Author: Greg M. Schwartz (Page 7 of 18)

Jazzfest 2010: April 29 recap

April 30, 2010 /

Photo from fOTOGLIF

The second weekend of Jazzfest saw fans enjoy a beautiful sunny day of music, although potential thunderstorms loom. Ivan Neville’s Dumpstaphunk rocked the main stage in the 1:20 pm slot, with bassist Tony Hall leading the way via his super funk playing. “You Can Make It” was a great funky anthem to get attendees going who were still waking up from the previous late night out.

Amanda Shaw and the Cute Guys (pictured above) drew a big crowd to the Gentilly Stage, where Shaw’s bluegrassy rock entertained. A cover of The Clash’s “Should I Stay or Should I Go” mixed punk energy with bluegrassy fiddle breaks from Shaw with great results.

Gov’t Mule threw down an hour-long set back on the main stage, with guitarist Warren Haynes tearing it up as usual (after he’d been out late jamming with Eric Krasno at Maison the previous night.) Teases of classics like “Blue Skies” and “Get Up Stand Up” fit nicely with Mule’s bluesy hard rock on the sunny day.

New Orleans‘ own Soul Rebels entertained with jazzy flair on the Congo Square Stage, while Steve Martin and his Steep Canyon Rangers drew a huge crowd to the Gentilly Stage for their 3:35 pm set. One fan said it was the largest crowd he’d ever seen at that stage. Martin is a great banjo player and his crossover appeal made this set a huge draw.

Widespread Panic closed out the main stage with a massive two-and-a-half hour set that featured an extended sit-in by four-piece horn section, the Megablasters. The extra horns added a great touch to “Up All Night,” a laid-back rocker that is easily the anthem of the festival (since most fans are out on the town all night it seems.) A rip-rocking “Tallboy” followed for Spreadhead heaven. Many choices abounded. Other bands playing at the same time as Panic included Elvis Costello and the Sugarcanes, the Average White Band, Blues Traveler and more.

The Derek Trucks and Susan Tedeschi Band threw down an incendiary evening show at the House of Blues, featuring mainly great new material and a couple choice covers like Clapton’s “Coming Home” and The Beatles’ “I Got a Feeling.” They’ve got bassist Oteil Burbridge in the band now, along with his brother Kofi on keys, plus two drummers and two backing singers to formwhat is easily one of the best rock ‘n’ roll bands on the planet today. Trucks & Tedeschi close out the Gentilly Stage today for what should be another highlight performance.

Artists, CD Reviews, Concerts, Funk, Jazzfest, R&B, Rock

Jakob Dylan: Women and Country

April 22, 2010 /


RIYL: Bob Dylan, Neko Case, T-Bone Burnett

Jakob Dylan is back for his second solo album, sans Wallflowers, and he’s delivered an Americana gem. There’s not much in the way of the rock or roll here, but that clearly isn’t Dylan’s intention. There’s a mature vibe that sounds not altogether unlike some of the recent output from his dad. Jakob Dylan has teamed with producer and longtime friend T-Bone Burnett (who also produced the Wallflowers’ breakthrough album Bringing Down the Horse) to craft an old-school album of bluesy, alt-country majesty. The addition of the fabulous Neko Case and her backing singer Kelly Hogan adds an extra quality that lifts the songs to a higher plane. Instrumental enhancement from pedal steel guitar, fiddle and banjo also help to generate an authentic, way old-school sound.

Much of the album sounds like it could work as a soundtrack for a Clint Eastwood western about pioneers trying to make it through hard times, and that vibe fits all too well here in this foul economic year of our Lord 2010. “Nothing but the Whole Wide World” and “Down on Our Own Shield” open the album and immediately establish a rich sound with lush, bluesy guitars and the sweet backing vocals from Case and Hogan. “Lend a Hand” mixes it up a little by adding in some horns that conjure the Preservation Hall Jazz Band sound of New Orleans. “We Don’t Live Here Anymore” comes out with a somber vibe, but in solidarity with those suffering from home foreclosure. The backing vocals provide a haunting quality, and there’s rich texture from some timely banjo plucking by David Mansfield. “Everybody’s Hurting” mines a similar thematic vein, a retro throwback to another time, yet tuned into a lamentable 21st century zeitgeist. Mansfield strikes again by adding some sad fiddle to enhance the vibe.

