NASCAR President Mike Helton: “If there’s a way for us to be more precise… the sport benefits from that” READ: Latest on Kenseth penalties WATCH: Big wreck at ‘Dega DARLINGTON, S.C. – Decisions in recent appeals may prompt NASCAR to clarify language in its rule book, in order to provide competitors with a better understanding of regulations.“I don’t know that we know exactly what the appeal members were thinking,” NASCAR President Mike Helton said Friday at Darlington Raceway. “But from the experience, if there’s a way for us to be more precise in changing wording or adding wording to a rule so that the clarity of what we feel like our responsibility is [can be] translated to the member, and is obvious to anybody on the outside looking at it, I think that’s where we benefit, and I think the sport benefits from that.” Helton’s comments come after two recent penalties were amended by the sport’s appeals process. On Wednesday, three members of the National Stock Car Racing Appeals Panel overturned some of the harshest penalties levied against Joe Gibbs Racing’s No. 20 team for a connecting rod in Matt Kenseth’s winning Kansas engine that was found to be too light in post-race inspection. Last week, Chief Appellate Officer John Middlebrook slashed suspensions to seven Penske Racing crewmen for rear-end housing violations discovered at Texas.In the Penske case, the seven team members involved. Paul Wolfe and Todd Gordon — crew chiefs for Brad Keselowski and Joey Logano, respectively — had their suspensions cut from six points races to two, although Middlebrook left intact 25-point deductions to the drivers. After losing his initial appeal, Roger Penske said his team was working in undefined areas of the rule book.NASCAR may now work to provide those areas with more definition. “We do learn from the appeal process as to how we may be able to write or be more clear so that you can show a third party why we reacted the way we reacted. It’s part of our process. The appeal process has been a part of our sport just like the officiating and regulating has been ever since its existence,” Helton said.“I think there is evidence of NASCAR, particularly in the last decade or so, to try to be more clear with things, and every experience we go through gives us the ability to understand what ‘more clear’ means.”The Gibbs penalty involved a connecting rod supplied by a vendor, and placed in an engine made by Toyota Racing Development. The appeals board cut a points penalty to Kenseth from 50 to 12 points, reinstated Gibbs’ owners’ license, restored Kenseth’s victory toward Chase for the NASCAR Sprint Cup qualification, and reduced a suspension to crew chief Jason Ratcliff from six points races to one — Saturday night at Darlington.Helton said NASCAR would react the same way in the same circumstance. “Across the board, we put a lot of thought into our reaction to start with, and every time something like this occurs, we put a lot of thought into it,” he said. “The circumstances of each element are so different, it’s due that respect. But when we do make a decision, it’s well thought-out, and we’ll stick by our decisions, also understanding the due process has the ability to change it.”That rigid stance especially applies to engines, an area in which NASCAR has always taken a hard line, and engines are an element officials cannot inspect until after the race weekend is complete.“I think all of motorsports, from go-karts to the weekly tracks to the grass-roots level to all the national series that exist, engines are understood to be in that holy grail bucket, and we need to make sure we maintain the responsibility around the engine to be shared by the competitors,” Helton said. “Because it’s not realistic for us to take a motor down in advance of an event, like it is with parts and pieces … that are visible to us. The motor is something we cannot take apart until after our event is over with. So the entire industry has historically, and will continue, to share the responsibility in that engine being correct.”Helton added that he did not think the recent appeals decisions undermine NASCAR’s authority over the garage area.“I think the members that are involved in the sport — the team owners, the suppliers, the (manufacturers) and everything — understand our responsibility and how seriously we take it,” he said. “I don’t think this in anyway undermines what we do. In most cases, the process doesn’t come back with anything that really changes our mind much. We do our job and the due process exists for the members to have an opportunity for others to listen to it, and the decisions are made that way.”READ MORE: ___________________________________________________________________________________________Comments are currently unavailable. We’re working on the development of a NASCAR fan forum – please stay tuned. READ: Get more Sprint Cup headlines “I think the members that are involved in the sport — the team owners, the suppliers, the manufacturers and everything — understand our responsibility and how seriously we take it.”—NASCAR President Mike Helton WATCH: Victory Lane: David Ragan
