Category: Jam/Progressive

The Seapods Spectacular Return at The Hollow

It wasn’t quite Valentine’s Day, but on the evening of February 11th at The Hollow in Albany, it felt like a holiday nonetheless. For night one of their two-night run, The Seapods made their long-awaited and triumphant return with a rare treat — a reunion show for the hungry masses.

Night One of the Seapods

From beginning to end The Seapods absolutely brought the heat and it was impossible to tell they have only played together a few times over the past two decades. They knew we were hungry too, so this band packaged and delivered three whole sets of delicious and filling music. Each set was a slightly different tone from the last. It was a veritable feast and everybody left feeling full and very satisfied.

Set one started out with Max Verna (guitar, vocals) solo. He was later joined by Tom Pirozzi (bass), Brian Mangini (keyboards), and Ted Marotta (drums) with a special sit-in during set two by guitarist Todd Pasternack.

This was my first time seeing The Seapods perform and I was enchanted immediately by the fact that every single band member up there looked like they were having the time of their lives. These dudes absolutely love what they do from the bottom of their hearts and it’s contagious. Everyone in the crowd had a blast too.

Friday, February 11 Setlist

Set 1 (Acoustic): Stephen O’Rourke She Makes The Journey Millworkers’ Lament Long Black Veil (Lefty Frizzell) Something Like Olivia (John Mayer) It Takes A Lot to Laugh, It Takes A Train To Cry (Bob Dylan) Matchmaker Guardian Angels Sunrise Branch’s House Switchblade (Marv Albert)
Set 2 (Electric Set 1): Theme For Another Enlightened Rogue > Keep In Mmind Token Time > The Guide To Roadside Ecology Here To Remind You Money To Burn The Pull From Adirondack Blue > Till Then Reelin’ In The Years (Steely Dan)
Set 3 (Electric Set 2): Waiting 4 Da Bomb To Drop > Schizophrenic Rain Josephine’s Grand Motion > Jet Smooth Ride John Henry’s Hammer Sneakin’ Sally Through The Alley (Allen Toussaint) Blackberry Brandy
Encore: Get Out Of My Life Woman (Allen Toussaint) Can’t You Hear Me Knockin’ (The Rolling Stones)

Night One Photo Gallery

Night Two of the Seapods

On Saturday, February 12, the Seapods came back for night two of their two-night run at The Hollow in Albany. I wouldn’t have thought it possible to impress me more than they did on night one, however, this shockingly talented group of musicians blew me away yet again on night two.

Bluegrass, Rock, and Everything in Between

Set one on night two was a lovely warm-up of our souls with some bluegrass to get us all in the groove. It wasn’t just any old set of bluegrass, though. We had electric banjos and several sit-ins as well. Sam “Zucchini” Brewton sat in on drums; Crick Diefendorf on banjo and guitar; and Josh Himmelsbach on mandolin.

Set two was pretty stacked with some rocking tunes. The high-energy set left everyone wondering where The Seapods could possibly go for set three. Well, set three was absolutely the cherry on the sundae. It was all about the long jam and it could not have been a more perfect ending for a delightful two nights of music.

Saturday, February 12 setlist

Set 1 (Acoustic): John Henry’s Hammer (Max solo banjo) Shady Grove (traditional) Pig In A Pen (traditional) Dire Wolf (Grateful Dead) Galway Girl (Steve Earle) Rocky Top (Osborne Brothers) Oberon And Titania Ruby Red Josephine’s Grand Motion The Pull From Adirondack Blue
Set 2 (Electric Set 1): Michael Murphy Rusted Michael Murphy 3 Until I Break That’s How They Got Along Stephen O’Rourke > La Fiesta! If I Had A Smile Cary Suite Anything Is Possible
Set 3 (Electric Set 2): Animal > What’s The Buzz? (Jesus Christ Superstar) > Passengers en Route > Gunshot Static > Somedays Leaving The Monopole Jump For Joy (Kingfish)
Encore: Ship

Thanks to Rich Lemire for setlist assistance

Night Two Photo Gallery

February 16, 2022
Phish 2022 Summer Tour Includes Stops at Bethel Woods, Jones Beach

Phish will head out on a massive 34-date 2022 Spring and Summer Tour, kicking off Memorial Day Weekend in Alabama, and including their first four-night run at Dick’s Sporting Goods Park in Colorado over Labor Day. Phish will also play a pair of two-night runs in New York, with shows at Bethel Woods Center for the Arts over July 22-23, and at Northwell Health at Jones Beach Theater on July 26-27.

Phish last performed at Bethel Woods Center for the Arts in May of 2011, with three memorable shows including an incredible soundcheck of “Waves.”

Phish are no strangers to Jones Beach, having performed there 14 times since 1992, including opening up for Santana at the fabled Long Island venue. Read our look back at the two-night run at Jones Beach in 1995.

