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Posts Tagged ‘Otis Redding’

Bluesfest 2011 Sideshows

FEATURING TRUCKS & TEDESCHI, ROBERT RANDOLPH,
BLIND BOYS OF ALABAMA, MAVIS STAPLES,
IRMA
THOMAS


Mavis Staples

Bluesfest today announced its first run of
festival sideshows for Sydney, Melbourne and Adelaide based audiences. And, what an electrifying array of musical
delights it is, featuring some of the best world-class blues, roots, gospel, and soul talent announced so far for
Bluesfest 2011.

For the first show, Derek Trucks & Susan Tedeschi Band will be ably supported by the amazing funk
soul pedal-steel master guitarist Robert Randolph and the Family Band in Sydney on April 21 at the Enmore Theatre,
and Melbourne on April 22 at the Palace Theatre.

This next show is ‘A Gospel Celebration!’ with Blind Boys of Alabama featuring Aaron Neville. Opening proceedings
will be none other than Rock & Roll Hall of Famer and legendary vocalist Mavis Staples. The dates are April 20 in
Melbourne at The Palais and April 25 in Sydney at the Opera House.

The third festival sideshow will include Irma Thomas. The soul queen of New Orleans will be traveling down under
for her first ever Australian tour. This “N’awlins Soul Sister No 1” is responsible for cutting some of the finest ever
soul music in the history of New Orelans music including “Time Is On My Side” later recorded by the Rolling Stones,
and “Ruler Of My Heart” which was changed to “Pain In My Heart” and recorded by Otis Redding. This sideshow is
scheduled for April 21 at The Factory in Sydney.

Click here for all information related to Bluesfest 2011
in Byron Bay, New South Wales, Australia.


Solomon Burke Dead at 70

GRAMMY AWARD WINNING SOUL SINGER DIES OF NATURAL CAUSES


Solomon Burke

Soul legend Solomon Burke
passed away on Sunday, October 10 at Schipol Airport in Amsterdam. He was
70 years old.

Burke was best known for classic hits like “Everybody Needs Somebody to Love” and “Cry to Me”. His songs has
been covered by The Rolling Stones, Bruce Springsteen, Wilson Pickett and Otis Redding, among others. Inducted
into the Rock and Roll Hall of Fame in 2001, his final album, Hold On Tight, is due out later this month.

From TheKingSolomonBurke.Com

“Early this morning, Sunday, October 10, 2010, the legendary King of Rock & Soul, Solomon Burke, our father,
passed away due to natural causes.

Solomon had just arrived at Schiphol Airport in Amsterdam, the Netherlands for a sold out show at Paradiso with
Dutch band, De Dijk. He was on his way to spread his message of love as he loved to do.

This is a time of great sorrow for our entire family. We truly appreciate all of the support and well wishes from his
friends and fans. Although our hearts and lives will never be the same, his love, life and music will continue to live
within us forever. As our family grieves during this time of mourning, thank you for respecting our privacy.

Family of Solomon Burke”


Big Pink/Place To Bury Strangers I 3.10 I S.F.

Words by: Kelsey Bryant

The Big Pink & A Place To Bury Strangers :: 03.10.10 :: Great American Music Hall :: San Francisco, CA

The Big Pink

Walking into San Francisco’s Great American Music Hall this night was transformative. Performing in white haze so thick that A Place To Bury Strangers was barely decipherable onstage, it seemed only appropriate that their heavy, psychedelic sound was equally as dense.

Thrashing to the strobes of blinding white light, their concoction of heavy reverb and bass drum roared through the hall until it was nearly too loud to bear. “Ego Death” was a standout as the players practiced their version of minimalism by stripping back the layers of sound to primal beats and reverberating vocals as guitarist Oliver Ackermann weaved his riffs into the wall of sound. With their gritty pounding, gothic guitars and distant vocals, this was The Black Angels under the influence of Joy Division with the volume cranked to twenty.

