They’re playing ‘Anjaana’ and ‘Anjaani’ in the US and are just about cordial to each other. But Priyanka Chopra and Ranbir Kapoor are bonded by their love for the Rocky-Rambo superstar Sylvester Stallone.
In fact one of the temptations for the pair to do Sajid Nadiadwala’s ‘Anjaana Anjaani’ was that the producer was a friend of [...]
Posts Tagged ‘Sly’
Ranbir Kapoor and Priyanka Chopra gear up to meet Sylvester Stallone
Coachella: Jay-Z, Pavement, Yorke Vultures, Muse, MGMT, Claypool
COACHELLA VALLEY MUSIC & ARTS FESTIVAL ANNOUNCES 2010 LINEUP
JAY-Z, MUSE AND GORILLAZ HEADLINE 3-DAY FESTIVAL WITH MORE THAN 130 ACTS
TICKETS ON SALE FRIDAY, JANUARY 22 AT 10:00 AM
Coachella 2009 by Dave Vann |
The 11th COACHELLA VALLEY MUSIC & ARTS FESTIVAL will feature a mix of artists ranging from Pavement, Thom Yorke???? (ed note: that is how they are billing it), Vampire Weekend, Them Crooked Vultures, LCD Soundsystem, Phoenix, Tiësto, Faith No More, Deadmau5, David Guetta, MGMT and Public Image Limited. Set for Friday, April 16, Saturday, April 17 and Sunday, April 18 at the beautiful Empire Polo Club in Indio, CA – the same grounds where COACHELLA debuted in 1999 – the COACHELLA 2010 lineup will feature more than 130 acts.
This year’s COACHELLA will feature a variety of options to make the concert experience an enjoyable one. In addition to expanded camping options – including car, RV and traditional tent camping – COACHELLA will allow, for the first time, in-and-out privileges for all attendees. Festival goers will once again have the ability to purchase 3-day festival tickets and various onsite camping options via an easy layaway payment plan.
For those looking to streamline the weekend’s experience, COACHELLA has teamed with Valley Music Travel to provide exclusive travel packages, local hotel shuttle transportation and private home rentals with VIP COACHELLA access. For more information and to purchase tickets, please visit www.valleymusictravel.com/coachella.php.
FRIDAY APRIL 16: Jay-Z, LCD Soundsystem, Them Crooked Vultures, Vampire Weekend, Deadmau5, Public Image Limited, The Specials, Grizzly Bear, Passion Pit, Echo and the Bunnymen, Benny Benassi, Fever Ray, Grace Jones, She & Him, Erol Alkan, The Avett Brothers, Calle 13, The Whitest Boy Alive, The Cribs, La Roux, Yeasayer, Lucero, DJ Lance Rock, The Dillinger Escape Plan, Proxy, Ra Ra Riot, Deer Tick, Wolfgang Gartner, Aeroplane, Iglu & Hartly, Sleigh Bells, P.O.S., Baroness, Hockey, Little Dragon, White Rabbits, Wale, Kate Miller-Heidke, As Tall as Lions, Jets Overhead, Alana Grace, Pablo Hassan.
SATURDAY, APRIL 17: Muse, Faith No More, Tiësto, MGMT, David Guetta, The Dead Weather, Hot Chip, Devo, Coheed and Cambria, Kaskade, 2Many DJ’s, Major Lazer, Dirty Projectors, Gossip, Z-Trip, The xx, John Waters, Les Claypool, The Raveonettes, Mew, Sia, Camera Obscura, Tokyo Police Club, Porcupine Tree, Old Crow Medicine Show, Aterciopalados, Bassnectar, Frightened Rabbit, Dirty South, Flying Lotus, Corinne Bailey Rae, Pretty Lights, Shooter Jennings, RX Bandits, The Almighty Defenders, Edward Sharp and the Magnetic Zeros, Craze & Klever, Zoe, The Temper Trap, Portugal. The Man, Band of Skulls, Girls, Beach House, Steel Train, Frank Turner.
SUNDAY, APRIL 18: Gorillaz, Pavement, Thom Yorke????, Phoenix, Orbital, Spoon, Sly and the Family Stone, De La Soul, Julian Casablancas, Plastikman, Gary Numan, Charlotte Gainsbourg, Sunny Day Real Estate, Yo La Tengo, MUTEMATH, Deerhunter, Infected Mushroom, Club 75, Matt & Kim, The Big Pink, Gil Scott-Heron, King Khan and the Shrines, Florence and the Machine, Yann Tiersen, Little Boots, Miike Snow, Talvin Singh, Ceu, B.o.B., Babasonicos, Owen Pallett, The Glitch Mob, Mayer Hawthorne, Local Natives, Rusko, The Middle East, Hadouken!, The Soft Pack, Kevin Devine, Paparazzi, Delphic, One EskimO.