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This past Saturday night, Pink Talking Fish played a hometown gig at Boston’s Paradise Rock Club with a confirmed “PTF Is Bowie” theme. With a packed house awaiting the set in anticipation after a rocking set from opener Indobox, who played a full set tribute to LCD Soundsystem, the band began their first set with a tease of Phish‘s “David Bowie”. Instead of heading full blast into the song, after the drum intro the band took a left turn into Prince‘s “1999”, a nod to the icon who had passed away just two days prior. As PTF went into their proper setlist with “Fame”, the energy level never dipped throughout the rest of the night. The “Slippery People > Run Like Hell > Let’s Dance > Slippery People” was a particular highlight of the first set, along with the set-closing “Burning Down the House” with special guest vocalist Hayley Jane, who put on quite the performance with the Magnaterrestrial Dancers, whom she brought on stage with her.Second set was much of the same high energy that was on display during the first set, with a powerful “Heroes” with keyboardist Richard James taking the lead on vocals. PTF wasn’t done with the special guests, as they brought out Indobox’s Stephen Learson on both “Tweezer” and “Lazarus”. A mashup of “Wish You Were Here/Space Oddity” made things interesting as the band meandered back and forth between the Pink Floyd and Bowie tracks. “David Bowie” ended the second set, fittingly.For the “All The Young Dudes” and “Tweezer Reprise” encore, Eric Gould and his Pink Talking Fish bandmates brought out some extended PTF family, as members of the Indobox, the Magnaterrestrial Dancers, and several other joined in on the chorus to bring the night to a proper close.Check out full audio from the show below, as taped by Andy Murray:Setlist: Pink Talking Fish at the Paradise Rock Club, Boston, MA – 4/23/16Set One:01. crowd set 102. David Bowie intro * >03. 1999 >04. Fame >05. Moma Dance06. Slippery People >07. Run Like Hell >08. Let’s Dance >09. Slippery People10. Gotta Jibboo >11. Golden Years >12. Gotta Jibboo13. Time >14. Maze **15. Under Pressure %16. Burning Down The House **%^Set Two:01. crowd set 202. Another Brick In The Wall >03. Runaway Jim >04. Heroes >05. Runaway Jim >06. Psycho Killer >07. Runaway Jim08. Mother09. Tweezer %%10. Lazarus %% >11. Another Brick In The Wall12. Life On Mars %13. Once In A Lifetime **14. Wish You Were Here/Space Oddity Mashup >15. David Bowie16. encore break17. All The Young Dudes %^^ >18. Tweezer Reprise %^^* space intro and lead in only. Fakeout to 1999** w/ David Bowie intro tease% w/ Hayley Jane on vocals%%w/ Stephen Learson on vocals^ w/ The Interstellar Dancers^^w/ The Interstellar Dancers,Indobox members & many other PTFamily members onstage joining in with the audience chorus singalong
Back in October of 2015, Live for Live Music started a petition calling for the banning of ticket scalper bots in America. Amassing over 25,000 signatures, it seems that our words were not taken in vain, as a concurrent New York state investigation found that the ticket scalping industry was widespread, and detracting from an average fan’s ability to buy tickets.The success of the scalpers was largely due to ticket bots, aka software programs that can quickly navigate through the ticket purchasing steps on Ticketmaster and snatch up dozens of tickets faster than humanly possible. This software was not previously illegal, though ticket bot users could face civil charges if brought to the courts.That has all changed in the state of New York, as Assembly Speaker Carl Heastie and Assembly member Marcos Crespo have passed legislation creating criminal penalties for ticket bot users. “This kind of ticket scalping has had a very negative impact on fans that want to enjoy sporting and entertainment events,” said Speaker Heastie in a statement. “Ticket scalpers often buy up as many tickets as possible with this illegal software and then resell tickets at prices that many New Yorkers simply cannot afford. This measure aims to discourage the tactic by criminalizing this offense.”The measure classifies use of ticket bots as a Class A misdemeanor, which could result in fines and jail time for any culprits. “New Yorkers have been dealing with this frustrating ticket buying experience for too long,” said Assembly member Crespo, who wrote the bill. “Countless fans have lost opportunities to experience the richness of our arts and entertainment industry because there are those willing to circumvent by using automated software to deprive the average consumer of access to entertainment venues. The top music, theatre and athletic talent of our nation have priced their events at levels affordable to the mass public. With this bill becoming law, we will ensure the prices to see such talent will be within reach of all New Yorkers.”Let’s hope other states follow suit and eliminate this disrespectful practice.
San Francisco Giants pitcher Jake Peavy made headlines recently, when he brought the famed Jerry Garcia “Tiger” guitar from Indianapolis to San Francisco for the Dead & Company performance at The Fillmore earlier this year. While “Tiger” never made it on stage, Peavy told us that he brought it to a late night jam session that featured some of the Bay Area’s most prominent players.Those same players will join forces for Can’t Stop The Train, a benefit concert for both the Jake Peavy Foundation and the Rex Foundation. The show itself will take place on August 17th, and will feature Peavy (and his band, The Outsiders), as well as an all-star cast that includes Jackie Greene, Col. Bruce Hampton, Jeff Sipe, Cody & Luther Dickinson, and Jennifer Hartswick of Trey Anastasio Band. It all goes down at The Fillmore, only adding to the excitement of this show!Major League Deadhead: Jake Peavy’s Unlimited Devotion To The Grateful DeadThe show is also one day before AT&T Park hosts Jerry Garcia Day, and the benefit will serve as a preamble for the large scale festivities. “Jerry Garcia Day at AT&T [park] is always such a huge event,” said Jake Peavy in a statement. “Coming to play baseball in the Bay Area, and seeing all of the enthusiasm for the Grateful Dead among the Giants fanbase…it inspired me to do something for those fans. And what better partnering organization to team up with than the Grateful Dead’s own Rex Foundation. We’re honored to be a part of this event and it’s going to be a very special night.”Special guests are expected be announced soon, and tickets are available through the Rex Foundation website starting this Friday, July 8th.