An endurance test for audience members who forgot their earplugs, feedback was still soaking over the crowd as the lights came up. Reactions at this show were a mixed bag, but the consensus seemed that most people were there to see London’s The Big Pink. Though they may derive their name from The Band, these scenesters hue closer to the trippy, electro-musings of Klaxons or Crystal Castles and the dark psychedelics of Jesus and Mary Chain with a dash of glam.

For San Francisco, a city nose-deep in synths and psychedelia, this could have been a tough crowd to impress. As the smoke curled towards the ceiling, the lights cut out and Cypress Hill’s unexpected call to arms looped through the speakers: “I want to get high…so high.” After a few repetitions, The Big Pink climbed the staircase onto the stage, assumed their positions and switched the effects pedals back on.

Then came the bass beats, even heavier than before – the kind of bass that hits your heart and vibrates through your core. Set to the backdrop of one of the most ornate and delicate-looking venues in the country, their sound seemed to split the room at its seams. Opening with the whiplash of “Too Young To Love,” it was clear that this was the kind of noise normally reserved for coliseums. Barreling into “Velvet,” violet lights illuminated Milo Cordell‘s web of long hair, while Adam Prendergast convulsed onto his bass guitar. By this time the sold out Great American was packed to the back with the rest of the onlookers draped over the balcony. The self-conscious crowd was finally getting down.

Clearing the air with “Crystal Visions,” The Big Pink shifted gears and softened their set with a few slower numbers.

“We’re gonna play one of the slowest songs off the record,” Robbie Furze announced. “We don’t usually do it, but I think we’re gonna try it.”

From there came the moody croon of the title track from their 2009 debut A Brief History of Love and a great rendition of Otis Redding’s “These Arms Of Mine,” which Furze belted out over thin layers of buzzing reverb and his own echoing vocals.

Finishing the night off with hooky crowd-pleaser “Dominos,” the audience cheered with content. There’s nothing like a band that exhausts itself onstage. Dripping with sweat, every movement this night was spliced with passion. The Big Pink gave it their all and that’s one thing San Franciscans will always appreciate – even if they blew out their eardrums in the process.

The Big Pink Tour Dates :: The Big Pink News :: The Big Pink Concert Reviews

JamBase | Pink

Go See Live Music!


Chicago Bluegrass & Blues Festival | 12.12

Words by: Mike Feldkamp | Images by: Julie Collins

Chicago Blues and Bluegrass Festival :: 12.12.09 :: Congress Theater :: Chicago, IL

Chicago Blues and Bluegrass Festival 2009

The 2nd Annual Chicago Blues and Bluegrass Festival, held at the Chicago landmark Congress Theater, provided some musical warmth on an otherwise bitterly cold Midwestern night. The headliners, Bela Fleck and the Flecktones, played an enthusiastic set laden with Christmas carols and teases. Preceding the ‘Tones on the main stage was the Emmitt-Nershi Band and prior to them, legendary Chicago bluesman Eddy “The Chief” Clearwater. The night’s final act, Philadelphia’s Dr. Dog, helped the hippies, hipsters, and even some old Bela fans dance into the midnight hour.

With 26 bands, four of them worthy of headliner status, the Chicago Blues and Bluegrass Festival spanned more than 12 hours across three stages. By using a strategically placed “Balcony Stage,” that operated between Main Stage acts, the festival provided non-stop music in the main hall. These uninterrupted hours were complimented by 15 bands performing in the theater’s four-story entrance pavilion.

Arriving at the show I first went upstairs to the ambient “skyboxes,” renovated projectionist rooms from the theater’s heyday as Chicago’s premier movie palace of the ’20s and ’30s. I worked my way through some dark rooms, navigating between furniture, to the far corner where some friends had gathered. Eddy “The Chief” was playing “(Sittin’ On) The Dock of the Bay” and the relaxed feeling of Otis Redding’s most famous song felt perfect for the moment.

Bela Fleck :: Chicago Blues and Bluegrass 2009

I headed down to the main floor to find an open area in front of some people in lawn chairs. It was a familiar sight for an outdoor show, but seeing these lounging fans inside emphasized the size of the Congress Theater. Two hippie chicks were hula-hooping, swooping and swaying suggestively along to “Midnight Groove,” an instrumental jam by “The Chief” and his crew. The song was a good one and the best example of blues on this night.