Tickets for COACHELLA go on sale Friday, January 22 at 10:00 a.m. at all Ticketmaster locations and www.coachella.com. Three-day weekend passes are $269.00, plus surcharges. More details on layaway, camping options and up-to-the minute information, can be found at www.coachella.com. COACHELLA 2010 sponsors include Heineken and PlayStation.
For more on Coachella check out our 2009 review here.
Coachella 2010 Lineup Revealed
Jay-Z, Muse, and Radiohead’s own Thom Yorke are among the acts leading the lineup at this year’s Coachella Valley Music & Arts Festival. Them Crooked Vultures, The Dead Weather, and a bevy of reunion acts, including De La Soul, The Specials, and ’60s funk icons Sly and the Family Stone are other notable acts hitting [...]
Wanee: Allmans, Panic, Weir, Mule
2010 WANEE MUSIC FESTIVAL
THE ALLMAN BROTHERS BAND, WIDESPREAD PANIC, BOB WEIR & MANY MORE
Wanee 2009 by Saba |
The Allman Brothers Band will lead a cavalcade of outstanding performers in the all-star lineup for the 2010 Wanee Music Festival. The festival runs Friday April 16 through Saturday April 17 at the Spirit of Suwannee Music Park in Live Oak, FL. There will be an expanded Wanee Kick Off Party on Thursday April 15 starting at 3 p.m. Tickets for the Festival go on sale Friday, January 22 at 10 a.m.
The Allman Brothers Band and Widespread Panic will perform Friday and Saturday night of the Festival. Other performers include: Gov’t Mule; Derek Trucks & Susan Tedeschi; Bob Weir, Rob Wasserman, & Jay Lane are Scaring the Childern; Stephen Stills; The Black Keys; Dr. John; Hot Tuna Electric; 7 Walkers featuring Bill Kreutzmann & Papa Mali; JJ Grey & Mofro; Johnny Winter; George Clinton & Parliament Funkadelic; The Funky Meters; The Wailers; Sharon Jones and The Dap-Kings; North Mississippi Allstars; A Family Affair with Ivan Neville’s Dumpstaphunk (performing Sly & The Family Stone); Jaimoe’s Jasssz Band; Chuck Leavell with The Randall Bramblett Band; Particle; Oteil and Kofi Burbridge with The Lee Boys; Col. Bruce Hampton; Devon Allman’s Honeytribe; Scrapomatic; Bobby Lee Rodgers Trio and Bonobos Convergence.
TWO DAY GENERAL ADMISSION FESTIVAL TICKETS:
-$158.00 from January 22nd – February 22
-$178.00 from February 23rd – April 14
-$188.00 Gate Price (April 15th – 17th)
All prices include the Expanded Wanee Kick Off Party on Thursday April 15 starting at 3 p.m. Tickets are available at Music Today and LiveNation.com.
VIP TICKETS:
VIP tickets are $353 and will be available on a limited basis. All VIP credentials will be available at the park and can be picked up on April 15th or 16th.
VIP Tickets Include: (1) Two day pass to the festival, VIP Parking, VIP Hospitality Tent with catering, Discounted Beverages, Private Restrooms, Special concert viewing for the Peach Stage, Wanee Festival t-shirt and poster, VIP Welcome Party Thursday Night. VIP Tickets are available at Music Today and LiveNation.com
For more on Wanee check our 2009 review here.
Gov’t Mule: Any Open Window
By: Dennis Cook
Warren Haynes |
Gov’t Mule‘s ninth studio album, By A Thread (released October 27 on Evil Teen Records), roars out of the gate with a steely intensity – helped along by “badass guitar” from pal Billy Gibbons (ZZ Top) – that’s helped define the hard rocking group since its inception in the mid ’90s. For all the excellent ballads and fruitful exploration – which has exposed influences as diverse as Robert Johnson, Prince and Radiohead – Gov’t Mule is frequently at their best when they play blessedly heavy. And that’s the predominant vibe on By A Thread, which captures the energy and intensity of their early power trio recordings but melds them to the bandleader Warren Haynes‘ ever-increasing songwriting acumen and the richer, broader palette of the current quartet configuration of Haynes (vocals, guitar), co-founder Matt Abts (drums), Danny Louis (keys, trumpet, guitar) and newest addition bassist Jorgen Carlsson, who joined in 2008. What shines through on their latest offering is a renewed Mule, serving up densely layered classic rock that truly honors their forebears by playing with passion, musicianship and compositional skill equal to the best in the long line that precedes them.