Karl Denson made his Phil Lesh & Friends debut at Terrapin Crossroads on Tuesday night. The rotating band featured Eric Krasno (guitar), Stu Allen (guitar), Danny Eisenberg (keys), Mark Levy (drums), and the multi-instrumentalist king of his own Greyboy Allstars, Tiny Universe, and of more recently, The Rolling Stones. Jumping between the saxophone, flute, and tambourine, Denson surprised many with his funky contributions and help in covering a few songs out of the Rolling Stones catalogue, “Brown Sugar” and “Bitch,” in honor of Mick Jagger‘s 73rd birthday. The set also, of course, featured plenty of Grateful Dead classics, as well as an impressive cover of “After Midnight.”You can watch and stream the full show below:[courtesy of GratefuLSD25 .5][courtesy of WMWV Radio][H/T JamBase]
Load remaining images Charles Bradley & His Extraordinaires returned to The Chapel in San Francisco, CA, playing two consecutive sold out shows to kick off the Labor Day holiday weekend.After a legendary list of life events, the 67 year old former James Brown impersonator has nothing but genuine unconditional love for the city whose streets he slept on for 17 years before returning home to his mother in Brooklyn. It was there, at age of 62, that Bradley was discovered by Daptone Records.His third album, Changes, named after the Black Sabbath song Bradley covers on the album, was released this April and finds Bradley at his most powerful. Of the many stories he does tell on stage and in passing, the weight of a thousand more are always on his mind and when he opens up to sing, he lets every one of them out.On Friday, Bradley’s band took to the stage and took the crowd on a jam, loosening up the legs and getting people moving with some high caliber funk rhythms before Bradley’s groovy introduction as a man known “from nation to nation.”Jumping right into it, the emotion was exploding off of Bradley’s face and he only intensified as he moved through selections from each of his albums for a total of 13 songs in just under 75 minutes. He got the show started with “Nobody But You” off of Changes and moved quickly into the title track from his 2011 debut album, No Time For Dreaming.Another exciting aspect to Bradley’s unapologetic take on the soul-funk fusion brand is how everything he does he does with his entire spirit- whether he is delivering an original composition or a cover makes no difference to him. “Love Zone”, the 1986 hit by Billy Ocean, definitely flew under the radar for most of the crowd, but thanks to Bradley’s delivery, everybody enjoyed it’s placement in the middle of the set.Throughout the exhilarating performance, Bradley touched on dreams and opportunities, both crushed and realized, as well as an unyielding hope for the good in the future. This was most fervently acknowledged between the tracks “The World (Is Going Up In Flames)” from the first record and “Ain’t It A Sin.” A live staple over the last few years, “Sin” is another of the new tracks that made its way to The Chapel.The set ended with “Changes”, the Black Sabbath song Bradley fell in love with at first listen to the lyrics.“I’m gonna give you this song the best way I know how,” said Bradley. “The way I do things best is putting it into my soul. I lost the best friend I ever had.”During the song, Bradley took a momentary break from his high kicks, spin moves and microphone stand shenanigans to get down on the stage, close to the edge and identify with the front rail. A crew member suddenly appeared and handed Bradley a bouquet of multi colored roses.He was handing them up front and throwing them into the middle. Unable to get off the stage and join the crowd, he addressed the crowd with a single rose left in his hands.“I held onto a rose for the back of the room, I tried to get back to you, know that I love you,” he said. “From my heart and soul I gave you all the spiritual roses.”Supporting Bradley Friday and Saturday was San Diego based jazz duo Mattson 2. On Friday, they warmed the crowd up proper, ensuring maximum loose grooves across a 50 minute six song set. Brothers Jonathon and Jared Mattson comprise the duo, with Jonathon manning the drumkit and Jared providing layers of oceanic bass and jazz guitar melodies. They are definitely a West Coast group worth keeping an eye on!Check out a full gallery of images from the show below!