Eddy Clearwater is the perfect bluesman for this festival. He stands an imposing 6-foot, 4-inches, but is even taller onstage thanks to his shoes and hat. His monstrous hands remind me of B.B. King’s own papa-bear paws. Eddy was decked out in the color of kings, a purple hat and a stylish shirt to match. His band is strong. Drummer Merle Perkins plays quick and pounding when needed, but just as importantly, steady when backing up extended solos. Rhythm guitarist Shoji Naito is a smooth match to the raw emotion of Eddy’s leads. And bassist Rudy Kleiner plays a crisp, articulate backbeat.

Next, I caught the end of Mike Mangione and The Band‘s set. Their sound is a sort of alternative folk, but the lobby’s poor acoustics distorted Mangione’s vocals. Regardless of sound, Mangione’s band proved why this festival is so special. Although blues and bluegrass music are the only two genres in the title, the festival breathes creativity across dozens of musical influences.

Future Man :: Chicago Blues and Bluegrass 2009

This was most obvious as the Environmental Encroachment Magic Circus Band assembled for their brief set. The group – a motley crew of bunny-ear-wearing bohemian bandsters – fiddled with their instruments amongst the patrons. Then, without warning, they blasted into the opening of Richard Strauss’ “Also Sprach Zarathustra” (Phish’s “2001″ for those less familiar with Strauss) from areas all over the lobby. Eventually congregating near the stage, the drummers and horn players brought the song to its crescendo. The ensuing funk jam brought all 17 or 18 Magic Circus members to the stage for their next song. The pavilion audience was enthralled with the scene. Acoustics don’t matter much when you are a hipster marching band.

I left the Circus Band and headed to the balcony area. Taking a seat for some rest, I arrived as Tangleweed was wrapping up. A fierce and fun bluegrass outfit, they finished strong and immediately introduced newgrass heavyweights the Emmitt-Nershi Band.

The bluegrass super-group, led by Drew Emmitt of Leftover Salmon and Billy Nershi of The String Cheese Incident, played a joyful set anchored by new material off their recent release, New Country Blues. There are blues and country influences in these songs, but the band is undoubtedly bluegrass. Banjo player Andy Thorn and bassist Tyler Grant are not backup musicians. Thorn’s playing is both subtle and affecting, and Grant’s bass gives the band its punch. Both Emmitt and Nershi were in good spirits and their set sparked some great conversation.

Scott McMicken – Dr. Dog
Chicago Blues and Bluegrass 2009

I never returned to the lobby area, although I heard reports of great sets from The Shams Band and Holy Ghost Tent Revival. I had taken over one of the skyboxes, sitting comfortably in the box’s open window for Majors Junction‘s set. An interesting band, they played a rocking set that included a messy but fun cover of Dylan’s “To Be Alone With You.”

Bela Fleck and the Flecktones took the stage just after 8 p.m. By this time, the main floor was filled and balcony seats were becoming scarce. Attendance estimates were around 3500-plus. The band opened with “Next,” immediately showcasing their collective virtuosity that left my mouth agape most of the set. With three musicians who are mentioned regularly as the best in their niche and one member, Future Man, who actually invented an instrument, the Flecktones are as skilled a group as one could hope to see.

Their set was heavy on the holiday cheer, which may have divided the audience. While all accept that this is the Flecktones’ tour in support of 2008′s Grammy-Winning Jingle All the Way, many of us yearned for more of their original material. Nonetheless, Bela and the boys were magnificent. It was Future Man explaining how his Synthaxe Drumitar works. It was Victor Wooten jamming along to himself, bounding wistfully through “Have Yourself a Merry Little Christmas.” It was definitely Jeff Coffin blowing two saxes at once and Bela picking faster and clearer than I’ve ever heard. When you are as good as this group, it is hard to argue setlist choices.