JamBase was able to wrestle a few minutes out of Warren Haynes’ very busy schedule for an informative chat about where Gov’t Mule finds itself today, as well as the challenges and perks of playing with The Allman Brothers Band and The Dead, and how those experiences help enrich his work with the Mule.
JamBase: By A Thread might be the most confident, clear record you guys have made, at least with the four-piece lineup.
Warren Haynes: It’s hard for me to be objective about it, but I kinda think that as well. I’m very proud of it; the whole band is very proud of it. Of course, we listened to it a lot while we were making it and then got away from it for a while. When I hear it now I still feel the same way about it. I was very happy with High & Mighty as well, but I feel this one expanded beyond that and [went] a little more towards where we’re headed in the future.
JamBase: It feels like the identity of the band with keyboards, post-Allen Woody really came into something on this record. It seems like internally you guys figured out what your statement of purpose was.
Gov’t Mule |
Warren Haynes: Hopefully [laughs]. We were just flying by the seat of our pants and this is what happened. We went into the studio with Jorgen shortly after he joined the band, just to kind of force the issue and see what happens. The fact that it went really smoothly and productively and we were happy with what was going on and writing songs in the studio, it sort of galvanized the chemistry in a cool way that kind of advanced us to the next level really quickly.
There’s something about that ‘trial by fire’ sort of thing, where it can either be very instrumental or very detrimental in making you grow together.
It confirmed that we’d made the right decision.
I think Jorgen is tremendous with this band. He brings in a heaviness that’s reminiscent of Woody, and I couldn’t offer a bigger compliment.
Myself as well, and I think it’s a change we’re ready for now. I don’t know if we’d have been ready for it seven or eight years ago, but for whatever reason we’ve discovered each other now and it makes total sense.
How did you discover Jorgen? I think his entry surprised many of us who were largely unfamiliar with him prior to Gov’t Mule.
He was recommended to us by our mutual friend Jeff Young, who used to be in New York when I first came to New York and worked with me for a couple years when I first started putting musicians together in the New York area. Jeff left New York for Los Angeles to play with Jackson Browne, and he called one day and said, “I hear you guys are auditioning bass players and I think I might have the right guy.” We were putting together about a dozen bass players, all of which came extremely highly recommended from really close friends. So, the audition process consisted of us auditioning 12 really great people, and it was hard to choose because they all did an amazing job. But Jorgen brought the original spirit of the band back more than anybody we’ve played with since Allen. It sort of hit us like a bolt out of the blue, where it not only sounded like Gov’t Mule but the beginnings of Gov’t Mule.
I think I saw the Mule for the first time around 1996 and I was just floored by the thickness of the trio.
Yeah. That’s a good description [laughs].
Jorgen Carlsson by Willa Stein |
It really took my legs out from underneath me. And I don’t think I’d ever conceived of one band playing Mississippi Fred McDowell and Black Sabbath covers in the same set before Gov’t Mule.
Our diversity as a crazy rock band was evident even then. I think it reflects all of our tastes in music. Individually, everybody’s taste is different but collectively there’s a huge overlap, which consists of an extremely diverse array of influences that need to be dealt with or showcased.
We did a few reggae influenced tunes even with Allen. We did a “Lively Up Yourself” that was a soft reggae version with a loud rock chorus. “I’m A Ram” goes back as far as when Allen Woody was alive. Those influences were always bubbling to the surface even in the ’90s. It maybe surprised some people when we went full-bore with Mighty High, but that was just something to do for fun and for the fans. It was never meant to be the follow-up to High & Mighty. I view By A Thread as the follow-up.
By A Thread also shows your continued growth as a songwriter. While I definitely enjoy you in multi-headed beasts like the Allmans and The Dead, it’s in Gov’t Mule that we get to hear your songwriting voice strongest, where we get to hear the way you spin a story.
To me, that’s a big part of the overall picture. I would never be comfortable in any situation – no matter how great the improv or musicianship is – if there wasn’t a story to tell. My affinity for singer-songwriters has been there from the beginning. When I was 14 I used to sneak into these folk clubs in Asheville, NC and met a lot of the folk musicians and singer-songwriters and was very influenced by that. So, as I was listening to rock ‘n’ roll, jazz and blues the singer-songwriter thing never came out of focus for me. Maybe it’s coming more into focus now more than ever.
One of the challenges with Gov’t Mule, for me, has been to keep the singer-songwriter thing as part of the picture but not dilute the original power trio that Gov’t Mule started as, while at the same time also not sounding like the Allman Brothers, The Dead or anyone else I’m associated with because that would be futile to write and record songs for Gov’t Mule that sounded like they belonged somewhere else.
Continue reading for more on Gov’t Mule…
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I’m actually pretty amazed at your ability to compartmentalize identity in that way and keep these different worlds separate.
