Behind Some Scenes Of The Sessions At McPike Park

Located in the heart of the isthmus in Madison, WI, McPike Park is a nearly six-acre park, formerly known at Central Park and was officially renamed in April 2018 at a dedication ceremony honoring longtime East High School principal, Milton McPike. The Sessions at McPike Park are free events that benefit seven non-profits in the local community. Each of these non-profit organizations have a day to promote their programs and this amazing festival of events funnel funds to these organizations through their raffles, auctions, and profit-sharing plans. Not only is there a wide variety of musical entertainment to satisfy most attendees tastes, the Sessions features a fine array of local food and product vendors to keep the tastebuds alive and keep a body fueled for fun. This event is family-friendly!

I had the chance to catch up with the Sessions’ creator, CEO and Events coordinator, Bob Queen to talk a little about how the Sessions At McPike Park was born into pour community and how every step, each year is always an adventure.. Bob shares his beginnings from a goat farmer thrust into some uncharted territory, including a neighborhood festival to operate. Years and stories later, here we are. Bob shares a little about how he has surrounded himself with people who help bring high quality acts from out in the world to us here in Madison and how a blending takes place with local artists and entertainment. At the heart if everything really feels like a shared pursuit of happiness and community. As we all sit, stand, dance and groove to the performances on stage, we remind festival goers that there are so many steps to keep an event like this not only afloat, but prospering. Take a peek at some of the vendors and partners that help make such an event go and hey, come on over for a little found happiness.

The Intuition Of Brooklyn Funk Essentials

Across a career that stretches thirty years & seven albums, Brooklyn Funk Essentials have established themselves as an audacious project, combining soul, hip hop, spoken word, jazz, Latin & of course, THA’ funk. The band have built up a loyal international cult following on every continent since inception in 1993 by iconic producer Arthur Baker and bassist Lati Kronlund. BFE was born out of New York’s buzzing hip hop, jazz & slam poetry scenes in the early 90s, rotating some of the finest musicians, DJs, poets, rappers and singers. BFE’s celebrated debut album ‘Cool & Steady & Easy’ (Dorado/RCA 1995) scored an underground hit with the version of Pharoah Sanders & Leon Thomas’ ‘The Creator Has a Master Plan’, while tracks like ‘Take The L Train’ & ‘Big Apple Boogaloo’ became DJ favorites. Brooklyn Funk Essentials have just served up their 7th long player ‘Intuition’, as they tour the UK & Europe. It is a master-crafted collection of R&B, discofunk, poly-riddims, infectious funk stompers with pop-laced hooks & the true, real, good vibes as we’ve come to digg, on Dorado Records. Brooklyn Funk Essentials’ first long player since 6th album ‘Stay Good’ in 2019, ‘Intuition’ sees BFE lay out their new ‘all killer no filler’ collection across 8 tracks of laid back grooves & arrangements that still remain cool, steady & easy. Alison Limerick (vocals), Desmond Foster (guitar, vocals), Ebba Âsman (trombone, backing vocals), Hux Nettermalm (drums, percussion), Kristoffer Wallman (keys, vibraphone and synths) and bandleader Lati Kronlund (bass, guitars, keys and producer) deliver a confident and vibrant set of originals. The release day focus & title track ‘Intuition’ is a hook-laden jam with hints of Brubeck, Chaka Khan & Nino Rota, featuring Alison Limerick and guitarist Desmond Foster on soulful vocals and Hux’s funky drummer beats It follows up the recent 4th single from the album ‘Rollin’, which was playlisted by Jazz FM for four weeks. Both of which, Lati & Alison discuss in our below conversation.

I had the honor of chatting with Alison and Lati about the creation of this perfectly timed new record. A little notice. Brooklyn Funk Essentials has been a mainstay on my person turntable for years – just a sound that stuck with me early and never let go. We got into how the natural flow of the sound sort of took over when this album was born and raised up. We dissect a couple of tracks and that’s where the real insight almost always lies finding out some of the hows and what went downs that only those who are in that know, knew. I found the discussion on how these new tunes are being playe dlive, and where the nuances are showing up and what the audience does to enhance an already really cool experience. And, Lati builds a setlist that Alison totally agrees with. What a time, what a band, what an album.

