band mate of one of one of The Meters.  Were you nervous the first time you played with him?PM: George Porter Jr.  I was nervous.  Actually, when it came down to time to do the gig it wasn’t scary at all, ’cause George made me feel so comfortable.  Prior to that gig I was very nervous though.  He’s the best, he’s just fantastic. That was part of the magic of 7 Walkers too. I like to think I had something to do with it, but really, just having guys like Bill and George in the same band…that was pretty epic.L4LM: A few years ago you had a serious health issue that had us all worried. How are you feeling now?PM: I’m doing great, thank you for asking. That’s another thing if we’re talking about advice for young people…take better care of yourself. Take better care of yourself than I did. I didn’t take very good care of myself for a long time and finally it just caught up with me. Every once in awhile the universe just has to kick your ass and you learn this great lesson and hopefully you don’t repeat your mistakes.  That’s where I’m at right now, and I’m doing better than ever. I feel like I learned a lesson I shoulda learned a long time ago, and now I feel I’m on the right track.L4LM: The album you released last year, Music Is Love, has a pretty stellar cast of talent helping you out, including the deadly percussive duo of Mike Dillon and Johnny Vidacovich.  Did you write material with specific players in mind, or did you just grab the best talent around?PM: Some of the songs were already written. Before we did anything, my producer and I…I should say something about him before we go any farther.  He had a big part in the way this album turned out.  His name is John Schelew and he’s a three time Grammy winner. He produced the Blind Boys Of Alabama, but he also produced people like Donovan, Richard Thompson, Mick Jagger…he produced John Hiatt.  In fact, his album he did with John Hiatt is one of my favorite albums of all time, called Bring The Family. It has Ry Cooder, Jim Kelper and Nick Lowe on it.  That’s one of my favorite albums ever. When I first moved to New Orleans five years ago I heard that John was living in town.  He had just moved here from Los Angeles, I had just moved here from Austin.  We had both just recently produced albums by Ruthie Foster.  I had produced her kinda breakthrough record in 2007 and he produced her follow up album in 2009. We had kinda a mutual admiration society, he liked the album I had made with Ruthie, I liked the album he had produced with her, and I especially liked the records he had made with other people. So we had lunch, we became friends and we started hanging out.  I think I mentioned before I’ve been collecting records since I was really young.  I have like 4,000 records on vinyl. We started listening to records, several times a week.  He’s pick out an album, I’d pick out an album. By doing that for about a year we kinda figured out what he likes and what I like.  I started to think there was a lot of common ground there. Then we started talking about cutting a record together, about him producing my record.  It’s kinda tricky thing when you’re a producer and you know you need a producer, but you gotta find the right producer.  Somebody that isn’t gonna take you in a direction you don’t want to go in.  There’s a great deal of trust involved. So we did this for like a year and a half. We just played records and talked about what we would do.  I didn’t ask him to produce my record.  I said things like “If you were producing my record what would you…” and “Who would you…” The one thing we agreed on instantly is that we both wanted Johnny Vidacovich to play the drums. We instantly agreed on that. Very soon after that we decided we wanted Casandra Faulconer on bass and Mike Dillon on percussion. The song selection was a little more organic.  I would play songs for him and he would say “Mmmm…maybe that one.  Let’s develop this one.  Definitely not that one.” By the time we got to the studio we knew exactly what we were gonna do.  It turned out great. Invite the right people to the party and it’s gonna be a fantastic party.L4LM: Any new material coming soon?PM: Yeah, I’m working on new material.  There’s a couple of projects I’m doing right now that are making interesting music.  The M & M’s is one of the higher profile projects I have right now.  John Medeski, Stanton Moore and Rob Mercurio and myself. We’ve been together about three years, but obviously those guys have really busy schedules, so we only play about three or four shows a year.  I think we played six shows last year. We’ve been releasing single every eight or nine months, and we have another one about to be released.  We’re doing those just to keep our fans interested, and to keep ourselves interested. We go in the studio when we get the chance, we play shows when we can.  The gigs are always amazing.  When you get players together of that level…it’s like a happening. I love that, and I love being in a band like that where there’s no real pressure to be a full time ambassador for that one project. Those guys have such a charisma and such a full time following that when the M & M’s get together it’s a scene, it’s a happening. I feel really grateful to be part of that, the same way I felt to be a pat of the 7 Walkers. It’s a great opportunity for me, and I love it. And it’s great music, and that’s the bottom line. Career choices, opportunities, that isn’t important to me. It’s all about the quality of the music and the human experience that happens along the way. There’s another great project that’s very recent…this is something that I’m really excited about. I’m in a band called Mali, Burnside and Jay.  It’s me, Cedric Burnside and Brian Jay from the Pimps Of Joytime.  It’s just a trio, and we’ve done four shows so far.  It’s got a lot of great energy, a lot of what you might expect from us.  