Warren Haynes by Willa Stein |
It is quite a challenge, and there are a few songs that overlap and could go in several different camps. But for the most part it seems obvious to me which ones belong where.
What do you find happens for you as you move through these different camps? What do you carry over from one to another?
The projects I’m involved with tend to influence each other in some way. I always tell people when asked about the hectic schedule that I’d rather be this busy with two or three bands than one. It’s much easier to get burnt out if you’re doing the same thing all the time, but if you bounce back and forth it becomes a source of inspiration, all the musicians I’m surrounded by and constantly influenced by. When I leave one project and enter another I bring that energy with me.
You manage to maintain your own identity when you play with The Dead. You really don’t sound like Garcia, but you’ve found your voice within the material, particularly the ballads associated with Garcia, which were a real challenge for them after Jerry died.
It’s an opportunity for me to express myself differently and express different sides of my musical personality. It’s an opportunity that a lot of musicians don’t have and may, in some cases, lead to some frustration. If musicians in general had a complaint, maybe that complaint would be they get stuck only showing a certain side of themselves. Being able to jump around and do different things like this, I don’t have that complaint and it’s something I’m very grateful for because the way I play and sing in one band is different from the other, even if it’s not drastically different. It’s the same overall personality but I’m allowed to utilize different sides of that. That helps keep me fresh, as well.
Having all these different influences, like most musicians, is a pretty natural thing. I think audiences today – or at least the audience we have in the circles we run in – are more open-minded about that and don’t tend to compartmentalize and stereotype as much as in the past, hopefully.
Matt Abts by Willa Stein |
I liken it to ’70s AM radio, where you could have Bruce Springsteen, Al Green and Bob Marley all in the same set of music.
When I was growing up FM [radio] was coming onto the scene, and one minute you heard Sly & The Family Stone and The Byrds and the next you heard Jimi Hendrix.
You placed on Rolling Stones‘ 100 Greatest Guitarists of All Time [Number 23, sandwiched between Mike Bloomfield (22) and The Edge (24)]. Is that a strange experience?
It is strange, and when I first found out about it I was very surprised. Our office got a call saying they were doing this list and I was on it, but they wouldn’t say where. I was very surprised to be on the list, and thought, “Well, great.” But, we had to wait till the magazine came out to find out where I was in rankings. It’s obviously not my list but I’m very honored to be on there.
This speaks to the idea that you are now an influence. You’ve been at this long enough that there’s people picking up guitars because of something they vibed with in your playing. What do you think you’re imparting to them?
Warren Haynes |
Hopefully if someone is influenced by what I do part of that will be nodding back to where it all came from. As a guitar player, my style is an amalgamation of everybody I’ve ever listened to, and the people that are most important come out the most. But, it’s similar to what Gov’t Mule does as a band, where young people who may have never heard some of these influences have the opportunity to discover where a lot of this music came from, because it didn’t just come out of thin air.
I think it’s an unspoken responsibility. When I was learning how to play, I had my first few guitar heroes and I’d read interviews with those people and see who they listened to and listen to that list of people. So, it’s going backwards into a family tree. When you discover someone who was SO influential over so much music it’s eye opening. So, for me, someone like Albert King – who I don’t think was even on that list [editor's note: Nope, Albert wasn't] – in my opinion, and I’m equally a fan of B.B. and Freddy King, Albert is the blues guitar player who influenced rock more than anyone. My reasoning for saying that is he was a major, major influence on Hendrix. He was a major influence on Duane Allman and Clapton, and obviously, the biggest influence on Stevie Ray Vaughn. Just that in itself is an indication of Albert King’s impact. He’s the only one for some reason that I can never figure out where it came from before him. When I listen to everybody else I can trace the lineage but with Albert I never heard anyone sound like that before him.
It’s a joy to come across something truly unique, a fresh language to absorb and attempt to speak.
That’s what music is in the first place. Music has always been a form of expression, and when you trace it back to its earliest roots it’s about communication. So the fact that here we are thousands of years later using improvisation as a way of communicating with each other, it’s pretty amazing. I’m honored to be part of the enormous circle of people that speak that language.
In a recent article in Classic Rock Magazine, you called improvisation “instantaneous composition.” Inspired observation, because it isn’t just this freeform thing if handled properly. With talented improvisers you really are creating a unique piece of music on the spot.
That, to me, is the most gratifying. As much as I like composing, there’s something about being on the spot and composing on the spot that’s instant gratification. Look at somebody like Charlie Parker, who was an absolute master of that, and it’s equally important as someone like Mozart. You have to learn how to open yourself up and let the music come through without any blockage. And that’s something you can’t predict or force or depend on, but when it happens it’s the most rewarding experience imaginable.