Hangin’ With Corky Siegel & Ernie Watts

Corky Siegel and Ernie Watts, two like-minded friends, bringing people together across different traditions. Corky Siegel is known internationally as one of the world’s great blues harmonica players, blues pianist, singer, and writer of unusual songs, a Chamber Blues progenitor, and sole pioneer/composer of award-winning revolutionary works that weave blues and classical forms together. Corky’s has a catalog of recordings on RCA, Vanguard, Alligator, and million-selling blues/classical recordings on the iconic classical label Deutsche Grammophon. Siegel learned his craft – personally – at the feet of such legendary first-generation bluesmen as Muddy Waters, Howlin’ Wolf, Willie Dixon, Little Walter, and Otis Spann. Ernie Watts has been featured on over 500 recordings by artists ranging from Cannonball Adderley to Frank Zappa and even the Rolling Stones. He was a featured soloist on many of Marvin Gaye’s albums on Motown during the 1970s, as well as on many other pop and R&B sessions. In 2014, Mr. Watts received the prestigious Frankfurt Music Prize. Watts has performed and/or recorded with a long list of who’s who in Jazz including Pat Metheny, Billy Cobham, Kurt Elling, Arturo Sandoval, and Jack DeJohnette to name just a few. His saxophone can be heard on countless television and film scores, and recordings too numerous to list. These are legends!

A few years back I had the pleasure and honor of chatting with both Mr. Watts and Mr. Siegel, separately about an upcoming performance they were putting toGether in Madison. Once again, we are back at it…this time a conversation as a trio. This time around they are heading back to the North Street Cabaret on May 20th, as a duo. We get into a lot of what will go down both musically and personality-wise as a true night of entertainment awaits. We also discuss some of the possibilities of the unknown that always seem to happen when there is a spontaneous shared spreading of joyous moments. Since this tour is made possible by the Johnny Carson Tonight Show Foundation, we get into stories of historical importance of both Ernie’s and Corky’s as it pertains to Doc Severinsen, the Tonight show and even, Mr. Carson. Classic. We go back to their first meeting and the humorous way the two share in how that “you only get one time to mae a first impression’ introduction went down. We talk about some of the new music Corky has been working on and putting out as a solo artist as well as MORE Different Voices, even….And well, we have a whole lotta fun, which, afterall….is the goal.

Rudy De Anda’s New Record And Visit to Madison

In 2020, Rudy De Anda moved his homebase out of California for the 1st time. He was headed East. Somewhere in the back of the U-Haul, among the boxes and stuff, was a mostly finished record. Once getting to Chicago, Rudy quickly found the final pieces of his new LP, ‘Closet Botanist’. It’s due out April 28th on Colemine/Karma Chief Records. The album was recorded in Austin, Texas at the Electric Deluxe recording studio, owned & operated by friend of the proGram Adrian Quesada, who helped produce & engineer this new LP. Rudy’s previous releases have grown synonymous with California sunshine. He was born in Los Angeles and spent most of his formative years in Long Beach. ‘Closet Botanist’ isn’t a total departure from Rudy’s beachy, psych-rock roots, but it does sound more mature. Most of the songs were written back in California with the help of Rudy’s previous bandmates. “Tu Mirada” was one of the first songs he wrote in Chicago. Then, a local friend helped him find “Hey Mr. Sun.” Rudy connected with Blake Rhein (Durand Jones and the Indications) during the final weeks of writing and the two worked on Blake’s tune, another step of maturity as this was something Rudy previously had not done to date. To get the sound just right, Rudy called his California bandmates to the studio. Jon Rivera played bass, Daniel Villareal laid down the drums, and Kyle Davis took care of the organ, piano & synth leads. Adrian Quesada produced the album & Aaron Glembowski engineered the sessions. The band recorded directly to tape to channel a classic rock n’ roll sound. Rudy points to The Velvet Underground & The Kinks for direct inspiration. Rudy dedicates the album to those who love so hard that they neglect to water their own garden. Even in a much colder climate, the closet botanist continues to grow.

I had the pleasure of spending a little time talking with Rudy ahead of his April 26th event in Madison at The Bur Oak. We painted a little scene of what event goers should expect when in that space together. We got pretty deep into the new album – learning how things got accomplished, how Adrian and he worked and how the final product, in my humble opinion, is a step into the future of this psych soul sound. With that, Rudy takes the question on of building a setlist with a track off ‘Botanist’ and as usual, I feel the listeners would not mind if another artists took over the driver’s seat of the show. HA!