Brian, the front person, he is a great guitar player, he is a visionary songwriter and producer.  Cedric Burnside, of course, is R.L. Burnside‘s grandson so he has the legacy of the hill country blues.  He was just nominated for a Grammy.  Of everybody that’s living he’s probably at the forefront of the hill country blues movement. And I’m representing what I am, whatever that is. Psychedelic New Orleans funk blues…whatever.  Swamp. (Chuckles) So Brian Jay is representing his thing, Cedric is representing his thing and somehow it all works as one thing. It really does.  All three of us sing. Brian Jay and Cedric both play the drums. We’re switching off instruments. Brian and I trade off playing the bass lines.  It’s a great little trio. It’s in the spirit of The Black Keys and The London Souls, for lack of a better example.  Kinda retro-sounding, but also contemporary if that makes sense.  Rooted in blues, but more like seventies rock. There’s definitely something very psychedelic about the Mali, Burnside and Jay thing. We’re approaching it more like a rock band than a blues band. L4LM: The set you’re playing at the NOLA Crawfish Festival is billed as “& Friends.” You have some pretty amazing friends…any hints as to who is coming with you?PM: I haven’t announced it yet…but I will be soon.  I don’t wanna jump the gun on that.  It’ll be awesome though.L4LM: With as many friends who play as you have, is it hard to put together a band like this without hurting feelings?PM: No, not at all.  Everybody has multiple projects.  It’s like I said, it’s not television, it’s not sports. Nobodies better than anybody else, they’re just different. Everybody wants to play. Of curse they do.  The thing you learn along the way, if you get passed over for one thing, it just opens the door for something else.  L4LM: That’s a wonderful attitude.PM: I think some people are their own worst enemy in that regard.  They concentrate on what they missed out on, not what is right there in front of them. Often times it breeds resentment.  Those feelings don’t help you, they don’t help anybody. Those things only get in your way.  You might feel like your indignation is justified at the moment, but it just makes you less desirable when that person might be considering you next time. Musicians who complain about what they could have gotten should really just focus on what they do have and what they can do.  People might say that’s easy for you to say, but really and truly, I’ve had my share of being passed over. I’ve been doing this my whole life and I’m not rich or famous, but I’m very, very happy. I’ve always thought to myself, if I can make records and play shows and make good music that I’m happy with, then that’s success.L4LM: Your zen outlook is really refreshing.PM: Thanks.  I have been very fortunate, and I’m sure that there are some people who feel like I’ve had more luck than them. And to those people I say keep poundin’ at it and don’t give up. Your own resentment will definitely get in your way. All the greatest musicians I’ve ever met have been the most giving, generous and loving people I have ever met. Their own success has a lot to do with how they view their path. It’s a spiritual thing and it’s about what you put into it.  It’s like love.  What you put into it is what you get out of it.L4LM: Speaking of friendship and love, is there a more New Orleans way to make friends than at a crawfish boil?PM: I tell you what.  One of the very first times I ever ate Shaggy‘s crawfish was when Billy Kreutzmann first came to New Orleans for 7 Walkers planning. He came down here at my urging, I said “We gotta book a 7 Walkers gig down here during Jazz Fest.” Our friends who were running it at the time said “Shaggy’s a big Deadhead, you oughta get him to a big crawfish boil the first night he’s in town.” I think I’d eaten Shaggy’s crawfish before, but I didn’t realize it was him. That was the first time I was ever at a private party and got to watch him do what he does.  It was…I gotta say man…that guy does it better than anybody. I’ve never had crawfish that good anywhere else. I grew up eating crawfish. We had crawfish in the ditches up in Shreveport too. My friends and I would go out and spend about two hours crawfishin’, and we would come out with a couple of several bushels of them. And we’d throw a party that night and everybody would pitch in and we’d get a keg of beer and that was a fun part of growing up in Shreveport. So I know about crawfish man, and Shaggy’s is the best.  Plus he’s a good guy.  He gives a lot back to the community. He donates to a lot of the great causes.  Anytime you see Shaggy’s crawfish rig parked outside of something you know it’s gonna be a good event. He’s got good taste in music and he knows everybody in the music scene.  I like him a lot, he’s a good guy.L4LM: Shaggy is gonna be cooking and serving a boil up all through the NOLA Crawfish Festival.  What’s your plan…eat before so the smell doesn’t drive you crazy, or after when you can relax and enjoy?PM: I always tell Shaggy to save a really good, big box of ’em for me so I can enjoy them after the show. If I eat too much before the show I’m gonna be sleepy up there onstage, and I don’t want that. (Laughs)L4LM: Sounds like you have your musical and your actual plate full coming up.  Thanks for taking the time to chat with us Papa, and best of luck on your path.PM: Thanks, have a great day.If all that talk about music and crawfish got you hungry for a some food for your body and your mind, check out the NOLA Crawfish Festival.  Three days of great music featuring artists like Papa Mali, George Porter Jr., Ivan Neville, and Anders Osborne, thousands of pounds from the NOLA Crawfish King founder himself, Shaggy and a specially brewed beer from the venue, the NOLA Brewery.  Tickets and information available HERE.last_img read more