Gov’t Mule will perform two nights at NYC’s Beacon Theatre for NYE followed by an Island Exodus in Negril, Jamaica. Complete Gov’t Mule tour dates available here.
JamBase | 40 Acres
Go See Live Music!
The Staxx Brothers | 11.19 | Santa Cruz
By: Dennis Cook
The Staxx Brothers :: 11.19.09 :: Moe’s Alley :: Santa Cruz, CA
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In funk music we find a pronounced commingling of elements, where rock, jazz and R&B bump uglies, moistened with soulful lubrication and powered by a church-like need to get folks onto their feet and out of their constrictions. When done right, funk hits one like happy lightning with a bumptious thunderclap that shakes our preconceptions and lights a fire in the pit of us. Not many contemporary practitioners truly honor the spirit of funk’s founding fathers – Sly & The Family Stone, The Meters, Funkadelic – but one finds the same refined, lusty, socially conscious clamor ringing loudly in Seattle’s Staxx Brothers, who further distinguish themselves by carving out their own mythology rather than riding the coattails of their ancestors.
Before the show, bandleader/lighting rod DP Staxx (aka Davin Michael Stedman) tested the length of his microphone cable to make sure he could reach the already retreating weeknight crowd. Coming up to a total stranger, he quipped, “I’m Davin with The Staxx Brothers from Seattle, and we came to party. We’re gonna play our fuckin’ hearts out.” The look in his eye and casual, confident tone announced he meant business, and the great leaping “hoo-rah” of opener “Westsound Union,” a glorious West Coast celebrating funk grenade, delivered on his word immediately. And then they never let up, not for a second, and this in spite of one of the most honky ass, hang back audiences Moe’s Alley has ever witnessed. How one stands still with a bunch of thrusting, jiggling jumping beans like the Staxx kids capering onstage is simply beyond me, but if the general lethargy of the crowd bothered them it never showed, and DP brought the party right into folk’s faces, busting down the proverbial fourth wall to force choruses and giggles out of some genuinely startled peeps. As an enthusiastic recipient of their back alley gospel flecked salaciousness, I found myself happily singing “Crimson & Clover” and skipping with DP when he scooped me up. One picks up on the same audience-bridging gusto one finds in Akron/Family and Surprise Me Mr. Davis, except much earthier in tone and more anxious to tweak your bottom like the Marx Brothers riding a bad ass bass line.
For just a few folks, they made a hellacious amount of sound. With just three instrumentalists – Chris O’Connor (guitar), Denali Williams (drums), and Shane Smith (bass) – the focus often rested on the four-strong vocal frontline of DP Staxx (MC, lead vocals, awesome, shameless clownin’), explosive, direct and darkly adventurous rapper DC Staxx (aka Amin Tony Hester), and The Staquelettes
(comprised of Angela Rickard and Michelle O’Connor). However, the richness of their sound is a smartly designed, cleverly interwoven relationship between all elements, where tight, satisfying solos and perfect, humorous refrains arrive right on time, every time, and the whole thing rides like a cherry Caddy with top line hydraulics. Even the best of their funk contemporaries usually relies heavily on showy musicianship or obvious cover tunes to woo audiences, but Staxx has it all over most of them compositionally, vocally, and intellectually, and their showmanship puts them in the stratosphere of vintage P-Funk (on a no-frills budget – one dizzies to think what they might do if they had ‘flying saucer’ production money). Decked out in a Run-DMC tee, DP was balanced out by the curvaceous Staquelettes in “RIP JMJ” shirts, and it’s sly little touches like coordinated fashions and a growing stock of stage props, costumes, etc. that make time with the Staxx crew so hugely entertaining. Good music is wonderful but if one can have good music and a good time, isn’t that better still?
The Staxx Brothers by Michael Profitt |
It would be enough that they’re so bloody fun and engaging live but there’s a deep bottom depth to their music. While not initially clear in the heat of a concert, Staxx’s studio work – 2008′s keenly shaped, Parliament-esque 12th Street Blues and 2009′s heady snapshot of the band in fiery action We Are The Blaxstonz (produced by Scott Colburn, who’s worked with Arcade Fire, Mudhoney and Animal Collective) – reveals slave narratives, close encounters with death, country and hard rock leanings, and way more as one commits to sussing out the nitty and the gritty in their grooves. And like Funkadelic’s ’70s recorded output, just as one finds they’re shimmying they often also discover that some succinct yet important socially or culturally aware nugget has suddenly lodged itself in their dome. Frequently while singing along, perhaps unconsciously, as happened to me a few times at Moe’s, one stumbles across a quality laugh AND something that gives one pause.
And this creative arc looks to be on a continuing upward spiral based on the new numbers they rolled out at this set from their forthcoming third album, Jungle Cats, which showed the band delving into even more diverse musical terrain but keeping things sticky sweet and dance floor ready.