Ghost Funk Orchestra’s Seth Applebaum

Ghost Funk Orchestra is the brainchild of composer/multi-instrumentalist Seth Applebaum. What started as a one-man recording project has now evolved into a powerhouse live band. It’s a sonic kaleidoscope that defies genre specification, but draws heavy influence from the worlds of soul, psych rock, salsa, and beyond. Their unique blend of genres has attracted praise from the likes of NPR, Bandcamp, KUTX, Brooklyn Vegan, Earmilk, and more. Local NY blog Post-Trash described their sound as a ‘psych odyssey of traditional sounds delivered in a non-traditional fashion.’ Bandcamp’s Editorial Director J. Edward Keyes praised the band’s ability to ‘leave no funk-adjacent genre unexplored.’ Experimentation is the key, and unpredictability is what has been attracting folks from all corners of the globe to see what GFO pulls off next…

I had the chance to catch up with Seth ahead of the April 26th show at The Bur Oak here in Madison. We talked about the differences between what is hear don one of GFO’s albums versus a live show. We got into the making and process of the latest album ‘A New Kind Of Love’ out now on Colemine Records. Within the conversation about the record, we explore how this group of people is on the cusp of many genres, and how that widens the pool of ears, and makes them a perfect fit for greenarrowradio. We take the talk of that latest album into what songs Seth would choose to build a setlist around and he gives a few tracks for consideration budling on top of those. Get ready to stretch with GFO wherever you can catch them. Which reminded me actually of the recent shows Ghost Funk Orchestra had a chance to be a part of with the legendary Brazilian Tropicalia group, Os Mutantes. I had to listen to how Seth’s voice changed a little bit while going into what that experience was like.

The Infamous Live with Benny Reid

NYC-based Benny Reid is a producer, composer, saxophonist, & educator. He is a Fatbeats & Concord Recording Artist, as well as an endorser of Selmer Saxophones, Vandoren, Novation, Focusrite, & Applied Microphones. He has held the #1 Billboard spot for “Follow the Leader Re-Imagined”, a partnership with legendary hip-hop artists Eric B. & Rakim. Mr. Reid has performed with numerous acclaimed artists including Frankie Valli, Bon Jovi, Fergie, The Temptations, Buddy Rich Band, among others. As a composer, his music has been featured in Major Motion Pictures and on networks including CBS, NBC, ABC, FOX, HBO, Showtime, Netflix, Amazon, and MTV. Reid has composed and performed music for a variety brands such as Subway, Gevalia Coffee, and Mercedes. Currently, Reid produces and scores music for both picture and recording artists, as well as leads his various ensembles in performances worldwide. His most recent work, THE INFAMOUS LIVE: BENNY REID & HAVOC, is an amazing rebuilding of Mobb Deep’s iconic 1995 opus ‘The Infamous’. This ambitious new project is a collection of acoustic, sample-free renditions, built entirely from the ground up & performed entirely by the multi-instrumentalist. ‘The Infamous Live’ comes on the heels of that Billboard-charting take of Eric B & Rakim’s ‘Follow The Leader’. From this, Mobb Deep’s Havoc discovered his work and authorized him to reconstruct the timeless Mobb Deep album, giving his input and working with Mr. Reid in the studio to complete the project. His limited 7″ of “Shook Ones Pt. II” previewing the project, sold out quickly upon release in December 2022.

I had the pleasure of chatting with Benny Reid about this latest project after airing a couple of tracks and the phones lit up. We got into how this project with Havoc’s blessing on a legendary record that many hold near to their ear. We discuss the almost scientific approach her took while rebuilding this iconic sound from the bottom up as an instrumental. The how Havoc got wind of what was going on and gave the thumbs up on a push forward with this new feel of an old sound. Its the original source material that started the thrill, creating the allure to do other versions of the first track he rearchitected. This path was a long and difficult one, so we get a look into what’s next, and even get a peek under the hood of some of the ‘soon to happen’ projects being discussed and thought through. This album will give you both a nostalgia and a path forward to a brand new listening spot.