Umphrey’s McGee Debuts New Originals, Goes All Improv & More For Four-Set UMBowl VII In Vegas

first_imgLast night marked the annual tradition known as UMBowl, a one-of-a-kind Umphrey’s McGee concert where the band will play four uniquely themed quarters, challenging themselves in a variety of ways as musicians. UMBowl VII was held at the Brooklyn Bowl Las Vegas yesterday, and the four quarters of the night were as follows: Raw Stewage, All Request, All Improv, and Choose Your Own Adventure. Raw Stewage has been a breeding ground for new Umphrey’s McGee originals over the past years. The quarter works by fans submitting some of their favorite moments of UM improvisation during recent shows, and the band figures out interesting ways to package them into new original songs. The set featured five tunes, including “Breaker” (01.28.2015 All In Time), “Roctopus” (04.14.2005 Pay the Snucka + 04.01.2014 In the Kitchen), “Downtrodden” (03.23.2007 Intentions Clear + 09.22.2011 Nothing Too Fancy), and “Until We Meet Again” (04.19.2014 August). There was a fifth song in that set as well, called “Fly Like A Beagle.”Next up was the All Request set, where fans had previously voted for a number of selections to be performed during the second quarter. The set opened with just Jake Cinninger, who donned an acoustic guitar for “Nopener.” He was joined by Brendan Bayliss on acoustic guitar for “Gulf Stream,” before the rest of the band returned for “Great American.” The two still had acoustics for UM original “Bullhead City,” but they welcomed Jennifer Hartswick to join in the madness with her powerful vocals. The set kept rocking with “FF,” where Andy Farag took over on drums for Kris Myers, before segueing into a new debut original, “Soul Food III.” From there, Jake Cinninger took over on drums for the song “1000 Places To See Before You Die,” which saw the return of Jennifer Hartswick and her horn playing companion, Natalie Cressman. The two made up a powerful horn section to power this fun tunes, which hadn’t been played since 2014. The horn section stayed through the next song, “Alex’s House,” with Cressman and Hartswick contributing vocals as well. The set ended with “Forks,” with Hartswick and Cressman helping to bring the set home with their potent vocal style.The third quarter was a reprise of the band’s recent “From The Hip” all improvisational set, as the entire set was performed improvisationally. While the previous All Improv set in Milwaukee featured saxophonist Joshua Redman, this one saw contributions from Hartswick and Cressman throughout. The band was locked into a tight groove, and worked their way into a “Jimmy Stewart” with lyrics.Finally, the band settled in to a Choose Your Own Adventure quarter, where each song was one of three possibilities and was chosen by fans on the spot. Cressman and Hartswick were again on hand for the whole set, and you can see the options for each song in the set here, with the chosen song featured in bold: August, 40’s Theme, or Slacker; Soul Food II, Kabump, or Atmosfarag; Mad Love, Go to Hell, or Ringo with horns; Bitches Brew (Miles Davis) improv, Zappa (Jake conducts) improv, or Tortoise improv; Don’t