There’s no rest for Eric “Benny” Bloom these days, not when the lure of the stage is calling. Just last week alone, he and partner in The Shady Horns, saxophonist Ryan Zoidis, have appeared on The Today Show backing up the legendary Aaron Neville, brought some punch to a pair of shows with Grateful Dead bassist Phil Lesh before heading out to rehearsals for the upcoming Lettuce tour.Adding to his manic workload are special appearances at the Bear Creek Bayou Festival, the Catskill Chill Music Festival and the dream team laden Brooklyn Comes Alive festival. Somehow, in the midst of all his comings and goings, Bloom managed to squeeze in a conversation with our own Rex Thomson about the joy of having a musical partner, how to play in any circumstance and what funk music means to him.L4LM: As a part of The Shady Horns you have shared the stage with legends and the cream of the music scene, as well as your partner-in-crime, Ryan Zoidis. Can you give us a rundown on how you came to be “Shady?”Eric “Benny” Bloom: The Shady Horns originally started as the horn section for Soulive with Sam Kininger. When I joined Lettuce, it was Ryan Zoidis, me and James Casey; we were The Shady Horns. Then James left to do stuff with Trey and other artists, so we carried the flame, continued on, and now here we are… Zoidis and me: a duo.It’s great. It’s concise. It’s easy. Ryan and I work really well together and we think alike, musically. I’ve never really had such a long connection. He’s the man.L4LM: How in tune with your partner are you? Do you feel like you know where Zoidis is going in a jam, or is he still surprising you after all these years?EBB: Oh, of course, you’re always getting surprised. We can come up with a horn line, a little lick, in the moment and play it the next time around. We’re on the same page. Sometimes I’ll just play the harmony, which is something people might not catch the first couple times through, but he gets it and plays around me.We do a lot of jamming, and out of that there are variations to be played. A lot of times we’ll guess the same variations. We’re pretty in tune. That’s why nobody plays or sounds like us. We come in to work with an artist and we can figure anything out.Before we played with him, Phil Lesh asked us, “Hey, you got something for ‘Sugaree?’,” and I was like “Yep!” And we didn’t have anything. But when it went down, I came up with a line, Ryan came up with a line, and I came up with another line, and it came out great. That’s the way to do it. Right then. Old school.L4LM: Is there any cool inside stuff about playing with Phil that you feel like sharing?EBB: When we were about to play, we all got in a circle, put one foot in and just made crazy sounds for a minute or two. It was to open yourself up, and it was really cool. Instead of just being in your own head-space, everyone got loose and connected.He has so many things he has been through, experienced with the Dead. His methods are obviously tried and true. So if he suggests something, I listen.L4LM: The Shady Horns just had a huge television appearance backing up Aaron Neville on The Today Show. As a musician you keep late nights, but the show happens early in the morning. Did you just stay up and play through, or did you get some sleep first?EBB: I’m not 21 anymore… I can’t play through anymore. I mean… I can, but when you’re on TV, you can’t be screwing up. I tried to sleep, but of course, you can’t really can’t be screwing up. But I’ve been on The Today Show before, so I knew what to expect.L4LM: For some folks, being on The Today Show would be the highlight of their year, but with the madness of your life it might not even be the high point of the WEEK. How was that transition, going from Neville to Lesh, stylistically?EBB: You don’t really think of it. You just take every day as a new day and a new gig, y’know? I listened to plenty of the Grateful Dead and Phish coming up, and I know if those kinds of bands have horns, it sounds like The Moody Blues, or Chicago or Blood, Sweat & Tears. That is what a horn section sounded like around the time of the Grateful Dead music.But with Aaron Neville, he wanted a New Orleans styled horn section. Guys who used to play with Fats Domino and Allen Toussaint, old school guys like that. So you need to know that music too. Whatever gig you agree to do, you should know as much as you can about that. That way when you get there, it’s not about making some big transition.It’s like cooking. You can say “Hey! I’m cooking French food today.” And some people specialize, sure, but if you need to cook Mexican it shouldn’t be that difficult if you know what you’re doing.L4LM: Do you see funk as a specific style of music or a vibe that can be applied to any music situation?EBB: Yeah, I don’t think it’s a genre, really. I mean, it helps some people to have labels, but I hate them. For example, Aaron Neville was really one of the first rhythm and blues singers. R&B just kinda morphed into rock and roll. Funk was always more based in the blues side. The funk… you can look at it as a sound, a way of playing.You look at James Brown. He’s the king of funk, The Godfather of soul. He had Maceo Parker and Fred Wesley who both really wanted to be jazz musicians. And they got into what was really, in a way, a pop band to them. Really, when you look at it, all that funk is really blues and jazz based.L4LM: You’ve made your home in New Orleans for a while now. Do you manage to get any rest when you are off the road, or is the temptation of gigging with your own band and sitting in around town too much for you?EBB: It’s really difficult. Like