Fire Illuminations With Wadada Leo Smith

Legendary trumpeter/composer and family to the proGram, Mr. Wadada Leo Smith debuts his new ensemble Orange Wave Electric with an exhilaratingly hot new album “Fire Illuminations”, available as a digital album on March 31, 2023 via Kabell Records. Joining Wadada are an electric band with guitarists Nels Cline, Brandon Ross & Lamar Smith; bassists Bill Laswell & Melvin Gibbs; electronic musician Hardedge; percussionist Mauro Refosco; and drummer Pheeroan akLaff. He recorded the album in a series of sessions and configurations, compiling the final product through extensive post-production. He sure had an embarrassment of riches to work with: Orange Wave Electric, as shown spelled out above, is an all-star electric band that brings different parts to stoke the flame. Wadada shares history with many of these musicians; Mr. akLaff in particular has been a vital collaborator for more than 4 decades and he has recorded with Mr. Ross & Mr. Gibbs in the formation of their bold trio Harriet Tubman, while Laswell joined the trumpeter along with the late percussion master Milford Graves for 2021’s inspired Sacred Ceremonies. Both Mr. Cline, famous as a member of the band Wilco, and Lamar Smith have been members of Wadada’s Organic group. Only Mr. Refosco is a new layer, though he’s long been an acclaimed percussionist best known for his work with David Byrne and the Red Hot Chili Peppers. Mr. Smith crafted the 5 expansive compositions on ‘Fire Illuminations’ in the studio from a series of recording dates conducted and edited over the course of nearly 4 years. He cites such precedents as the groundbreaking work of Jamaican reggae and dub innovator Lee “Scratch” Perry & Miles Davis classics like Bitches Brew & On the Corner.

It is always a pleasure to have Mr. Wadada Leo Smith join in on the proGram. He always adds new ways to think about music’s being, and how it gets to the people. Before we got into the new album, “Fire Illuminations”, we talked briefly about his recently being elected to the American Academy of Arts and Letters. We did dive head first into the creation of the new album and how the process beGan and the space in the in between. Wadada shares a few ways in which the sparks flew to be where they landed, and how each collaborating energy adds to the vibrance of the pieces. Dark Matter. What matters. We touch on so much, but discussing how the piece on the record that really keeps a good burn on for me, “Tony Williams” came to exist and be it’s own, made me relisten and refocus when relistening to the times around the heard. And….this track sounds great on the radio. The honor is always mine to learn more about the how, of the music the changes me. Find some change with this one.

Við Kjalveg – Jarlhettur, 2000.
Photo: Einar Falur Ingolfsson

Fishing For Accidents With Wax Tailor

Critically acclaimed French producer and DJ, Wax Tailor has released ‘Fishing For Accidents’ via his own label LAB’ORATOIRE. The album explores cinematic landscapes by sampling a world of vinyl, exploring with his sampler a world of vinyl and cinematographic references. A multi-recidivist talent scout he gathers a prestigious cast of talent from folks in the HipHop world like Mick Jenkins, Mr. Lif, Kuf Knotz, Mattic, and from the indie rock scene (Jennifer Charles, singer of the legendary band Elysian Fields and Victoria Bigelow). With one eye on the past and the other on the horizon Wax Tailor has made an album with one foot in the past and one foot in the present, the result is a unique and beautiful dance. Wax Tailor instills the incandescence of an organic sound and distills his art of sound anachronism in a wide gap between nostalgia and modernity that has made him one of the leaders of the international electro hip hop scene for over twenty years. Going to a live event where you are automatically taken from where you stand and are brought to a new space and place without moving…that’s the experience of a Wax Tailor shared in the moments together time brings.

I had the opportunity to catch back up with family to the program, J.C. (Wax Tailor) ahead of his March 24th performance at the Majestic in Madison. We reel in what the performance could be like for those in the there of the moment. We spend a good amount of time discussing the shaping of the new record “Fishing For Accidents” that he is out in support of. Once aGain, this is another artist that I find to be able to really find the perfect fits when it comes to collaborations or pairing…we get into how that sometimes goes about, and a few examples of other recent artists that have been examples of relationships that have worked out, including Mr. Lif and Kuf Knotz and Christine Elise. All I now is there is no accident with how this music fits together and certainly how I feel lie a different person after a live hang with Wax Tailor.