Stop ’Til You Get Enough, Ophelia, or Sledgehammer; end Wizard Burial Ground, end 1348, or end All In Time.With the score still tied at the end of four quarters, the band returned for an overtime encore to send the show into a final frenzy. The band started the set with a bust-out of Hall & Oates’ “I Can’t Go For That (No Can Do),” which hadn’t been played by UM in over 500 shows (6.24.11). Finally, they ended the show with “All In Time,” a proper reflective moment to bask in the glory of what had just been performed. Four glorious sets of Umphrey’s McGee, pushing themselves to the musical limits. Until next year!Check out the full setlist below, courtesy of All Things Umphrey’s. Setlist: Umphrey’s McGee at Brooklyn Bowl, Las Vegas, NV – 5/6/16Quarter 1: Breaker[1], Roctopus[1], Fly Like a Beagle[1], Downtrodden[1], Until We Meet Again[1]Quarter 2: Nopener[2], Gulf Stream[3], Great American[4], Bullhead City[5], FF[6] > Soul Food III[7], 1000 Places to See Before You Die[8], Alex’s House[9], Forks[10]Quarter 3: Improvisation[11]Quarter 4: Slacker, Atmosfarag > Ringo[12] > “Zappa (Jake conducts) improv”[12], Sledgehammer[13], Wizard Burial Ground[14]Overtime: I Can’t Go for That (No Can Do)[13], All In Time[14][1] debut, original[2] Jake solo acoustic[3] just Brendan and Jake on acoustics[4] Brendan and Jake on acoustics[5] Brendan and Jake on acoustics and Jen Hartswick on vocals[6] with Andy on drums replacing Kris[7] debut, original; with Andy on drums replacing Kris[8] with Jake on drums replacing Kris, and with Natalie Cressman on trombone and Jen Hartswick on trumpet[9] with Jake on drums replacing Kris, and with Natalie Cressman on trombone/vocals and Jen Hartswick on trumpet/vocals[10] with Natalie Cressman and Jen Hartswick on vocals[11] with Jake on keys along with Natalie Cressman on trombone/vocals and Jen Hartswick on trumpet/vocals; “Jimmy Stewart” with lyrics[12] with Natalie Cressman on trombone and Jen Hartswick on trumpet[13] with Natalie Cressman on trombone/vocals and Jen Hartswick on trumpet/vocals[14] endingNotes:first quarter was Raw Stewage, comprised of attendees’ votes for past “Jimmy Stewarts”: Breaker (01.28.2015 All In Time), Roctopus (04.14.2005 Pay the Snucka + 04.01.2014 In the Kitchen), Downtrodden (03.23.2007 Intentions Clear + 09.22.2011 Nothing Too Fancy), Until We Meet Again (04.19.2014 August)second quarter was comprised of attendees’ votes, “All Request”; with Over the Hills and Far Away (Led Zeppelin) tease before Gulf Streamthird quarter was completely improvisedfourth quarter was in “choose your own adventure” style, with attendees voting for the next “adventure” live: August, 40’s Theme, or Slacker; Soul Food II, Kabump, or Atmosfarag; Mad Love, Go to Hell, or Ringo with horns; Bitches Brew (Miles Davis) improv, Zappa (Jake conducts) improv, or Tortoise improv; Don’t Stop ’Til You Get Enough, Ophelia, or Sledgehammer; end Wizard Burial Ground, end 1348, or end All In Timelast Forks 02.01.2013 (336 shows)last I Can’t Go for That (No Can Do) 06.04.2011 (524 shows) A full gallery of photos from the night can be seen below, courtesy of Erik Kabik: Load remaining imageslast_img read more