“Jungle Cats is our own mythology that we aren’t actually black, white, Puerto Rican/Creole, or even gypsy, but rather the last of the North American jungle cats, thought to be extinct, no longer running for cover – out of the shadows (of Bigfoot) and kicking ass,” says DP Staxx. “Plus we have crazy cool medallions, sweet ass capes, and a fur coat made of actual possum.”
Their lustiness, hell, their PLAIN OLD DIRTINESS is essential to their appeal. As the world grows increasingly more desiccated, ball-less, insular and individually focused, it’s heartening to find a band that openly and anxiously proclaims their love of pussy, nasty pounding, and other carnal delights that create connection, union, and vibrant, immediate sensation. Staxx is a post hip hop unit, and the street vibe is strong in this bunch. That often means they cut to the chase where others tiptoe, and more power to them on this front. It does not hurt that they have The Staquelettes, who undulate oh-so-winningly, moving hypnotically like some lost Motown sisters that might just give it up if you played your cards right. When I told the girls after their set that despite being a happily married man I had it bad for them both, they smiled and said, “Well good, that’s our job!”
From an absolutely blazing, tough as nails cover of “Red Hot Mamma” to irresistible new compositions like “Bad Neighborhood” and “Sugarwalls,” The Staxx Brothers reaffirmed funk’s relevance and potency in Santa Cruz. Going straight for that g-spot and doing The Running Man with zero irony, they poured out all they had in them, truly playing their “fuckin’ hearts out,” just as promised. Their apostolic character inspires healthy fanaticism for their cause. Their general delightful demeanor and blooming mythology, full of multiple nicknames and a strange, expanding geography, provide multiple points of entry, and wherever you come in the music is on point and rewarding. Theirs is a sound and mood that might stir you to dry hump the nearest GILF, toilet paper Timothy Geithner’s house, or some other form of beautiful mayhem. The Staxx Brothers are reaching out, anxious to take your hand and get into it, and they’re game for anything.
The Staxx Brothers :: 11.19.09 :: Moe’s Alley :: Santa Cruz, CA
Westsound Union, G Spot, Game Recognize Game, Red Hot Mamma, Roll Wit’ Me, Sugarwalls, Money, Bad Neighborhood, Back Home, On Ice, 1992, Name Dropper, Keep The Motor Runnin’, Jesus In Adidas, Detroit
JamBase | Sweet Spot
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…
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Duck, Duck, Benevento!
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Benevento & Russo
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Here comes the bride…
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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
JamBase | International
Go See Live Music!
The New Mastersounds Tour
The New Mastersounds U.S. Tour This Fall 2009
The New Mastersounds |
After the band’s most successful year to date, The New Mastersounds will be wrapping up 2009 with one final U.S tour. The East Coast tour will kick off at The Southern in Charlottesville, VA on November 4, continuing on to other noteworthy venues including the 8 x 10 in Baltimore, MD and The Bowery Ballroom in NYC, before wrapping up the tour at Bear Creek Music Festival in Live Oak, FL.
This year marked the release of the album Plug & Play on Universal Records independent arm Fontana & One Note Records, tours through Japan, Italy, Canada and the U.K., festival stops including Bumbershoot, Ottawa Bluesfest and Wakarusa and saw the band sharing bills with the likes of The Black Eyed Peas, Sly & Robbie, Matisyahu and The Black Crowes. The band’s music has been in such high demand that they will be releasing a new LP Ten Years On available exclusively as a digital download and at live shows. The CD version features a very special bonus track with a vocal contribution from Grace Potter, the 24-year-old ascendant rock star and friend of the Mastersounds from the U.S. festival scene.
Led by guitarist and producer Eddie Roberts, The New Mastersounds feature Joe Tatton on Hammond, Pete Shand on bass and Simon Allen on drums.