There was also little to argue over with Dr. Dog’s 90-minute finale to close the evening. Battling a temporarily blown bass amp and the fatigue of a thousand baby-boomer Flecktone fans, Dr. Dog captured new fans, young and old, in front of their largest Chicago crowd to date. They brought a boost of upbeat joy to a crowd thirsty for vocal melodies and sing-alongs. They left if on the stage during hopeful heart-wrenchers like “My Friends” and “The Ark” so the tiring mass wouldn’t leave the building. And for the most part, it worked.

2010 should be a great year of growth for the Chicago Blues and Bluegrass Festival. This author hopes the organizers will continue to pursue an eclectic lineup, and focus on the young and curious crowd it serves so well. In addition to more indie and psychedelic folk, several artists should be invited back, including The Right Now, Mike Mangione, and Majors Junction, to name a few. Bluegrass fans, of course, hope the stars will align to bring Cornmeal into the fold. Whatever happens next, this year’s festival was confirmation that this great party has the potential to get even better next December.

JamBase | Windy City
Go See Live Music!


The Dawning of Dawes

By: Nancy Dunham

Dawes by Matt Jacoby

Receiving your first electric guitar from Miles Joseph, one of Bob Dylan’s regular collaborators, is certainly enough to make one want to become a musician.

At least that’s how Taylor Goldsmith, lead singer of Dawes, felt when that happened to him while Joseph was visiting Goldsmith’s dad Lenny Goldsmith, former lead singer for Tower of Power and Sweathog.

“He had brought three Stratocasters with him and while he and my folks were hanging out he said, ‘You should go play my guitars,’” said Goldsmith. “They were three amazing Stratocasters, just about as cool as it gets. At the end of the night he said, ‘Which is your favorite of the three?’ and when I told him he gave it to me… I was so happy and grateful he gave me this amazing Stratocaster!”

Then a young teenager, Goldsmith had wanted to become a musician ever since he was in grade school. He and his buddies formed rock bands where prestige was paramount and he said “good songwriting wasn’t any sort of priority.” That changed, of course, leading Goldsmith to start Dawes, which has had its share of critical and popular kudos including a piece in Rolling Stone. The transformation in Goldsmith’s musical direction was made after some serious soul searching.

“Once [the band I was in] broke up, I wanted to figure out if I was going to keep going,” he said. “At that point I was 21 and I thought, what are my reasons for wanting to be a musician? Before my reasons were to be 17 as long as I could. For any musician, that is cool if that’s what you want. But when I got older I started evaluating what I really wanted to do.”

Dawes by Matt Fruen

Goldsmith’s dad raised his sons on a steady diet of Otis Redding, James Brown and other soul music, instilling in them the idea that performance and tight execution were of the upmost importance.

“When I told my dad about Bob Dylan [when I was younger] he said ‘Don’t waste your time, he can’t sing,” said Goldsmith. “When I got older and realized how great [Dylan] is I played songs for my dad and even he thought the stuff was really good. I feel like because of the world I grew up in my dad took an extra step and realized [Dylan's brilliance].”

Not that Goldsmith’s father hadn’t made earlier concessions to his son’s musical tastes. A keyboard player, he was sympathetic when his son wanted to play guitar.

“When I was 11, I picked up a guitar and started learning and applying it to piano,” recalled Goldsmith. [My dad] helped me learn to sing and helped my brother [Griffin Goldsmith who plays drums in Dawes] as well. When I was growing up I always knew I wanted to be a musician. There was never a time in my life when I was confronted with not knowing what I wanted to do.”

Dawes

Although the family is from Malibu, Goldsmith is quick to correct any impressions that they are wealthy, noting they came from North Hills (also the name of the group’s debut album, released by ATO on August 18, 2009), a place he called “the grimiest part of the Valley. People have ideas about what Malibu is but that’s not me or my family.”

What did define his family was music, which is why his father heeded his pleas to buy him a guitar when he was only 11.

“He wanted me to play guitar but he told me, ‘you’re a little kid and you’ve got to realize I’m not buying you a really good guitar,’” laughed Goldsmith. “We went to the store and we bought literally the cheapest guitar we could get, a $60 guitar. It sounded bad and it was hard to play. I was just learning and got a guitar book to learn chords the best I could. When I could move my fingers fast enough to play chords, I started writing dumb little 12 year old kid songs.”