Stunning Photos Capture The Magic Of New Orleans Jazz & Heritage Festival

first_imgLoad remaining images After The StormBig Freedia on the Congo Square StageDr. John’s Gris-Gris (Voodoo charms)Jon Batiste & Stay Human on the Acura StageSunday, 4/24/16:Neil Young + Promise of the Real on the Acura StageDumpstaphunk with Art and Cyril Neville on the Acura StageAaron Neville @ Allen Toussaint Tribute on the Gentilly StageBuddy Guy @ Tribute to B.B. King on the Gentilly StageFull Gallery: From April 22nd through May 1st, an influx of truly passionate musicians and music lovers flooded the city of New Orleans for the annual tradition known as New Orleans Jazz & Heritage Festival. More than 40 years in the making, Jazz Fest continues to stand out as one of the most unique and culturally rich musical events in the country. While the fest always welcomes a huge roster of prominent acts such as Paul Simon, Stevie Wonder, Steely Dan, Red Hot Chili Peppers, Pearl Jam, Neil Young and My Morning Jacket, the smaller stages and tents offer just as much NOLA magic and flavor for the fest-goer. From traditional Mardi Gras Indian parades, to brass band second lines, to some of the best food in the country, there truly is nothing like Jazz Fest.Photographer Marc Millman was on the scene for all seven days to bring us an inside look at the music, people, rain, mud, and parades that constituted this year’s Fest.Friday, 4/22/16:Gov’t Mule with Grace Potter on the Gentilly StageJanelle Monae on the Congo Square StageMichael McDonald on the Acura StageSemolian Warrior Mardi Gras Indians on the Jazz & Heritage StageKeep N It Real Social Aid & Pleasure ClubSaturday, 4/23/16:Anders Osborne on the Acura Stage with John “Papa” GrosGalactic on the Acura StageLeo Nocentelli on the Acura StageGospel TentMystikal on the Congo Square StageSunday, 4/24/16:Voice of the Wetlands All-Stars with Cyril Neville on the Acura StageJ. Cole on the Congo Square StageBlack Feathers & Young Seminole Mardi Gras Indian ParadesHerbie Hancock & Wayne Shorter Duo in the Jazz TentFirst Division, New Look & Young Men Olympia Social Aid and Pleasure Club ParadesLittle Freddie King in the Blues TentThursday, 4/28/16:Tedeschi Trucks Band on the Acura StageFlo Rida on the Congo Square StageFriday, 4/29/16:Mud FestMy Morning Jacket on the Gentilly StageThe Revivalists on the Gentilly StageSaturday, 4/30/16:last_img read more

Gov’t Mule Announces Release Of First-Ever Recording Session From 1994 [Listen]