“Holy Rollers for Love” is a little more uplifting with a major key tone, but still follows the down-tempo American template that informs the album. “Truth for a Truth” conjures a “High Plains Drifter” gunslinger mode with lyrics that speak of “an eye for an eye, a truth for a truth.” “They’ve Trapped Us Boys” is almost a little bit of a hoedown with its walking bass and mandolin strums, and is enhanced with glimmering pedal steel and angelic vocals as Case and Hogan sing “shine a light, shine a light.” “Standing Eight Count” closes the album with a horn intro that sounds similar to the theme from “Rocky,” followed by the album’s strongest beat to wrap it up with something of a triumphant, upbeat vibe. (Columbia 2010)

Jakob Dylan MySpace page MySpace page

Adult Contemporary, Americana, CD Reviews, Folk

Ozomatli: Fire Away

April 14, 2010 /


RIYL: Santana, Spearhead, Los Lobos

The Los Angeles culture-mashers are mixing up a vibrant stew on their fifth full-length LP, with producer Tony Berg (Aimee Mann, Pete Yorn) at the helm for a festive and diverse affair. Berg describes working with the band as “like visiting seven continents simultaneously” and the album sessions as having captured “the spirit of the band’s live show without being a live album.”

It’s hard to quantify Ozomatli in any particular genre since they mix up a musical collision of rock, funk, samba, salsa, hip-hop, cumbia, merengue, reggae and more. Tunes like “Are You Ready,” “45” and “Yeah Yeah Yeah Yeah” all surge with an upbeat party-rock flavor, mixing horns with big grooves and funky accents. Lead single “It’s Only Paper” recalls the ’90s barrio-pop vibe of Sublime, with catchy hooks and some social commentary on “the choices that you make… They say money is to blame, but it’s only paper.”

“Elysian Persuasion” cranks it up another notch with a hard-hitting jam and rocking beat that conjures a high-energy sound for one of the album’s best tunes. “Gay Vatos in Love” switches gears for a potentially controversial, jazzy R&B number. There are no gay members in the band, but the song is statement that every person should “have the right to choose who and how they love one another,” according to the band. This all-inclusive attitude, combined with the band’s diverse musical background, may well explain why Ozomatli has been sent around the world on a series of musical missions from the U.S. State Department.

“Malagasy Shock” recounts one such adventure where singer/guitarist Raul Pacheco had a self-described near-death experience when he was electrocuted onstage during the band’s State Department trip to Madagascar. Pacheco says the tune is about being “shocked into realizing life must be lived with a profoundly energetic fervor.” Such a fervor is what infuses much of the album. Another highlight is “Nadas Por Free,” an upbeat song that uses “Spanglish” to mix lyrics from both English and Spanish. “It’s Only Time” and “Love Comes Down” have the band amping down for a couple of ballads with a resplendent flavor that would fit nicely with a Pacific Ocean sunset.

Fire Away perhaps lacks that one particularly memorable breakthrough song, but is a strong overall outing that should give the band plenty of new material to keep their live dance parties going. (Mercer Street 2010)

Ozomatli MySpace page

CD Reviews, Funk, Latin, R&B, Rock, Soul

Santana: Supernatural, Legacy Edition

April 6, 2010 /


RIYL: Eric Clapton, Dave Mathews Band, Ozomatli

This Legacy Edition re-release of Santana’s 1999 smash-hit, Grammy Award-winning Album of the Year ups the ante by remastering the original album and adding a second disc of bonus tracks that should delight any fan of the original. The bonus disc has outtakes, remixes and unreleased material with several of the same guests from the original album. There’s also a 24-page booklet with rare photos and a 2,000 word essay by Hal Miller on the album’s creation and significance.

The remastered original sounds great, with Santana’s hot, melty licks singing through the mix of warm bass, dynamic percussion, horns, vocals – the guitar legend is a Jedi Master at weaving his lines into a song without stepping on anyone else. Songs like “Put your Lights On” with Everlast and “Smooth” with Rob Thomas received so much airplay that some people may never want to hear them again. But this shouldn’t overshadow the other great tracks on here.

“(Da Le) Yaleo” features Santana wailing at his best, no pop restriction here. “Love of My Life” with Dave Matthews and Carter Beauford is a soulful gem that makes you wish DMB would add a lead guitarist. For those that don’t care for Matchbox 20, “Africa Bamba” is a beautiful track that is truly smooth, without the pop sheen. Lauren Hill & Cee-Lo help Santana explore hip-hop flavor on “Do You Like the Way,” but it’s “Maria Maria” with the Product G&B that really has classic staying power. With its catchy hooks, soulful vocals and mix of both acoustic and electric virtuoso guitar, it’s no surprise that this tune is the one that’s still a mainstay in Santana’s live repertoire. “Wishing It Was” with Eagle-Eye Cherry is another tune that continues to resonate with deeper substance than the bigger radio hits, with its contemplative lyrics and memorable licks. Underrated closer “The Calling” is an epic blues with Santana and Eric Clapton trading licks on a great finale.