What fueled Goldsmith’s creativity more than anything, he said, is that his parents never held him back.

Dawes by Matt Jacoby

“I thought, I know a lot of records and even though I don’t know the first thing about how to write, I’ll try. As a 12 year old after learning three chords and writing my first song – something like ‘Why don’t you like me,’ nobody told me I shouldn’t write, to wait and learn more,” he said. “That probably would have stayed with me. But instead, they let me strum and sing. As a little kid it just came really easily.” So easily, in fact, that at age 24 song writing sounds almost as if its second nature
to Goldsmith these days.

Perhaps it’s not surprising that much of Goldsmith’s music – like those of his idols Dylan, Bruce Springsteen, Neil Young, Randy Newman, Warren Zevon, and others – is drawn from personal inspirations and experiences. Dawes’ music, especially on North Hills, tends to be acoustic with lush harmonies and strong vocals weaving throughout. Think of them as musical vignettes and you have the right idea.

“Listen to ‘The French Inhaler’ about Norman Mailer by Warren Zevon. That hits me hard on an emotional level” said Goldsmith. “It’s not his story and it’s so impressive that he’s able to maintain his scope as a writer and stay varied. Every time I go down that road and try to make up a person I want to do it but I give myself a hard time. It’s very personal and you have to feel confident enough to make it work.”

The buzz around the band – which also includes bass player Wylie Gelber and guitarist Alex Casnoff – has landed them some high profile headlining gigs and Goldsmith and his band mates are busy fine-tuning the live act.

“I think we’re pretty darned hard on ourselves; sometimes it’s good,” he said. “In our live shows we are very conscious of the fact that we are a support band. Now we are looking at these amazing bands with great live reputations like Wilco, My Morning Jacket, Tom Petty, and The Grateful Dead. There is so much nuance and so much going on that maybe not everybody picks up on but it’s what makes them the best of the best. So we always [critique] our shows saying this could have been better. But we’re really trying hard to develop it.”

Dawes tour dates available here.

Go here to download a free Dawes song.

JamBase | California
Go See Live Music!


Krasno/Benevento/Russo | Costa Rica

By: Dave Wood & Chad Smith

Benevento/Russo Duo & Eric Krasno :: Summer 2009 :: Villa Caletas :: Costa Rica

Benevento/Russo/Krasno :: Costa Wedding

The adventure began last winter when Chris Gleason proposed to Robin Taxman on Jam Cruise 7. With all of the excitement and boogie going down on the high seas, Chris could easily be forgiven for promising a jam-oriented destination wedding and not delivering. But when he called from NOLA during Jazz Fest a few months later and said that Robert Walter was busy, but could help him with booking, I started to think he was actually serious. His daily updates from the Crescent City were intriguing, to say the least. We heard rumblings of conversations from Lotus, George Porter Jr., Marco Benevento, Galactic, Lettuce, Karl Denson, and the list went on. When he asked if I thought we could all make it down to Costa Rica at the end of July, the gig was on. Chris remained a bit secretive about the artists he was talking to but did reveal that he was trying to score the only Hammond B3 organ for hire in the entire country.

Two months later, I found myself in the San Jose airport renting a 4-wheel drive vehicle with surfboard rack to take us over the mountains to a resort outside of Playa Jaco. 57 people, including many festival veterans and jam band enthusiasts (not to mention guests aged 4 to 74), were making their way to the Pacific Coast for the event. Villa Caletas (the warm smell of?) sits on a mountaintop overlooking the ocean and a dense tropical rainforest. This was to be our venue for the Gleason-Taxman wedding. After the rehearsal dinner, some of the groomsman helped lug the rented B3 to the dining room, up the side of a mountain and 157 shallow steps, and then the band was announced. Chris had lined up the venerable Duo of Marco Benevento and Joe Russo and somehow hooked Eric Krasno (Soulive, Lettuce) to play for us. Actually, the secret had been revealed a few days before when Marco, his lovely wife Katy and their two-year-old daughter Ruby were splashing in the resort’s pool with us. The morning of the rehearsal, Krasno and the inimitable Brandi Mitchell arrived straight from the Gathering of the Vibes Fest in Connecticut, where Lettuce had played the night before. Russo and his girlfriend had also flown in that same morning.