first_imgBack in 1994, Warren Haynes and Allen Woody conceived Gov’t Mule as a fun side project to fill time between Allman Brothers Band tours. Now with thousands of shows under their proverbial belts, the band has cemented its place as one of the greats within the jam scene. It all started with one fateful recording session, with Haynes, Woody, and drummer Matt Abts, held at the Tel-Star Studios in Bradenton, FL in June of 1994. A full 22-years later, it goes without saying that there was some magic in the Mule.After all this time, fans will have an opportunity to relive the magic, as the band has announced The Tel-Star Sessions. Due out on August 5th via Evil Teen Records, The Tel-Star Sessions capture ten glorious tracks that were intended to be the Mule’s debut album. Instead, the studio session will see the light of day in 2016, complete with CD, digital, and 180-gram vinyl release.In celebration of the archival selection, the band has shared the leading single; a cover of ZZ Top’s “Just Got Paid.” Listen to the new single below, courtesy of CoS:The Tel-Star Sessions is due out on August 5th, and the full tracklisting can be seen below. Pre-orders are going on here!The Tel-Star Sessions Tracklist:01. Blind Man In The Dark02. Rocking Horse03. Monkey Hill04. Mr. Big05. The Same Thing06. Mother Earth07. Just Got Paid08. Left Coast Groovies09. World Of Difference10. Bonus Track: World Of Difference (Alternate Version/Original Mix)  [Photo via Kirk West/CoS]last_img read more

Dark Star Orchestra Announces New Years Run With Keller Williams

first_imgLongtime Grateful Dead tribute act Dark Star Orchestra (known for recreating full shows from throughout the Dead’s career) has announced a New Years run in Philadelphia, PA, from December 30th-31st. The two shows, at Philly’s Electric Factory, will feature support from Keller Williams, whose own “Grateful Grass” and “Grateful Gospel” Dead tribute projects will be on display at this year’s LOCKN’ Festival. Tickets are available here via DSO Fan Club.last_img

Electric Forest Confirms Two Weekends In 2017, And Each Will Be Distinct

first_imgAfter strong rumors circulated that Electric Forest would be expanding to two weekends in 2017, the festival has confirmed the rumors with the announcement of “An Intimate Expansion of Community.” Their open letter to fans everywhere addresses some of the questions on everyone’s mind, specifically that each weekend will be “distinct,” and also “at a lower capacity.” As E Forest has sold out immediately in years past, the new double weekend approach will allow for an overall increase in the supply of tickets for fans everywhere.The festival has also confirmed the dates for the two weekends: June 22-25 and June 29-July 2. Ultimately, by doubling up the weekends, the festival hopes to incorporate a larger community. Capacity for each weekend will be decreased by roughly 10%, allowing for a large overall increase in attendees between the two weekends. Forest fans can purchase tickets to both weekends, but the festival grounds will not be open between each weekend.The full announcement also reveals that each of the eight scheduled festival days will be unique, but that some artists will overlap between each weekend. Despite this, the festival assures that no artist will be playing the same set twice, making each day a unique Electric Forest experience. Furthermore, the festival will reveal initial lineups in advance, allowing fans to select whichever weekend more closely fits their tastes.“Immediately after each year of Electric Forest I dream of what it can become in the future,” says Electric Forest Founder/Director and President of Madison House Presents Jeremy Stein in a statement. “There is not a formula.  We do not try to match the past.  Instead, we challenge ourselves to raise the bar while writing a new chapter.  Our collective goal is to propel creative experimentation and cultural exploration.  By combining the past, present, and ideas for the future, Electric Forest can take a new and exciting form each year.”To read the full statement, head here.last_img read more

Pink Talking Fish Plays “Animals” Themed Post-Phish Rager [Gallery/Setlist]

first_imgHybrid tribute fusion band Pink Talking Fish brought their wares to New York, NY on December 30th, playing post-Phish for a raging performance at the Gramercy Theatre. The band put on an Animals concept show, playing the Pink Floyd album in full while also incorporating different animal themed songs from Phish and Talking Heads.Check out the setlist below, as well as a full gallery from Capacity Images.Setlist: Pink Talking Fish | Gramercy Theatre | New York, NY | 12/30/16Pigs On The Wing Part 1>Runaway Jim>Animals>Runaway JimDogs>The Dogs>Wild Wild Life>DogsGuyute>Pigs (3 Different Ones)>GuyuteSheep>Camel Walk>Psycho Killer>Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict>Sheep>The LizardsPigs On The Wing Part 2E: Run Like An Antelope Load remaining imageslast_img read more

123738