Confirmed NMS Tour Dates:
10/22 Asha Sound, Treviso, Italy
10/23 Bravo Cafe, Bologna, Italy
10/24 Vibra, Modena, Italy
11/04 The Outback Lodge Charlottesville, VA
11/05 State Theatre, Falls Church, VA
11/06 The 8×10, Baltimore, MD
11/07 The Bowery Ballroom, NYC, NY
11/12 Zydeco, Birmingham, AL
11/13 Smith’s Olde Bar, Atlanta, GA
11/14 Bear Creek Fest, Live Oak, FL
11/15 Bear Creek Fest, Live Oak, FL
1/20/10 Club Quattro, Nagoya, Japan
1/21/10 Club Quattro, Osaka, Japan
1/23/10 Club Quattro, Tokyo, Japan
1/24/10 Club Quattro, Tokyo, Japan
3/21/10 Jam in the Dam, Amsterdam
3/22/10 Jam in the Dam, Amsterdam
3/23/10 Jam in the Dam, Amsterdam
Monday Melody: Sly Edition
IT IS THE TRUTH THAT MAKES THEM SO UPTIGHT
Sly & Co. |
Another Monday, tail dragging and spirits on a low flame as you face down a fresh working week. Despair not, children! We got a triple pack of Sly & The Family Stone covers to uplift ya (and anyone around you once you crank it up!). We jump up with The Jackson 5 version of “Stand!” from their boffo 1969 debut. Then Maceo Parker and All The King’s Men blow some soul into “”Thank You (Falettinme Be Mice Elf Agin).” Finally, we give you Ike & Tina Turner blowing up “I Want To Take You Higher ” Stay strong, people!
Power To The Peaceful | 09.12 | S.F.
Images by: Dave Vann
This past weekend, on Saturday September 12, Michael Franti celebrated the 11th annual Power To The Peaceful Festival in San Francisco’s Golden Gate Park. Always a free event, this year’s lineup included Michael Franti & Spearhead, Alanis Morissette, Sly & Robbie, Cherine Anderson, Vieux Farka Toure, Sellassie and others like <a target=blank href="http://www.namkha.org/Namkha_Rinpoche.htm"Namkha Rinpoche who brought a personal message from the Dalai Lama. Heavy on the activism and power of the people, a list of nonprofit organizations that joined the festival can be found here.
Power To The Peaceful :: 09.12.09 :: Golden Gate Park :: San Francisco, CA
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JamBase | Peaceful
Go See Live Music!
Friday Playlist: Covers Edition
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A well-executed cover tune serves the two-fold purpose of illuminating one’s influences and bowing respectfully towards the source material, often sparking greater appreciation for the original version in the listener. However, the perfect balance of homage and a band’s own distinct flavors is tougher to pull off than most think. This week the Playlist inaugurates a spotlight on covers that have achieved this happy yin-yang, and we’ll circle back around periodically to present y’all with more killer interpretations.
We begin this super-sized Playlist with Swiss heavy metal legend Celtic Frost‘s WTF attack on Wall of Voodoos’s early MTV hit “Mexican Radio,” followed by a similarly raucous cover of Brian Eno’s “King’s Lead Hat” by magical punk noise purveyors The Dirtbombs. Next, it’s Oneida with a ballsy take on Creedence’s “Sinister Purpose.” Stick around after the false ending for about a minute for a blazing, crazed organ and abused electric guitar jam that pours out for a nearly 15-minute instrumental jam. Back into proper song territory, Joan Jett gets down on all fours for a spirited take on The Stooges’ “I Wanna Be Your Dog,” which is followed by Pearl Jam’s Eddie Vedder backed by Zeke on The Ramones’ “I Believe In Miracles.” Then it’s Mogwai‘s cheeky take on Sabbath’s stoner anthem “Sweet Leaf,” The Replacements moaning a remarkably sincere version of Kiss’ “Black Diamond” and Big Sugar putting some big beat behind Traffic’s “Dear Mr. Fantasy.”
The last section of our baker’s dozen shifts gears for a pair of reggae interpretations, namely Burning Spear‘s liberal reworking of the Grateful Dead’s “Estimated Prophet” and Sly & Robbie‘s cool take on The Police’s “Walking On The Moon.” One good Police cover deserves another, so we give you new kids Kicksville shining an “Invisible Sun” before the nervy final jolt of the Flying Lizards‘ beloved New Wave version of Barrett Strong’s much-covered “Money (That’s What I Want)” and Roxy Music’s Bryan Ferry doing Dylan proud on “A Hard Rain’s A-Gonna Fall.”
And check out last week’s highly energized Playlist with Mott The Hoople, Super 400, Boston and more! |
Power To The Peaceful 2009
Free Concert In Golden Gate Park Includes Performances By Michael Franti And Spearhead
Alanis Morissette, Sly & Robbie, Cherine Anderson, Vieux Farka Toure And More
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On Saturday, September 12, Michael Franti, along with Guerrilla Management present the 11th Annual Power to the Peaceful Festival at Speedway Meadows in San Francisco’s Golden Gate Park. Beginning in 1998, this diverse music, arts and yoga festival has become a San Francisco tradition dedicated to educating attendees on issues of social justice, non-violence, cultural co-existence and environmental sustainability. With over 70,000 attendees, PTTP has grown from a local community based event to one of the nation’s largest free music festivals in the U.S. The festival features a variety of international musicians, visual artists, renowned keynote speakers and over 200 exhibitors and green vendors.