A ticket request period is currently underway at tickets.phish.com and will end on Friday, February 25th at Noon ET. Tickets go on sale to the public beginning Friday, March 4th (continuing Saturday). Specific ticketing information for each show is available at phish.com/tours.

Travel Packages will be offered in Bethel, Atlantic City, East Troy, and Commerce City. All packages include concert tickets and local hotel accommodations and go on sale Thursday, March 3rd beginning at 10AM ET. The Atlantic City shows will again offer a special Foundation Ticket that includes early admission, a dedicated viewing area, a Foundation lounge and bar, and early access to merchandise. A portion of proceeds from each Foundation Ticket will benefit the WaterWheel Foundation, celebrating its 25th Anniversary in 2022. For full details and pricing click here.

Phish will take to the stage later this month with Phish: Riviera Maya set for February 24-27 and April will see Phish return to Madison Square Garden in New York City for their rescheduled four-night NYE run now taking place April 20-23, including a three-set show on April 22.

Phish Spring and Summer 2022 Tour Dates

5/27 The Wharf Amphitheater, Orange Beach, AL
5/28 The Wharf Amphitheater, Orange Beach, AL
5/29 The Wharf Amphitheater, Orange Beach, AL
5/31 Credit One Stadium, Charleston, SC
6/1 Credit One Stadium, Charleston, SC
6/3 Ruoff Music Center, Noblesville, IN
6/4 Ruoff Music Center, Noblesville, IN
6/5 Ruoff Music Center, Noblesville, IN
7/14 Xfinity Center, Mansfield, MA
7/15 Xfinity Center, Mansfield, MA
7/16 Maine Savings Amphitheater, Bangor, ME
7/19 TD Pavilion at the Mann, Philadelphia, PA
7/20 TD Pavilion at the Mann, Philadelphia, PA
7/22 Bethel Woods Center for the Arts, Bethel, NY
7/23 Bethel Woods Center for the Arts, Bethel, NY
7/24 Xfinity Theatre, Hartford, CT
7/26 Northwell Health at Jones Beach Theater, Wantagh, NY
7/27 Northwell Health at Jones Beach Theater, Wantagh, NY
7/29 Coastal Credit Union Music Park at Walnut Creek, Raleigh, NC
7/30 Merriweather Post Pavilion, Columbia, MD
7/31 Merriweather Post Pavilion, Columbia, MD
8/2 Blossom Music Center, Cuyahoga Falls, OH
8/3 Pine Knob Music Theatre, Clarkston, MI
8/5 Atlantic City Beach, Atlantic City, NJ
8/6 Atlantic City Beach, Atlantic City, NJ
8/7 Atlantic City Beach, Atlantic City, NJ
8/10 Budweiser Stage, Toronto, ON
8/12 Alpine Valley Music Theatre, East Troy, WI
8/13 Alpine Valley Music Theatre, East Troy, WI
8/14 Alpine Valley Music Theatre, East Troy, WI
9/1 Dick’s Sporting Goods Park, Commerce City, CO
9/2 Dick’s Sporting Goods Park, Commerce City, CO
9/3 Dick’s Sporting Goods Park, Commerce City, CO
9/4 Dick’s Sporting Goods Park, Commerce City, CO

February 15, 2022
In Focus: Goose Close Winter Tour in Pittsburgh

The Connecticut-based band Goose ended their two and a half week winter tour in Pittsburgh after spending most of their time on the road out west this time. A cold Saturday night in Pittsburgh at Stage AE seemed like the perfect place to celebrate, the venue was packed with fans new and old and a free stream was even offered to all those who couldn’t make the show.

Wether you were in attendance or not there will be plenty of opportunities to see the band in the coming weeks starting with the rescheduled Goosemas taking place on Saturday February 26th at the Mohegan Sun Arena in Uncasville, CT.

Goose – 2/12/22 – Pittsburgh, PA – Stage AE

Set 1: Silver Rising, Butter Rum, Turned Clouds, Red Bird, Tumble

Set 2: Rockdale, Seekers On The Ridge Pt. 1 > Pt. 2, American Woman, Empress Of Organos, Slow Ready

Encore: Praise You

February 15, 2022
moe and Friends Rock Roseland Ballroom for Tsunami Relief: February 10, 2005

Today marks the anniversary of the heralded moe. Tsunami Benefit show at Roseland Ballroom in New York City, which gathered a host of notable to musicians to raise money for a good cause. A terrible earthquake and a resulting tsunami devastated the area near Sumatra, Indonesia as the year 2004 came to a close. moe. decided to do what they do best in order to lend assistance and brought some friends along for the ride. Together with a matching donation from Dave Matthews, nearly $150,000 was raised for the relief cause. Those in attendance this evening certainly got their money’s worth with a show featuring some traditional moe. songs, a whole lot of covers, and a mesmerizing 35-minute jam that nearly brought the house down.