tomorrow, I am flying home to play my last gig with my band, Sonic Bloom, before I fly out the next day for Lettuce rehearsals. So as much as I want to rest I want to keep my flame burning in New Orleans as much as I can.There is so much good stuff down there that you just want to go all the time. And so many places, like Preservation Hall, where I have friends now I can go and do that. Not many people get an opportunity like that and I definitely try and make the most of it.I make time for playing when I should make more time for myself. More Netflix and my girlfriend Lisa, but… what are you gonna do?L4LM: Speaking of Lettuce and playing shows at home, you and your friends are helping to celebrate the rebirth of the Bear Creek Music Festival, now held on the Bayou in New Orleans. Lettuce has put on some spectacular shows at Bear Creek in the past… how excited are you guys to be such a big part of the return?EBB: I love the crew that does the Bear Creek Festival, Lyle and Judy. I’m looking forward to it. I’m really looking forward to it because, for me, I live here. I love it. It’s like the fest is coming home.This is gonna be like a mini-Jazz Fest. It’s perfect. It’s in the fall, and gives New Orleans a taste of Jazz Fest but at this time of the year. Just the good old Bear Creek vibe, but in New Orleans. It’s gonna be amazing.Besides the Lettuce sets, I am doing another set with a lot of horn players. That’s gonna be really strong.L4LM: Your special set was a nice addition to the line up. Can you tell us a little bit about that, like how many horn players you plan on cramming on the stage?EBB: It’s Natalie Cressman, Jennifer Hartswick, Skerik and me. Only four total. That’s enough. And we’ve got a strong contingent of local talent. That’s the thing about doing it in New Orleans is that you have so much talent you can tap. My friend Josh Starkman, Thomas Glass, a young, like 19 year old drummer. Joe Ashlar the great organist and Noah Young, the bass player from Naughty Professor. It’s a nice band. They’re happening.L4LM: It’s nice to see you bringing in fresh faces.EBB: That’s the way it is supposed to be. It’s the way it HAS to be. You have to keep it fresh. It’s like… I’m playing with Phil Lesh after how many years has he been playing? Always gotta keep it like that.L4LM: You’re also participating in one of the official after parties, a tribute to Bernie Worrell. (More info/tickets here). With the Louisiana tradition of celebrating loss with revelry it seems like a perfect place for that kind of show.EBB: Yeah, it’s a great place to do it. And we have a lot of Dumpstaphunk crew in there, and they’re so influenced by P-Funk. The band that they have chosen to do it is perfect for the material, and I don’t that much of a chance to do a lot of P-Funk music.P-Funk stuff has a lot of horns and a lot of vocals, and I’m looking forward that a lot. Like I said, the band is great and the music will sound right and funky.L4LM: You’re involved in some amazing tributes to a few of the music greats we’ve lost in the coming weeks, from Bernie Worrell, Maurice White to the legendary Miles Davis. Do you think it’s important to work to keep the music of the fallen greats alive?EBB: I think it’s very important. I don’t do to many of these tributes but I think it’s very important. People know such a small amount of the work of these artists. Take Miles Davis. There’s so much great Miles Davis out there. If I can reawaken the awareness of Miles in some people then maybe they’ll dig into his catalog.That’s what I wish people were doing now-a-days, getting deeper into their favorite artists. People like Marvin Gaye, Stevie Wonder, Louis Armstrong… dig deeper into their catalog. Get to understand an artist. Get to understand why they left space here, or finessed something there.I get called for a lot of these tributes, but I try and only do the ones that are a bit different, that go deeper into the artist they are honoring.L4LM: You’ve got what is essentially Break Science and your Lettuce bandmates backing you on this journey through the classic Davis album Bitches Brew. Are you going to be doing the whole album?EBB: We’re going to get in a good amount, but it’s a chance to expose people to that period of Miles, to really channel it. And because I play with the Lettuce and Break Science guys so much, they’re perfect for that era Miles.I mean Jesus (Coomes) is perfect for that, he knows that music really well. Everyone in that band knows that music. Sure, I would love to play with some other guys sometimes, because I get to play with these guys all the time, but they’re right for the job and you can’t knock that.L4LM: Was Miles a big influence on your development as a player?EBB: Oh yeah. I mean, a lot of people are in there for me, but definitely Miles. Birth Of The Cool. I have almost every one of his albums. Every trumpet player is influenced by Miles. Every musician, really, whether they know it or not.I’m definitely a huge Miles fan and very happy to be doing this tribute.L4LM: Later in October you are heading back to your old stomping grounds, New York City, to be part of the all super group festival Brooklyn Comes Alive. What do you think of the cavalcade of stars approach the organizers have taken?EBB: I think it’s great. I love so many of those people! I’m doing an amazing set with the Coomes brothers, Jesus and Tycoon and The Shady Horns. Ty writes a lot of amazing stuff and it is gonna be an amazing day of music. Kunj Shah did a great job of putting it together.L4LM: One of the most talked about Jazz Fest late night shows was the Earth, Wind & Fire tribute