Benevento & Krasno at Rehearsal Dinner

The rehearsal dinner show turned out to be exactly that; a rehearsal for three musicians at the top of their respective games who had not had much opportunity – a single practice session in Brooklyn – to play together prior to this gathering. With clouds streaming over the surrounding tropical jungle and the humidity adding an extra depth to every note, the three began things with a jammed out version of The Beatles’ “Taxman.” This turned out to be a theme that would be revisited throughout this night and the next. With no setlist, the musicians took turns leading and teaching each other as they explored songs by Stevie Wonder, Santana, and the Allman Brothers, to name just a few. The set was about two and a half hours long when it adjourned and we were left wondering what would be in store for us at tomorrow’s main event.

The music kicked off in the afternoon heat as the traditional Jewish wedding took place shortly after 4:00 p.m. in an amphitheatre overlooking the Pacific. Her proud father escorted the bride down the steps as Krasno and Benevento played a couple more Beatles tunes (“Something” and “All You Need Is Love”). Later, after we had stuffed ourselves on seafood and wedding cake, The Duo plus Krasno took up positions at the end of the Zephyr Palace under the light towers and smoke machines that Gleason had arranged for and kicked things off with a twist on The Meters’ “Cissy Strut.” After a few quick toasts, a long, jazzy “Come Together” signaled that we were in store for a jam heavy and deeply improvisational evening.

Hava Nagila! Hava Nagila!

Chris and Robin were hoisted overhead on chairs as the dancing grew frenetic and Benevento took us on the band’s first go at “Hava Nagila.” This “Have Nagila” was like no other. The momentum and energy just kept building and it almost felt as if we were at a rave (in a good way). Fortunately, Chris had a good grip on his chair or else he would have been launched into the soundboard.

Soul was heavily featured next with funky translations of Otis Redding’s “Hard to Handle” and Sly & The Family Stone’s “If You Want Me to Stay.” A nimble turn took us Deadheads into familiar territory with a fine, long suite of “Lovelight” > “Shakedown” > “Iko Iko.” The dancing was growing faster and some twirlers were spotted along the sides of the hall. Despite the heat and humidity which had permeated the room – the AC was definitely overmatched by this dance party – most of the revelers were still on their feet, including many of the couple’s family and friends, who had only the faintest idea of what was going on or being played. The two hour first set wound down with a concise reading of “Boogie On Reggae Woman” led by Krasno into “Get Back,” and finally a melding of the Greyboy Allstars’ and STS9′s workhorse “Nautilus.” The degree to which these three musicians were able to combine styles, communicate on the fly, and explore different themes within each song certainly gave no indication that this was one of their first gigs together. In fact, it seemed as though they had been playing together as a trio for years.

This cohesion was never more apparent than during the second set take on the Allman Brothers’ “Jessica.” This was a song they had tackled at the previous night’s aptly named rehearsal party, and while it was solidly done, there were a few rough transitions and clunky pauses. Not so at the reception get-down. Krasno channeled the lead work with a lyrical sense reminiscent of Warren Haynes’ interpretations while Russo anchored the rhythm section and Benevento filled in every other space. Was this truly only three people?

The Happy Couple’s First Swim

The second set featured some of the best elements of the Duo (with themes off of ’04s Best Reason to Buy the Sun) interwoven with Krasno’s tight riffs and rapid scales – a true amalgamation of styles. By this time, anything they chose to play was perfect with the wedding partiers, none of whom had left even this late in the game. As the night pushed on we drooped into a spacier zone with deep psychedelic takes on songs by the JBs, Paul Simon, and The Doors. Zeppelin’s “The Ocean” pounded us as fists pumped and Russo channeled Bonham’s heavy rock theme.