Bassist Rob Derhak greets the crowd at the start of the show and thanks them all for “supporting a great cause.” And then instantly, the familiar pre-“Rebubula” noodling ensues and moe. opens the Roseland show with one of their signature songs, setting a lively tone early. No special guests needed for this one. Those begin with John Medeski and violinist Sam Bush coming out for a spirited take on “Mexico.” Medeski, ever the keys virtuoso, helps drive the pace of this one through the roof with some triumphant fills on organ that helps build a steadily escalating and emotional jam. Bush then exits and Medeski remains on for “Plane Crash,” again providing some extra rich sonic texture to another moe. staple before taking lead on the jam that ensues.

With three standout moe. songs now out of the way, the cover parade begins with a take on the legendary blues song “Got My Mojo Working,” popularized by the great Muddy Waters in the late ’50s. Guitarist Al Schnier deftly replaces “Louisiana” in the lyrics with “New York City” which does not go unnoticed by the crowd. Despite an uptempo, jazzy start the “Mojo” jam quickly devolves into a harrowing, psychedelic journey with Medeski again helping forge the path forward before the song rounds back into form.

Sam Bush then reemerges with a mandolin and has the Roseland stage to himself for a cover of the Lowell George-penned “Sailing Shoes,” a song he recently got to play with Little Feat in Jamaica according to him. By song’s end, he’s got most of the crowd engaged in a back-and-forth singalong. Bush then offers his thanks to both the crowd and moe. before the latter rejoins him on stage for one of his own songs, “Same Old River.” It’s a perky, bluegrass-y number that would fit perfectly in any stringed band show, with Bush ripping off a fierce mandolin solo in the middle.

One more special guest, “who needs no introduction” per Al, enters the first set fray and Trey Anastasio joins everyone on stage for an electric cover of “Crossroads” with both he and Bush handling vocals. An already tight jam doubles in speed about midway through as the first set comes to a rousing finish.

The second set picks up right where the last one left off, except Bush is now replaced by Jennifer Hartswick on vocals and Ray Paczkowski on keys with moe. serving as the backing band for “Night Speaks To A Woman,” an early Trey Anastasio Band staple with which both newcomers are very familiar. There’s not much lost with this version with Trey throwing down a scintillating solo in a jam that starts fiercely, breaks down into some loose improv, and then steadily builds back up to a joyous peak.

Derhak then takes another moment to thank tonight’s patrons and mentions that Dave Matthews has offered to match whatever amount of money is raised this evening. Then it’s back to the moe. catalog with “Spine Of A Dog” with the crowd ably assisting on the opening lyrics. The “Dog” jam then meshes incredibly seamlessly into the opening of “Buster” and moe. and friends take off with another longtime fan favorite.

This opening 1-2 punch gets a well deserved roar of approval from the Roseland crowd before moe. yields the floor for another cover. This time it’s “Boogie On Reggae Woman,” the Stevie Wonder song that is no stranger to a live Phish show with Anastasio handling lead vocals accordingly. Another lively jam ensues, this time with Paczkowski eagerly showing off his chops that helps drive the momentum. Towards the end, the music gets very percussion-heavy before falling out into full fledged “Drums” section, giving Jim Loughlin and drummer Vinnie Amico a chance to do the same.

Afterwards, Trey then reemerges with only himself and an acoustic guitar for a pair of Phish tunes. For Phish heads, this must have been like an oasis in the desert with the band’s forgettable “final” shows at Coventry having taken place about six months earlier and it being years before they would reunite again. The crowd has no problem at all assisting on the “can I live while I’m young” lyric to “Chalkdust Torture” before adding their collective voice to the traditional opening of “Wilson.”

The second set then comes to a gigantic finish with one last banger in “meat.” that sees Medeski, Bush and Trey all lend a hand. What results is a 35-minute plus monster jam where everyone gets a chance to solo and shine. The jam starts out in traditional metal-esque fashion, before breaking down into a definitive bluegrass sequence with Bush leading the charge, before passing the baton to Medeski who helps steer it in another direction entirely. It eventually winds down into a near-ambient section with Loughlin chiming in on vibes and a plethora of effects emanating from Medeski’s rig. It’s a whirlwind cavalcade of sound that serves as the crux of the second set, if not the show itself, and is well worth a listen.

One last pair of covers serves as the encore for this benefit show, starting with Frank Zappa’s “Peaches En Regalia,” another song that’s no stranger to a Phish show with Loughlin on vibes giving this one a proper feel. Anastasio and Hartswick then team up one last time on vocals for “After Midnight.” Extra special attention is given to the “gonna let it all hang out” which moe. and friends certainly did this evening, and for a noble cause no less.