A Little Time With Sona Jobarteh

Sona Jobarteh is the first professional female Kora virtuoso to come from any of the West African Griot dynasties. Her lineage carries a formidable reputation for renowned Kora masters, most notable amongst these are her grandfather Amadu Bansang Jobarteh and her cousin, the legendary Toumani Diabaté. Sona is reputed for her skill as an instrumentalist, her distinctive voice, infectious melodies and her grace onstage, and she has rapidly achieved international success as a top class performer. The demand for her live performances has rocket in recent years, and 2019 saw her perform at some of the world’s most renowned festivals & venues such as the Hollywood Bowl in LA, WOMAD in Australia & New Zealand and Symphony Space in New York City. Sona has the unique ability to touch audiences globally and from all backgrounds & cultures, while also commanding the attention of sitting presidents & royalty alike. Her captivating stage show has proved to be popular everywhere, and with a repertoire that exudes accessible sophistication, her audience demographic is constantly expanding. Sona’s dedication to spreading powerful humanitarian messages through her songs and her stage performances makes her much more than a regular musician; she is in fact a compelling social activist, speaker, & change-maker who believes in leading by example. Her achievements in setting up a pioneering Academy in The Gambia, alongside her dedication to social change has gained her invitations to deliver speeches at high profile events around the world, including summits for the UN & the World Trade Organization. Sona founded the Gambia Academy in 2015. This pioneering institution is dedicated to achieving her mission of educational reform across the continent Africa. According to Sona, Africa faces the crucial & urgent challenge of addressing its education systems. Children who are fortunate enough to be able to attend school spend most of their waking hours in school, however in most cases the environment, culture, approach & curricula content within these schools are invariably oriented around a post-colonial value system and subsequently a foreign perspective. For Sona, it is detrimental for future generations of the continent whose values and concepts are shaped during their school years, to continue to be trained within a system where African culture, African history, African traditions and their intrinsic values are either non-existent, or at best relegated to the position of extra-curricular ‘activities’. This Academy is therefore the first of its kind in The Gambia to deliver a mainstream academic curriculum at a high level, while also bringing the culture, traditions and history that belong to students, to the front and center of their everyday education.

I had the honor of catching up with Sona ahead of her March 21st event in Madison at the Garver Atrium. Fresh off her 60 Minutes interview that certainly opened more doors and windows to what she has been doing and where she is heading, Sona and I discuss a little about what a newer person to her music can expect at a live event such as the one here in Madison. We learn about some of the music we may here from here latest release, “Badenyaa Kumoo” and how she feels while presenting the music live – the conversation. I could not spend time with Sona without touching on the powerful work she has dedicated as her purpose in life, The Gambia Acadamy. We touch briefly on a few aspects of the what that is happening to help achieve a new model of education in Africa and try and find the middle points in her life’s Venn diagram to see how/where/if/when the two marry. I am honored to have had this opportunity to discuss only a few aspects of what makes Sona go…and go she does, as you can tell by her answer to the final question about where she Goes to find a little ‘Sona time”. Do yourself a favor and find a way to start a conversation of your own by listening to her music, supporting her missions and or both, as forward is the way she is heading.

Mike Dillon & Punkadelick Inflorescence

Together, Mike Dillon & Punkadelick have conjured Inflorescence, an album of heady, post rock and punk jazz highlighting a band deep in the throes of creative freedom, road-tested and wild. The ten track collection is expansive, focused & fearless, representing a world where Duke Ellington & Augustus Pablo rub shoulders with crate-digger exotica, the freak-funk of Parliament and the ‘anything fits’ outsider ethos of acid-fried punks like The Meat Puppets. This is one powerful trio featuring: Mike Dillon (Ricki Lee Jones, Ani DiFranco, Les Claypool) on vibraphone, marimba, Prophet 6, congas, and bongos, family to the proGam, Mr. Brian Haas (Jacob Fred Jazz Odyssey) on Fender Rhodes, piano, bass Moog and melodica and Nikki Glaspie (Beyonce, Nth Power) on drums, cymbals and vocals, Punkadelick is the unified vision of six hands creating a world that often sounds like the work of an ensemble three times the size.

It is always nice to get a chance to talk with family to the proGram, Mike Dillon, especially when he is brining one of his projects to town. This time around he comes to Madison March 18th at the High Noon Saloon with the trio Punkadelick. Also on the bill is another pal to the show, Marco Benevento. The day we were chatting is the day of the Kansas City Chiefs Super Bowl championship parade and well..it’s in there. Perfect vibration of the day moments. We get into the who and the what of the event and then we get deep into the coming toGether of Punkadelick’s new record Inflorescence (out now on Royal Potato Family), including dissecting the track & Video (put together by Mike’s wife Peregrine Honig), “Pandas“. We even have time for some real talk and Mike builds a setlist around one track he choses off the new album. Priceless time spent talking music.