hosted by The Nth Power. By popular demand it is making its return at Brooklyn Comes Alive. Any hints you can give us about how you’re planning to take this to the next level?EBB: There’s just so much of their music that you can do, that is all so good, that it’s easy to switch it up and make it different. There’s never a bad time to listen to Earth, Wind & Fire. I listen to them once a day, at least.L4LM: And while all this is going on you’re going to be out on tour?EBB: Yeah, we take off on the Sounds Like A Party tour next week. We’re gonna go see as many of our fans as we can. I’m just trying to live every day the best I can and get better as I go. Wish me luck!L4LM: Good luck! Well, thank you for fitting this chat into your busy schedule. We’re looking forward to seeing the magic you’re gonna be making.EBB: Thanks for having me. You guys are the best. Tickets for Lettuce’s Sounds Like A Party tour available HERETickets for the Bear Creek Bayou are available HERETickets for the All Star Tribute To Bernie Worrell are available HERETickets for the Catskill Chill are available HERETickets for the all-star Brooklyn Comes Alive are available HERE
Umphrey’s McGee just finished up a three night stand at the Fillmore Philadelphia, playing their hearts out over an extended run of performances. Last night’s show took on a special significance for the band as well, with their hometown baseball team, the Chicago Cubs, clinching their first World Series berth since 1945. In turn, Umphrey’s kept the energy high, and even busted out a cover of the Nine Inch Nails song “Wish” for the first time in four years.Umphrey’s opened their final show of the run with a “40’s Theme,” signaling a great night ahead. Relative rarities “Search 4” and “Stanton” followed, and big jams on “Higgins” and “Mantis” highlighted a great first set. Of course the bust out of “Wish” after nearly 400 shows was a memorable moment, but the show was packed with great jams from start to finish.You can check out a full audio recording of the show below, courtesy of taper opsopcopolis.Umphrey’s McGee will head to Suwannee Hulaween next weekend, before closing out their fall tour with two shows at The Pageant in St. Louis, MO from October 29th and 30th. They also just announced a big winter 2017 tour, with scheduled dates that include support from Joshua Redman and Spafford. Check out the All Things Umphrey’s setlist, below.Setlist: Umphrey’s McGee at The Fillmore, Philadelphia, PA – 10/22/16Set 1: 40’s Theme, Search 4, Stanton > Higgins > The Fussy Dutchman, Preamble > MantisSet 2: Dump City, Booth Love, Bridgeless > Draconian > The Bottom Half, Wish, Conduit > BridgelessEncore: Speak Up, Mullet (Over) incompleteNotes:last Wish 12.29.2012 (395 shows)[Photo via Karl McWherter]
Load remaining images The classical dance music of Electric Beethoven was on full display at the Brooklyn Bowl last night, February 17th, as the project made its return to Brooklyn for the first time since their appearance at Brooklyn Comes Alive festival. The brainchild of bassist Reed Mathis, Electric Beethoven has been winning over new fans with their totally unique musical approach. You can learn more about the band’s origin and debut album here.For their show in Brooklyn, the band welcomed out guitarist Eric Krasno for some quality jam time together. Krasno, Mathis, and Todd Stoops all recently performed with Grateful Dead drummer Bill Kreutzmann in Hawaii, creating a one-off group dubbed Rooster Conspiracy for the occasion. Krasno’s Rooster reunion made for a great night of music, as Electric Beethoven continues to spread their improvisationally-fueled takes on the work of Ludwig van Beethoven.You can check out photos from the show below, courtesy of Andrew Scott Blackstein Photography. Photo: Andrew Scott Blackstein
Yonder Mountain String Band bassist Ben Kaufmann has as many spinning plates in the air as he can handle right now. With their new album, Love. Ain’t Love, just released and Yonder’s packed touring schedule, including their own Northwest String Summit festival happening July 13 – 16th, there is barely enough time to breathe. With all those responsibilities and a growing family at home, we were amazed and grateful that Kaufmann had the energy to talk with Live For Live Music’s own Rex Thomson about the state of Yonder at this moment in time. Luckily, Yonder’s master of the low end had a few minutes to spare. Check out their conversation about life on the road, creating island vibes, and the joy of touring with a piano below.Rex Thompson: First things first. You’re in a string band, so you travel light. That said, the new album, Love. Ain’t Love, features a beautiful piano ballad on it. Are you adding a piano to your onstage gear so you can play it from time to time?BK: Well, I asked the road crew if we could have a piano onstage every night just so I could play one song if I felt like it . . . and they said no. Pretty much instantly — just no. Which surprised me because they are usually such a positive, enthusiastic bunch of people. But they seemed pretty serious about their answer. I wanted to ask why and then I noticed something in their eyes that told me not to. In the interest of self-preservation, I just turned and slowly backed away. It was like if you’re walking in the woods and you come across a bear or a mountain lion. I can’t remember if you’re supposed to maintain eye contact or avoid eye contact, but I do know I was definitely in danger, so I just got the heck out of there!RT: There is a much greater focus on band harmonies on the new record and onstage. Has that been an area Yonder is consciously working on?BK: Allie and Jake are showing up more strongly because they have such musical voices. Especially, adding a female element to the harmonies — obviously, in the past, it was just male voices, but a woman’s voice — it just sweetens the pot. You know what I mean?RT: Totally.BK: Allie has a wonderful voice. It’s nice to have that in our bag of tricks now. We’ve always loved having multi-voice harmonies, and they’ve always been a huge part of bluegrass music in general. The real trick now is finding the right people to sing the right part. Everyone in this band likes singing and wants to sing more, which is a good problem to have. When we were in the studio, it was just a matter of seeing who sounded best singing what great part. We ended up with some great harmonies on this new record.