You can listen to and relive this memorable gig here or see below.

moe. Tsunami Relief Benefit Show Roseland Ballroom – New York, NY 2/10/05

Set 1: Rebubula, Mexico*, Plane Crash^, Got My Mojo Working^, Sailing Shoes**, Same Old River^^, Crossroads#

Set 2: Night Speaks To A Woman$%, Spine Of A Dog$ > Buster$, Boogie On Reggae Woman$%>Drums, Chalkdust Torture$$, Wilson$$, meat.*$

E: Peaches En Regalia*$>After Midnight*$%

* with John Medeski on keys, Sam Bush on Violin
^ with John Medeski on keys
** Sam Bush solo
^^ with Sam Bush on mandolin
# with Sam Bush on mandolin, Trey Anastasio on guitar
$ with Trey Anastasio on guitar
$$ Trey Anastasio solo acoustic
% with Jennifer Hartswick
and Ray Paczowski keyboard most of SET II

February 10, 2022
Fire and Ice: Ampevene & Baked Shrimp Turn Up The Heat During Winter Storm In Albany

Bad weather be damned, the spirit of rock n’ roll was alive and well this past Friday night in downtown Albany. Snow. Freezing rain. Subzero temperatures. Widespread power outages. Mother Nature threw a little bit of everything at us last weekend, but despite nasty conditions throughout the northeast, live music at The Hollow never missed a beat thanks to Ampevene, Hilltop and Baked Shrimp on Friday, February 4, 2022.

Ampevene performing at The Hollow. Albany,, NY 2/4/22

Known for having a keen ear and an uncanny ability to spot young talent, Guthrie Bell Productions served up yet another winner on February 4th, bringing three of New York’s most buzz-worthy bands together for a triple stacked bill of hip shaking live music, impressive improvisation, psychedelic live art, and a triumphant return home for Albany’s own Ampevene.

Kicking off the icy evening was Capital Region based quartet Hilltop. Coming off a breakout year that saw them play their first festivals and secure opening slots for bands like Midnight North, The Jauntee and Annie in the Water, Hilltop has continued to evolve and only seem to get better and better with each performance. Showcasing their sense of humor and an eagerness to “jam,” the short but sweet set on this night shows a band with all kinds of untapped potential and left us wanting more!

Baked Shrimp outside The Hollow. 2/4/22

Keeping a close eye on conditions outside during set break, the heavy wet slushy snow was just beginning to freeze, but inside the venue things were just starting to heat up as the charismatic Long Island trio Baked Shrimp took the stage. Fresh off a celebratory 21st birthday bash at Nectar’s for drummer Jager Soss, the ambitious young band rode into Albany red hot, firing on all cylinders and kept the party going with a scorching set of high energy funk, blues, and psychedelic rock. Baked Shrimp, which also features Jared Cowen on guitar and vocals and Scott Reill on bass, is quickly earning a reputation for melting faces wherever they play, regardless of what’s on the thermostat.

Baked Shrimp’s Jared Cowen performing at The Hollow. 2/4/22 Albany, NY

It’s been a milestone year for the guys in Baked Shrimp. Now in their fifth year as a band, January saw the release of their third studio album, Pork Etiquette. On tour ever since andwith just two stops left on this Winter tour, it was clear the boys had no intensions of simply phoning it in. Taking the stage armed with confidence and playing every note with passion, for just three dudes, Baked Shrimp create a huge sound and routinely impress. Opening with the one-two punch of “Pig Hearts and Mechanical Parts” and “Penuche Took the Fudge,” Cowen’s blistering PRS guitar work instantly grabbed the attention of everyone in the room and never let go. “Molly Ann,” “Ollie Blue” and “The Narcissist” came next before the boys dusted of “Tail Fin” for the first time in 36 shows. Holding it down on the low end while also engaged in a constant battle to keep the hair out of his eyes, bass player Scoot Reill was in fine form on the evening. Between utilizing his vocal talents and consistently finding a rock solid groove to build on, it was around this point in the set where a glance around the room revealed nearly everyone who was there was finally up on their feet and dancing. The energetic set came to a close with a tune called “Can’t Cut The Mustard.

Baked Shrimp. 2/4/22

A tough act to follow perhaps, but you have to remember this was Albany, and that means it’s Ampevene country. It had been quite some time since the genre blending, prog-rock leaning juggernaut had last headlined The Hollow and even against the cold, rain, and snow, nothing was going to stop them from playing this homecoming throwdown. Typically a four-piece ensemble comprised of Gabe Stallman on guitar and vocals, Mack Hogan on bass, Ava Smith on keys and synth and Brian McKinney Fahey on drums, to help commemorate the occasion on this night however, Ampevene, invited a couple of friends to join in on the fun; recruiting both Adam Siegel and Bob Morris on Saxophone and percussion to help fill out the sound.