The weekend-long festival begins on Saturday, September 12, with confirmed main stage performances by: Michael Franti and Spearhead, Alanis Morissette, Sly & Robbie, Cherine Anderson, Vieux Farka Toure, Sellassie and Truth Universal. Renowned DJ’s that include: Miguel Miggs, Ren the Vinyl Archaeologist, DJ Heyman and DJ Adnan will also be on site. In addition to musical artists, the festival will kick off with 1000 Yogis for Peace – a morning yoga practice sponsored by Yoga Tree SF with teacher Seane Corn. Keynote speaker, Namkha Rinpoche from Tibet, will also address the crowd regarding global peace. Closing the day will be the official afterparty at The Fillmore in San Francisco with Michael Franti presenting The Rocking Heads – a night of Talking Heads songs performed by the artists participating at the festival.
On Sunday, September 13 at the War Memorial Opera House, and Herbst Theater there will be morning Yoga & Brazilian Arts Workshop with beginning level Capoeira and Afro-Brazilian dance class and Yoga with Seane Corne and Les Leventhal. In the afternoon, PTTP and international humanitarian organization CARE present the 2009 Global Action Forum and Celebration.
Saturday’s festival is a family-friendly event with a kid’s zone with conscious carnival games, flag making, face painting, marionettes, stilt walkers, and a chill tent for napping and feeding. The Kids Zone Stage will feature performances by: PopLyfe, Jaden, Peace Outs, Gabby La La, and the Bay Area Girls.
11th Annual Power to the Peaceful Music and Arts Festival Schedule:
Saturday, September 12
Speedway Meadow, Golden Gate Park, San Francisco
9am: Call for 1000 Yogis w/Seane Corn
11am – 5pm: Main Stage: Michael Franti & Spearhead, Alanis Morissette, Sly & Robbie, Cherine Anderson, Vieux Farka Toure, Sellassie, Truth Universal and more
Admission is FREE ($5/donation requested – no one turned away)
Power to the Peaceful After Party
The Fillmore, 1805 Geary @ Fillmore, San Francisco
Michael Franti Presents The Rocking Heads – a night of Talking Heads songs performed by PTTP all star band
Tickets are $37.50 / 8pm Doors
Sunday, September 13
Yoga at Green Ballroom (across the hall from Herbst Theater)
401 Van Ness Avenue, San Francisco, 94102
10am – 5pm: Yoga & Brazilian Dance Workshops
Featuring: Seane Corn, Les Leventhal, Rosangela Silvestre, Mestre Papiba Godinho
Yoga: $40/individual; $75/both
Brazilian Arts: $20/individual; $35/both
3 Class Card: $80
4 Class Card: $90
Tickets available now at yogatreesf.com
Global Action Forum and Celebration at Herbst Theater
401 Van Ness Ave, San Francisco, 94102
2pm-9pm Global Forum and Celebration
Power the Peaceful and CARE present the 2009
Global Action Forum and Celebration: Empowering People to Create Solutions to Poverty
2:30pm-3:30pm Changing Climate, Changing needs: Effects of Climate Change on the Poor
3:45pm-4:45pm Defending Girls’ Rights: Empowering Girls to Learn and Lead
4:55pm-5:55pm Fighting Global Hunger: Modernizing Our Approach to Food Security
6pm-7pm Reception
7pm-9pm Evening Celebration Empowering People to Create Solutions to Poverty with a performance by Michael Franti
Tickets available now at cityboxoffice.com.




Coachella 2009 by Dave Vann
Wanee 2009 by Saba
Warren Haynes
Gov’t Mule
Jorgen Carlsson by Willa Stein
Warren Haynes by Willa Stein
Matt Abts by Willa Stein
Warren Haynes
The Staxx Brothers by Michael Profitt
The Staxx Brothers by Michael Profitt
Benevento/Russo/Krasno :: Costa Wedding
Benevento & Krasno at Rehearsal Dinner
Hava Nagila! Hava Nagila!
The Happy Couple’s First Swim
Duck, Duck, Benevento!
Benevento & Russo
Here comes the bride…

The New Mastersounds
Sly & Co.
Michael Franti
Michael Franti
Cherine Anderson
Cherine Anderson and fan
Cherine Anderson & Michael Franti
Cherine Anderson & Robbie Shakespeare (of Sly & Robbie)
Alanis Morissette
Alanis Morissette
Wavy Gravy
Former US House Representative Cynthia McKinney

Namkha Rinpoche
Namkha Rinpoche & Michael Franti
Michael Franti
Michael Franti & Spearhead
Michael Franti & Spearhead
Michael Franti
Michael Franti & Spearhead
Michael Franti & Spearhead with fans jamming
Michael Franti & Spearhead with fans
Michael Franti