“Gilpin>Pass This Way>EMD>Pass This Way”RT: The harmonies seem to have evolved to the point where you could easily get away with doing some songs based on just them a la Crosby, Stills, and Nash.BK: It’s funny you should mention that actually. We’ve been kicking around covering a CSN album. That would take a lot of work on our part. They are definitely masters of intricate vocal work. I think taking on a project of that size and scale would pay some serious dividends for us, for sure. We would be learning by studying the masters.RT: You have the Northwest String Summit coming up in a couple of weeks, so I have to ask — anything special you have up your sleeves?BK: Well, I don’t think we are ready to spoil the surprise, but Yonder will be tackling covering a specific album again on Saturday night — a classic record. That’s happening for sure. We had such a blast doing that last year that we decided to do it again.RT: You’ve been hosting the Northwest String Summit at Horning’s Hideout for quite awhile now. What makes that place so special to Yonder?BK: Well, for people who have never been, it is sort of hard to describe it. It’s a small festival. In my mind, I think of it as a “Boutique” festival. With the nature of the property, if you try and have more than, say, 4,000 people onsite, it becomes unworkable.I love the way they cap it at 3,500 or so. I’ve been at the larger festivals where you are just part of a sea of people. It can become overwhelming and impersonal as a face in the crowd. That’s sorta the opposite of the vibe at the Northwest String Summit. It’s just this beautiful, tranquil, family-friendly gathering of people who love this music thing that we are a part of of. Call it “jamgrass,” or alternative folk, or indie-bluegrass . . . whatever you want to call it. It’s like throwing a party, and all of our friends, all our peers are there for the most part. It is one of my favorite weekends of the year. There is no place on Earth like it. It’s hard to describe.But again, if you haven’t been there, it’s impossible to understand. Once someone comes for the first time and experiences the vibe, they’ll have a framework and we can have an interaction or a shared connection, but you need to have the experience. Even then, it’s just a head nod of recognition and a big smile when you see someone, and they’re like, “Horning’s is coming up.” You just smile back and say “Yeah.” It’s a place that is a feeling as well. There are a lot of people that just won’t miss it.RT: Those hardest of hardcore Yonder fans are known as the Kinfolk. How is it planning a festival or dropping a new album knowing there are people ready to absorb and dissect everything you do creatively out of sheer love? Is it fun or nerve wracking?BK: Definitely both — or at least a little bit nerve wracking and a whole lot of fun. The motivation to make a record anymore is an internal creative desire. It’s not like we are threatening to sell a million records or anything. We’re making it to get new songs out. We made it because we’re three years into this new line-up, and we want to see and share where we are as a band. It’s a a great way to let people see where we are as a group.The great and scariest thing about the Kinfolk is how honest they are. Most of the response that Yonder has gotten from the media, on advance reviews and such, has mirrored how I feel — that this is a really good album. Which is nice, obviously. Now I’m just ready for the people to get their hands on it, listen, and see what they think. I hope they like it!Once it gets out, people can dive into it. I lurk on the “WWW”s for peoples’ reactions. It always interesting to see the difference between people who form their opinions from that and the folks who listen several times, looking for the meaning and the nuances. It’s definitely my favorite record we’ve done. But, for me at least, whatever’s the newest thing I’ve done is my favorite.“Far From You”RT: The history of folks with the creative mentality is full of artists who love their newest thing most until a point, then they seem to come to hate it. Does that seem accurate?BK: Maybe to a small point. Yonder is a touring band. The way it seems to work for us is you’re always looking for something new. When you are playing the same material, it is hard to find a way to make it new. You feel like you are always covering the same artistic ground in the soloing or whatever.When Adam (Aijala) is making the setlists, he always asks us “Is there anything anyone is feeling?” He has a song of mine that he keeps trying to work back into the setlists. It’s a good song, and we haven’t played it for like six months. It is usually a good vehicle for a jam for us, but I just don’t see where I could go that I haven’t done a thousand times already. He asked me if I wanted