Gabe Stallman of Ampevene. 2/4/22

As local artists converged to compare progress of their live paintings, the music of Ampevene surely helped inspire their other worldly results. Opening the show with a pair of songs from their 2018 debut album Ephemagoria was the “Valencia” followed up by “Rometheu.” From there, fans were treated to a taste of some unreleased music with “The Chemistress” and then a song so new that it’s only been given a working title of “Mauve Crown.” A visceral mix of heavy layered riffs, psychedelic noodling, unique time signatures and jaw-dropping falsetto vocals, Ampevene is better heard than described. Purposely designed to trip you up and trip you out, Friday night at the Hollow the band went far out. All the way out until reaching “Dazed and Confused” territory during the song the “Enhancement” as awe struck fans roared in approval for perhaps the biggest crowd pleasing moment of the night. With time left for just one more, a ballsy decision to cover one of the bands biggest influences. The Mars Volta and their 2008 song “Goliath.” While very few would even attempt such a feat, front man and lead guitarist Gabe Stallman completely knocked it out the park, bringing the show to a cathartic and triumphant close.

Ampevene performing at The Hollow. Albany,, NY 2/4/22

While the ice storm of 2022 may have kept some people from coming out, there was something about the vibe on this Friday night that just felt special. Like something hip was starting to happen and you were lucky enough to have a glimpse into the future. From the artistry and creativity displayed on stage and off, to making eyes and sharing smiles with complete strangers; a musical community slowly rediscovering itself after a long hibernation. With so much talent and creativity right here in our backyard, it’s hard not to feel optimistic about how far some of these bands could potentially go, but rest assured dear reader, we here at NYS Music intend on keeping you covered every step of the journey.

Baked Shrimp – 2/4/2022 Albany NY / The Hollow

Pig Hearts and Mechanical Parts, Penuche Took The Fudge, Molly Ann, Ollie Blu, The Narcissist, Tail Fin*, Can’t Cut The Mustard

*LTP – 8/21/21 (35 shows)

Ampevene – 2/4/2022 Albany NY / The Hollow

Valencia, Rometheu *, The Chemistress, Mauve Crown^, Teratomic, Enhancement $, Goliath%

* contained Tracalysis by Ampevene tease
^ Tentative title for new song
$ contained Dazed and Confused by Led Zeppelin tease
% The Mars Volta cover

February 10, 2022
50 Years of King Crimson Celebrated in Forthcoming Documentary

The mercurial Robert Fripp and his ever-changing band of prog-fathers will be the subject of In the Court of the Crimson King, a new documentary by director Toby Amies premiering at the 2022 SXSW film fest.

Named after King Crimson’s earthshaking 1969 debut disc, the 86-minute documentary aims to be the definitive celluloid document on the band’s 50-year history – charting the many ensembles and evolutions in style via interviews with Fripp and collaborators like Adrian Belew, Bill Bruford, Mel Collins, Ian McDonald, Woodstock’s own Tony Levin and many more. Amies produced the documentary by following the band on its recent 50^th anniversary tour and securing the rights to some wonderful and rarely-seen archival footage.

photo by Tony Levin

According to notes provided by filmmaker Amies:

“What began as a traditional documentary about the legendary band King Crimson as it turned 50 mutated into an exploration of time, death, family and the transcendent power of music to change lives.

In the Court of the Crimson King is a dark, comic film for anyone who wonders whether it is worth sacrificing everything for just a single moment of transcendence. It explores the unique creative environment of King Crimson, one in which freedom and responsibility conspire to place extraordinary demands on the band’s members – only alleviated by the applause of an audience whose adoration threatens to make their lives even harder. It’s a rewarding and perilous space in which the extraordinary is possible, nothing is certain, and not everyone survives intact.”

photo by Tony Levin

Amies’ documentary comes on the heels of a successful summer 2021 tour by Fripp and his latest (and perhaps last according to the prog grapevine?) iteration of this legendary band. This especially powerful music is featured on the new 2 CD live set, Music Is Our Friend, one capturing the band’s final performances in Washington D.C. and at The Egg in Albany.

The Covid-19 Quarantine gave the ever-intense and oft misunderstood Fripp the chance to reveal his lighter side in a weekly series of “Sunday Lunch” videos made with his singer wife Toya Wilcox. The couple first took to YouTube on Easter Sunday 2020 to share some sonic cheer and comedy. In these vids, they don costumes to perform spirited and sometimes very goofy covers of tunes like “Rudolph the Red Nosed Reindeer,” “Blitzkrieg Bop,” “Goldfinger,” “Sharp-Dressed Man,” “Smells Like Teen Spirit” and the like. More than 60 videos can be found here.