One of the highlights of the bonus disc is “The Calling Jam,” also featuring Clapton, and one of seven previously unreleased tracks out of the 11 on the disc. A cover of Cuban band Irakere’s “Bacalao Con Pan” has smoking leads in a Latin rock setting, while the single “Angel Love (Come For Me)” features a horn section and Santana playing sweet leads behind the vocals. This is something most guitarists don’t know how to do. They should listen to Carlos to learn. “Rain Down on Me” with Dave Matthews and Carter Beauford might even be a better song than their collaboration on “Love of My Life,” with Dave singing in a bluesier vibe that resonates well with Santana’s guitar. “Exodus/Get Up Stand Up” is a hot tribute to Bob Marley, while a cover of Lighthouse’s 1971 hit “One Fine Morning” is another high-energy winner. “Maria Maria (Pumpin’ Dolls Club Mix)” provides an alternate dance-oriented approach, while “Corazon Espinado (Spanish Dance Remix)” offers another take on the original album track with Mana.

There’s an uplifting spiritual vibe throughout both discs, along with a great diversity of material and some of Carlos’ most tasteful playing. All of which makes this set a definitive keeper. (Sony Legacy 2010)

Adult Contemporary, Blues, CD Reviews, Latin, Pop, Rock

The Disco Biscuits: Planet Anthem

March 31, 2010 /


RIYL: Sound Tribe Sector 9, Umphreys McGee, String Cheese Incident

Planet Anthem is The Disco Biscuits’ first studio album since 2002, which inherently highlights how this is a band more known for their live prowess. The overdue album finds the band exploring a wider array of sonic directions, but the track selection seems to indicate that the band has fallen victim to Ryan Adams Disease – being such prolific songwriters as to lose the ability to distinguish which of your own songs are the best ones.

It’s hard to believe that anthemic live winners like “Rivers” and “Mirrors” didn’t make the cut here. “Mirrors,” introduced in the spring of 2009, is one of the most infectious tunes the band has come up with in years, and would have seemed the best chance for crossover appeal. But then, mainstream appeal has never really been a concern of these counterculture jam rockers. They’ve made a living by earning a diehard core following that will travel great distances to see multiple shows, and who aren’t particularly concerned about albums or singles.

2010 finds the livetronica stalwarts dabbling in hip-hop, dance and even disco flavors, somewhat ironic since that is not where the band’s name is derived from. Opening track “Loose Change” is one of the more intriguing songs on the album, with a big bouncy groove and some socially conscious lyrics about how “money is the root of all evil.” “On Time” and “You and I” have a dance pop flavor that may catch some fans off guard, as this is not the trance-fusion that fans have come to know and love. But the funky beat is still there. “Konkrete” has a trippy, dreamy sort of vibe mixed with a dark heavy groove. “Uber Glue” also starts out trippy, but then moves into a techno direction that is probably going to have some fans scratching their heads.

Rain Song” is one of the more unique tracks, mixing an atmospheric PJ Harvey/Morcheeba sort of vibe from guest female vocalist Ryat with the band’s psychedelic exploration. “Fish Out of Water” could well have been the name of the album, for the way the band is experimenting outside of its comfort zone. The song is more of a straight-ahead, mid-tempo rocker about a girl who’s “gonna make a rebel out of me,” with guitarist Jon Gutwillig finally taking a short solo. “Sweatbox” moves back into techno territory, but builds into a party vibe where “the room is getting hotter” with Gutwillig doing a little wailing behind his vocals.

The last three songs on the album return to the melodic jam rock sound the band is known for, showing they haven’t gone totally off the deep end. “The City” has a big beat and melodic motif with bassist Marc Brownstein getting philosophical about “sitting on a mountain top.” “Big Wrecking Ball” is even catchier, with melodic riffs and vocals from Gutwillig on a tune that seems primed to open up for live exploration. “Vacation” closes it out with an epic track that opens with some ambient ascension before shifting into space rock.

The band gets credit for taking creative risks instead of playing it safe, but some fans are likely to feel a bit puzzled about the overall output. Some of these tunes may grow on stage though, so it’s always hard to grade a jamband album when you know an incomplete is the most appropriate grade until the songs become more seasoned. (Diamond Riggs 2010)

Disco Biscuits MySpace page

CD Reviews, Electronica, Jam Band, Psychedelic, Rock

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