to play it again the other night, and I had to say, “You know what? No, I don’t. I’m just not up for that one right now. Let it rest.”As far as the record goes, the situation is different. We finished mastering it maybe six months ago? And in the process of mixing it and mastering it, I must have listened to it, what . . . seventy times? Maybe more. Just trying to, you know, tweak it and try and make it the best it can be. Between us, the guys and the girl in the band, we must have listened to it seventy times, and we are ready to not listen to it again for awhile. These last two records, this and Black Sheep, I think I could listen to them again.RT: With a clear focus on creating and releasing new material to establish the new line-up, plus the positive response to the first album and this great new disc, are you looking to keep stoking these creative fires and get back to the studio?BK: Back in the day with the original line up, we had kinda stopped putting out records. Or we were just really slow at it, for a lot of reasons. When we made Black Sheep, we had such a blast making the record. We came out of it with something we were really proud of and that served a lot of purposes. We had this new line up and that gave people a chance to hear it. Plus, we got to show off how we sounded in a studio, which is different from how we play live.And it shook up the routine we were in and was just reinvigorating. We ended up with an album we really liked — new songs and fresh energy. For years, it had been just one live show to the next. And yes, each show is unique and unto itself, it’s still just playing live on a stage and not composing and recording in a studio. Basically, we were only using one part of our creativity.Then, we we started Love. Ain’t Love and we fell into a groove. It opened a phase for us where we were able to be creative but not have to produce a finished product there in the moment. There’s this experimentation that you can enjoy when it doesn’t have to happen in real time. And if you have other committed, enthusiastic, and creative people to bounce ideas around with and an engineer who can facilitate your crazy ideas and make it happen, it’s a lot of fun. It’s a great opportunity to do something the world always needs — we can create new music.So, the plan is to go back into the studio in the fall. I heard Dave (Johnston) and Adam talking, and they are already compiling lists of songs that are written and ideas we want to flesh out. If we can, I think we are gonna record and release one every two years. It’s just the way our schedule works out.“She Smiles Like She’s Always Been A Friend”RT: There’s a fun and surprisingly heartfelt cover of King Harvest’s “Dancin’ In The Moonlight” on Love. Ain’t Love. and Yonder has always been jokingly called the best cover band in the land. That could be a way to crank out a fast album.BK: That tune was Jake (Joliff)’s idea. He brought that to us, and he does such a fabulous job on it — we kinda had to do it. But I think we’re at a point now where we’re about original music. The more original music Yonder can make, the happier we are.At the same time, Allie and Jake aren’t writing new songs with vocal parts for themselves. I mean, Jake still has a thousand mandolin instrumentals he has written, and each one of them is harder to play than the last. I have to say though that finding and developing original music for those two to sing is still a work in progress for us. They’re both great singers.Writing material for them to sing is important but difficult. I wouldn’t consider myself to be a prolific songwriter, but I do manage to get a couple songs written per year. When I do manage to get a song done, it is usually about something I want to express, and it becomes something pretty personal. I am weirdly adverse to handing the song off after I have invested myself in it.We are definitely going to make it a top priority that the next album have at least one song each from Jake and Allie handling lead vocals. I mean, Black Sheep had one song with Allie up front, and this new one has one from Jake. On the next one, we need to have one from both.RT: The closing song on Love. Ain’t Love has a very strong reggae vibe to it. Any part of that come from your annual String & Sol Mexican excursion festival?BK: Sure, but back in the day we had a few reggae songs we used to cover. Adam, who was the primary writer, just really wanted a reggae vibe. At least one song we could play if we were feeling that vibe. For the longest time, we were gonna have a special guest on that song — someone really authentic to the island music vibe to handle the vocals. Unfortunately, that didn’t work out.That probably ended up being a blessing in disguise. Had we had a guest vocalist, it would have been the only example of someone not in the band playing on the record. I really feel like the new album has a beginning, middle, and an end. This other voice might have really been a factor in pulling people out of the listening experience. I do love that it ends the album.RT: So by this logic, if we booked you at a few winter Norwegian shows, we might get some sort of death metal tune out of you guys?BK: Maybe. Some of the standard Scandinavian music is just super dark and metal. It’s wild, man. I mean, the music, the time signatures, and what they are singing about come off as some of the most progressive metal music every made. It’s hardcore man.RT: Well, thanks so much for your time in what is surely a busy stretch for you! Looking forward to seeing these new tunes evolve out there on the road!BK: Thanks Rex! See ya out there!