Fans who can’t wait for the film but want the truly definite facts on all things Crimson should also check out Sid Smith’s wonderful comprehensive book, In the Court of the Crimson King: An Observation over Fifty Years.

At over 600 pages of very small type, it has everything a fan could ever want – interviews with all the key players, critiques of their many albums and recaps of every gig the band performed, from its 1969 debut through 2003. The book was originally published in 2001 and out of print for many years, until it was updated and republished in 2019. When it comes to all things prog and Crimson, Smith is a true expert. He’s an intimate who has worked directly with the band in recent years, and a freelance writer whose articles are regularly featured in Record Collector, Prog, Uncut, Classic Rock, BBC Music and many others.

In anticipation of the premiere, Amies has released a trailer that can be seen below.

February 9, 2022
Club d’Elf Announces shows with John Medeski, Release New Single “Dervish Dance”

Club d’Elf will release their third studio full-length album, You Never Know, on April 1. They’ll team up with John Medeski that night at Levon Helm Studios in Woodstock to celebrate the release of You Never Know, and perform with the band the next night at DROM in the East Village on April 2.

You Never Know is a double album with 10 tracks with the sound of musicians in full improvisational flight. For Mike Rivard, head Elf and sole constant member over the collective’s 24 year run, the meaning of You Never Know runs deeper than just the chase of an alchemic group-mind.

A few years back, while tracking spiritual insight in the deep-Amazon, Rivard began experiencing terrifying heart palpitations, breathing difficulties and paralyzing anxiety. Initially, he assumed the symptoms were part of his awakening process, but it quickly became clear something else was at work. Back home in Boston, Rivard was diagnosed with a pulmonary embolism, likely caused by a blood clot which developed during one of his long flights to Peru. A lifelong devotee of Eastern and holistic medicine, Rivard found himself mired in the sterility and sluggishness of the American healthcare system, struggling with PTSD and cloaked in a severe depression. His life skidded to a halt.

A lot of people find out about having a pulmonary embolism by dying. After the trauma in the jungle as I slipped further and further into the darkness, one of the scariest parts was how things I loved lost all meaning, the pleasure just drained away. It was this sense of sliding into an alternate universe of shadow.
Mike Rivard

As the depression parted, Rivard (playing bass and sintir) gathered fellow Club d’Elf collaborators Dean Johnston (drums), DJ Mister Rourke (turntables), Paul Schultheis and John Medeski (vintage analog keyboards), Casablanca-native Brahim Fribgane (oud, vocals and percussion) and guitarists Duke Levine, David Fiuczynski and Kevin Barry, and began recording the album to analog tape with minimal overdubs.

Half of the album consists of originals inspired by Rivard’s experience and the sounds that saved him, and half covers of influences which have shaped the band’s musical universe: Miles Davis, Frank Zappa, Joe Zawinul, Nass El Ghiwane, as well as gnawa, a North African trance music known for causing time to melt as players and listeners enter into a liminal space of eternity and possibility, and Sufi folk songs.

It’s kind of like driving a tour bus and stopping at various interesting destinations, pulling the bus over and letting everyone off, and then it’s up to them, the musicians, to find their way into the experience, to create the music together, in the moment. Every voice is heard, is equally important, and can drive the music into places that I never would have envisioned of on my own. That’s what really excites me—when I let go of the reins and the collective energy of the ensemble reaches a sort of hive mind state, and the spirits guide us.
Mike Rivard

In the studio, Rivard ceded the spotlight to the collective, allowing for free-play and improvisational dexterity. Through it all rides the trance, pulsing, calming, poking open the mystic truths which may just offer us all the hope of brighter days ahead. A Sufi traditional “Dervish Dance” features pools of deep bass and psychedelic crackle beneath Fribgane’s oud soloing, and is the first single from the album, the video of which can be seen below.

Club d’Elf have tour dates this April with keyboardist John Medeski, in support of You Never Know, set for release on April 1 via Face Pelt Records. After two stops in New York State, the band makes stops in Maine, Rhode Island, New Hampshire and Massachusetts, with a finale at Soundcheck Studios in Pembroke, Massachusetts on April 15.

Club d’Elf Spring 2022 Tour Dates

4/1 – Woodstock, NY – Levon Helm Studios
4/2 – New York, NY – Drom
4/8 – Portland, ME – Bayside Bowl
4/9 – Providence, RI – Columbus Theater
4/10 – Portsmouth, NH – The Music Hall
4/14 – Northampton, MA – Bombyx
4/15 – Pembroke, MA – Soundcheck Studios

February 7, 2022
First Ever JGB show at MSG Captured on GarciaLive Volume 16

Garcia Family Provisions has declared GarciaLive Volume 16 as its album of the month for February. This three-CD album features a three set show from Jerry Garcia Band’s inaugural show at Madison Square Garden from November 15,1991, a show that takes place right in the middle of one Garcia’s most heralded solo tours.