Another two songs (including the Duo’s own “Becky”) left us exhausted and eyeing the infinity pool just outside the doors. But first, a few last nuggets to send us off into the tropical night, including a mellow “Stir it Up” followed by a bride’s jam. Robin had hopped onto the organ bench next to Marco and randomly played the nursery rhyme “Mary Had A Little Lamb.” And why not, it was her wedding! On a night when anything was possible and everything game, our three magicians took off with it and morphed the riff into a 15-minute improv that defied description. Hot revelers with sore feet took to the pool in full clothing, just as Benevento had done after the Duo’s set on Jam Cruise 3 – a fitting ending to a perfect night of intimacy, music, and celebration. Pura Vida indeed!

Soundboard Audio available here.

Continue reading for more pics of this raging wedding…

Duck, Duck, Benevento!

Benevento & Russo

Here comes the bride…


David Kaufman (Chicago musician)

Brandi Mitchell (Krasno’s gal)

Eric Krasno

Russo & Krasno

Joe Russo

The Beneventos

Marco and Ruby

Bride, Groom and Band

Daughter and Dad Dance

JamBase | International
Go See Live Music!


Krasno/Benevento/Russo: Wedding in Costa Rica

By Dave Wood & Chad Smith

Benevento/Russo Duo & Eric Krasno :: Summer 2009 :: Villa Caletas :: Costa Rica

Benevento/Russo/Krasno :: Costa Wedding

The adventure began last winter when Chris Gleason proposed to Robin Taxman on Jam Cruise 7. With all of the excitement and boogie going down on the high seas, Chris could easily be forgiven for promising a jam-oriented destination wedding and not delivering. But when he called from NOLA during Jazz Fest a few months later and said that Robert Walter was busy, but could help him with booking, I started to think he was actually serious. His daily updates from the Crescent City were intriguing, to say the least. We heard rumblings of conversations from Lotus, George Porter Jr., Marco Benevento, Galactic, Lettuce, Karl Denson, and the list went on. When he asked if I thought we could all make it down to Costa Rica at the end of July, the gig was on. Chris remained a bit secretive about the artists he was talking to but did reveal that he was trying to score the only Hammond B3 organ for hire in the entire country.

Two months later, I found myself in the San Jose airport renting a 4-wheel drive vehicle with surfboard rack to take us over the mountains to a resort outside of Playa Jaco. 57 people, including many festival veterans and jam band enthusiasts (not to mention guests aged 4 to 74), were making their way to the Pacific Coast for the event. Villa Caletas (the warm smell of?) sits on a mountaintop overlooking the ocean and a dense tropical rainforest. This was to be our venue for the Gleason-Taxman wedding. After the rehearsal dinner, some of the groomsman helped lug the rented B3 to the dining room, up the side of a mountain and 157 shallow steps, and then the band was announced. Chris had lined up the venerable Duo of Marco Benevento and Joe Russo and somehow hooked Eric Krasno (Soulive, Lettuce) to play for us. Actually, the secret had been revealed a few days before when Marco, his lovely wife Katy and their two-year-old daughter Ruby were splashing in the resort’s pool with us. The morning of the rehearsal, Krasno and the inimitable Brandi Mitchell arrived straight from the Gathering of the Vibes Fest in Connecticut, where Lettuce had played the night before. Russo and his girlfriend had also flown in that same morning.

Benevento & Krasno at Rehearsal Dinner

The rehearsal dinner show turned out to be exactly that; a rehearsal for three musicians at the top of their respective games who had not had much opportunity – a single practice session in Brooklyn – to play together prior to this gathering. With clouds streaming over the surrounding tropical jungle and the humidity adding an extra depth to every note, the three began things with a jammed out version of The Beatles’ “Taxman.” This turned out to be a theme that would be revisited throughout this night and the next. With no setlist, the musicians took turns leading and teaching each other as they explored songs by Stevie Wonder, Santana, and the Allman Brothers, to name just a few. The set was about two and a half hours long when it adjourned and we were left wondering what would be in store for us at tomorrow’s main event.