The Grateful Dead had recently finished a nine-show residency at The Garden just two months, but this show marks the first ever JGB at the World’s Most Famous Arena. The show opens with a buoyant cover of How Sweet It Is (To Be Loved By You) and features a host of other memorable covers like Van Morrison’s “He Ain’t Give You None” and “Bright Side Of The Road,” Smokey Robinson’s “The Way You Do The Things You Do” and Bob Dylan’s “Simple Twist of Fate.”

And there’s also other Jerry Garcia Band staples like “Ain’t No Bread In The Breadbox” and an extended take of “Don’t Let Go” included on this release, as well as a sterling rendition of “Shining Star” included as well. And the show ends on an emotional high with a cover of “(What A) Wonderful World.”

The JGB lineup at this time includes Melvin Seals on keys, John Kahn on bass, David Kemper on drums and Jaclyn LaBranch and Gloria Jones handling backup vocals. In Glide Magazine Doug Collette wrote, “Garcia Live Volume 16 may be the ideal entry in this ongoing archive series to provide the curious music lover eager to comprehend the virtues of the Jerry Garcia Band…. [Garcia] is equally expressive through the selection of tunes by his favorite composers plus an eclectic range of other song choices, consistently vigorous vocals… and, last but not least, versatile and inventive guitar work.”

This GarciaLive album was officially released in June of last year and is available for purchase directly from Garcia Family Provisions here.

February 7, 2022
Pink Talking Fish Spring Tour includes 4/20 show in NYC

Pink Talking Fish, who perform the music of Pink Floyd, Talking Heads, and Phish, have announced new tour dates for Spring 2022, the most notable of which will be in New York at the Gramercy Theater on April 20.

The New York concert is part of the NYC Phish AfterParty series hosted by the NYC promoter CEG Presents. After major Phish concerts at Madison Square Garden several venues around the city host after parties for those who are still awake, as Phish fans keep the party going.

And what better way to do that than by adding some Talking Heads and Pink Floyd to the mix.

With the new Pink Talking Fish tour stop in New York, what is already a huge show as Phish returns to the Garden on rescheduled New Years dates, the dancing doesn’t have to end just because the concert did. Doors open at 11:30pm and tickets are now available online.

Other than the Gramercy Theater show the new Pink Talking Fish tour will only have one other show in New York state proper, in Saratoga Springs on April 16. There are, still, several other shows in neighboring states: Hartford, CT on Feb. 18, Jay, VT on Feb. 19, and Burlington, VT on March 19.

Other notable stops include a three day stint in Denver, Colo. for a special David Bowie and Prince show. Where they’ll cover songs of the two rock legends alongside guests Chuck Morris from Lotus and The Horn Section, made up of former members of Turkuaz.

Tour Dates

2/18: Hartford CT at Infinity Hall

2/19: Jay VT at Jay Peak Resort

2/26: Ardmore PA at Ardmore Music Hall w/s/g Qway

3/11-12: Denver CO at So Many Roads Brewery

3/13: Denver CO at So Many Roads Brewery – Prince/Bowie featuring PTF, The Horn Section, Chuck from Lotus + more

3/19: Burlington VT at Higher Ground w/s/g Swimmer

4/08: Ventura CA at Ventura County Fairgrounds – Skull And Roses Festival

4/09: Seattle WA at Nectar Lounge

4/16: Saratoga Springs NY at Putnam Place

4/20: New York NY at Gramercy Theater – Phish AfterParty

4/21-22: Ferndale MI at Otus Supply

4/23: Chicago IL at Park West

4/24: Columbus OH at Woodlands Tavern

February 7, 2022
Phish Brings The Fire to Roseland Ballroom: February 6, 1993

As the early 1990s progressed, Phish would continue to make their mark in and throughout the Northeast. A major hub for this was obviously New York City. After years of playing The Wetlands, Phish had finally progressed to the Roseland Ballroom, starting with a gig there in March of 1992. The tour that began 1993 would add two more shows here and today marks the anniversary of the second one. Amazingly, this would somehow be their only shows in the city this year as tours began to stretch nationwide. They certainly made the most of their stay though, ending their brief Roseland residency with a show that features a healthy helping of new songs, classic favorites, and a remarkable pair of special guests to help them close it out.

An enthusiastic Roseland crowd seems to recognize “Golgi Apparatus” right away and the show is off and running with the venerable Phish classic. This is followed up with “Foam,” another hit off the band’s seminal Junta release. Despite some brief feedback issues, it’s a quick yet crisp version with a seemingly extra peppy bass line provided by Mike Gordon.

“Wilson” then has a bit of an extended intro with a different feel, with only the band singing the name of the fictional Gamehendge ruler as this pre-dates the now customary crowd chants. In an extended break before the “blap boom” ending portion, Trey Anastasio throws in both “Simpsons” and “Random Note” guitar signals that a good portion of the crowd seems to recognize. Then Phish steers into “My Friend, My Friend,” a track from their album Rift that was officially released just days earlier. As soon as “Friend” finishes, Phish wastes no time in doubling down on first set Rift tunes with Jon Fishman starting up the iconic drum intro to “Maze.” A rousing McConnell organ solo is supplanted with one from Anastasio and the first set at Roseland this evening is officially firing on all cylinders now.

After a standard run through of “Horn,” another first set staple, Phish launches into a flawless “Divided Sky” that features some more wonderful interplay between McConnell and Anastasio, with the latter spitting pure “fire” by song’s end in a potential nod of what was still to come. The now raucous Roseland crowd makes their feelings known after this one before Phish slows things down a tad with McConnell taking lead crooning duties on “Lawn Boy.”

Afterwards, the band breaks out a fairly new song (at the time) with only the third “The Wedge” ever performed live, after debuting three nights prior. It’s got a real jazzy, piano-fueled intro that makes it stand out when compared to its modern day version and McConnell follows this up with a dazzling solo mid-song that seems to have Trey yelling along in approval. A fairly standard “Bouncing Around The Room” follows this before the first set comes to a screaming halt in the form of a rabid “Run Like An Antelope” that has the whole band working together as one to bring the jam to a proper peak.

Tonight’s second set picks up right where the first one left off in the form of “Chalkdust Torture.” While this classic Phish number produces its typical high octane guitar and bass riffs, it doesn’t yield much of a jam. Instead, after a quick wrap up of “Torture,” the band dives back into the Rift chest and pulls out the Mike Gordon-penned “Mound.” But exploratory-wise, the second set doesn’t really take off until the “Stash” that follows, with Anastasio throwing out probing guitar fills atop some intense rhythms generated by Gordon and Fishman.

The call is then made for some mid second-set a cappella and Phish goes with the first “Sweet Adeline” of 1993 before an especially attentive Roseland crowd. Then, after Phish’s instrumental ode to NPR with “All Things Reconsidered,” the heavy hitters come back into play, starting with a “Mike’s Song” with a fun little verse added to the intro. Gordon has a little fun with the standard lyrics as well before the song takes a turn into its typical dark and foreboding ambiance. It’s a standard “Mike’s Groove” with the bliss-filled “I Am Hydrogen” dropped in the middle before “Weekapaug Groove” whips the Roseland crowd back into a collective frenzy. After this classical trifecta, Phish brings it back to the new school with the second ever “Lifeboy” performed live.

After this insightful newcomer, Phish decides to integrate some bluegrass into the show and breaks out an extremely tight “Uncle Pen” before a “Big Ball Jam” breaks out, the short-lived Phish gag in the early ’90s where giant inflatable balls were thrown out into the crowd with each band member “playing” along to a respective ball and its bouncing trajectory. Not much of a jam ensues though so Anastasio jumps behind the drum kit and Fishman then emerges for “a sad song” called “Lengthwise,” despite being prodded by the crowd to recite “The Prison Joke” again. After urging the crowd to break out lighters for the song, he adds an extra verse about burning his finger for holding one too long.

With the Big Ball and Fishman theatrics now out of the way, the show comes to a legendary finish, starting with “Buried Alive” where none other than Blues Traveler’s John Popper emerges to sit in and adds an absolutely ferocious harmonica solo that takes this song to another level. He then stays on for a set-closing “Possum,” adding a lovely touch to the intro before leading one of the more explosive jams of the evening.

As if one special guest weren’t enough tonight, Phish once again doubles down and brings out another one for the encore. With Popper still on stage, Phish do two “fake” botched intros to Jimi Hendrix’s “Fire,” seemingly blaming Gordon for the errors. So instead, Mike moves over to keys and they nonchalantly bring out none other than Noel Redding himself, the original bassist for the Jimi Hendrix Experience, to come out and do the honors. It caps off an incredible finishing sequence to, amazingly, the last New York City show of the year for Phish.

The whole show can be streamed here at PhishTracks with many audio clips found on YouTube as well.

Phish Roseland Ballroom – New York, NY 2/6/93

Set 1: Golgi Apparatus, Foam, Wilson, My Friend My Friend, Maze, Horn, Divided Sky, Lawn Boy, The Wedge, Bouncing Around The Room > Run Like An Antelope

Set 2: Chalkdust Torture, Mound, Stash, Sweet Adeline, All Things Reconsidered, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Lifeboy, Uncle Pen, Big Ball Jam, Hold Your Head Up > Lengthwise > Buried Alive, Possum

E: Fire

February 6, 2022