The music kicked off in the afternoon heat as the traditional Jewish wedding took place shortly after 4:00 p.m. in an amphitheatre overlooking the Pacific. Her proud father escorted the bride down the steps as Krasno and Benevento played a couple more Beatles tunes (“Something” and “All You Need Is Love”). Later, after we had stuffed ourselves on seafood and wedding cake, The Duo plus Krasno took up positions at the end of the Zephyr Palace under the light towers and smoke machines that Gleason had arranged for and kicked things off with a twist on The Meters’ “Cissy Strut.” After a few quick toasts, a long, jazzy “Come Together” signaled that we were in store for a jam heavy and deeply improvisational evening.

Hava Nagila! Hava Nagila!

Chris and Robin were hoisted overhead on chairs as the dancing grew frenetic and Benevento took us on the band’s first go at “Hava Nagila.” This “Have Nagila” was like no other. The momentum and energy just kept building and it almost felt as if we were at a rave (in a good way). Fortunately, Chris had a good grip on his chair or else he would have been launched into the soundboard.

Soul was heavily featured next with funky translations of Otis Redding’s “Hard to Handle” and Sly & The Family Stone’s “If You Want Me to Stay.” A nimble turn took us Deadheads into familiar territory with a fine, long suite of “Lovelight” > “Shakedown” > “Iko Iko.” The dancing was growing faster and some twirlers were spotted along the sides of the hall. Despite the heat and humidity which had permeated the room – the AC was definitely overmatched by this dance party – most of the revelers were still on their feet, including many of the couple’s family and friends, who had only the faintest idea of what was going on or being played. The two hour first set wound down with a concise reading of “Boogie On Reggae Woman” led by Krasno into “Get Back,” and finally a melding of the Greyboy Allstars’ and STS9′s workhorse “Nautilus.” The degree to which these three musicians were able to combine styles, communicate on the fly, and explore different themes within each song certainly gave no indication that this was one of their first gigs together. In fact, it seemed as though they had been playing together as a trio for years.

This cohesion was never more apparent than during the second set take on the Allman Brothers’ “Jessica.” This was a song they had tackled at the previous night’s aptly named rehearsal party, and while it was solidly done, there were a few rough transitions and clunky pauses. Not so at the reception get-down. Krasno channeled the lead work with a lyrical sense reminiscent of Warren Haynes’ interpretations while Russo anchored the rhythm section and Benevento filled in every other space. Was this truly only three people?

The Happy Couple’s First Swim

The second set featured some of the best elements of the Duo (with themes off of ’04s Best Reason to Buy the Sun) interwoven with Krasno’s tight riffs and rapid scales – a true amalgamation of styles. By this time, anything they chose to play was perfect with the wedding partiers, none of whom had left even this late in the game. As the night pushed on we drooped into a spacier zone with deep psychedelic takes on songs by the JBs, Paul Simon, and The Doors. Zeppelin’s “The Ocean” pounded us as fists pumped and Russo channeled Bonham’s heavy rock theme.

Another two songs (including the Duo’s own “Becky”) left us exhausted and eyeing the infinity pool just outside the doors. But first, a few last nuggets to send us off into the tropical night, including a mellow “Stir it Up” followed by a bride’s jam. Robin had hopped onto the organ bench next to Marco and randomly played the nursery rhyme “Mary Had A Little Lamb.” And why not, it was her wedding! On a night when anything was possible and everything game, our three magicians took off with it and morphed the riff into a 15-minute improv that defied description. Hot revelers with sore feet took to the pool in full clothing, just as Benevento had done after the Duo’s set on Jam Cruise 3 – a fitting ending to a perfect night of intimacy, music, and celebration. Pura Vida indeed!

Continue reading for more pics of this raging wedding…

Duck, Duck, Benevento!

Benevento & Russo

Here comes the bride…


David Kaufman (Chicago musician)

Brandi Mitchell (Krasno’s gal)

Eric Krasno

Russo & Krasno

Joe Russo

The Beneventos

Marco and Ruby

Bride, Groom and Band

Daughter and Dad Dance

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Music occupies an important place in our life

Music occupies an important place in our life. We can’t live without it. Actually people have different musical tastes depending on their age, education and even mood. Some people like classical music, others prefer rock, pop or jazz, but nobody is indifferent to it. Popular Music refers to the kind of music that appeals to [...]