Supreme Beings of Leisure “22”

Yes, it’s been 14 years since their last release, 11i, but Supreme Beings of Leisure is back with a brand new story to take us through toGether. The band—consisting of original members Geri Soriano, Ramin Sakurai, and Rick Torres—had to live life. A whole lot of it. There were marriages, kids, a divorce, the death of parents, a flooded recording studio, the pandemic, even a near-death experience. With their 4th studio album, those experiences have been transformed into music. And so 22 years after their critically-acclaimed, self-titled debut (and two decades since this trio has played together), Supreme Beings of Leisure is back, with an impressive array of guests to boot on ’22’. Stay in the game long enough and you collect enough friends to make a fantastic team effort—which is exactly what22 is. Beyond the core trio, the album features keyboardist Rami Jaffee (Foo Fighters), guitarist Marty Friedman (Megadeth), violinist Lili Haydn (Paige/Plant, Funkadelic), drummer Satnam Ramgotra (Hans Zimmer), percussionist Duke Mushroom (Masters at Work, Janet Jackson, Gloria Estefan), bassist Adam Dorn (Mocean Worker), pianist Scott Tibbs (Beyonce), and vocalists Durga McBroom (Pink Floyd, David Gilmore), Frank Navin (The Aluminum Group), and Monica Reed (Sting, James Brown, Deep Purple). Longtime SBoL fans will be thrilled to be back inside of the sonic bubble known as ’22’. There’s so much richness and depth, all packaged in the incredible storytelling and songwriting you’ve come to expect.

I had the fortune of catching with with Geri and Ramim ahead of the new album’s official drop. We actually go back a bunch of years as this music, their music, is one that paints my landscapes and allows a personal walk or run or hopscotchin’ thru and so I am so thrilled there’s some new places to visit. We got into the seed to flowers way this record came to become and form, how the pieces fell into place and the process by which they work. The music has lives attached to it, with individual heartbeats of what was and has been happening immersed within. We got into a few of the tracks and their tales, their importance and yes, their grooves. As noted above, what a list of stars from many skies that became a part of these stores – so of course there were moments shared about collaborating, and a fun chat about that time Ramin got Marty Friedman’s autograph [and vice-versa]. Worth the wait is all I can advise and keep ’22’ on repeat as you go through some of these new normal type days. EXCITING.

Jazz Is Dead And Steve Kimock

Steve Kimock has proved himself a master of fluid improvisation for over 4 decades, in the process inspiring music fans w/his transcendent guitar speak voiced thry electric, acoustic, lap & pedal steel guitars. With his multi-decade reputation as a blazing psychedelic guitarist versatile enough to touch almost all aspects of American music, Mr. Kimock continues to evolve creatively as he wanders thru the landscape of life. While one can say that his genre is rock, no one niche has ever confined him. Instead, through the years, he’s explored various sounds/styles based on what’s moved him at the time, whether it’s blues or jazz; funk or folk; psychedelic or boogie; gypsy or prog-rock; traditional American or world fusion. Threaded thru this expansive & highly nuanced musical landscape is Kimock’s signature sound, the prodigious product of his ability to articulate crystal-clear tone, melody & emotion into intricately woven music crafted with technical brilliance. His passion & devotion to performing live is matchless, and his unparalleled ability to embrace & capture his audiences musically is the stuff of legend. He co-founded the jazz/rock band Zero in the ‘80s & KVHW in the ‘90s; since then, he has recorded & toured in various outfits under his own name. His collaborations with assorted band mates & groups have provided an everlasting wellspring of inspiration for the guitarist, and he has shared the stage with a seemingly endless array of international musical luminaries. After more than 40 years on stage, Mr. Kimock is more committed than ever to a jubilant spirit of musical diversity — the same spirit that has fed his desire to pursue an authentic relationship w/the guitar since the day he realized his calling. While still performing with Zero, he began to explore new terrain with the looser, bluesier Steve Kimock & Friends, an ever-evolving project that continues to feature a cast of acclaimed singer- songwriters, Hammond B-3 players, rock guitarists and numerous other serious players Kimock has befriended along the way. Late in the century it was succeeded by KVHW, a much lauded though short-lived quartet comprised of himself, Zero bassist Vega, drummer Alan Hertz, & former Frank Zappa sideman Ray White. In February 2000, KVHW morphed into the Steve Kimock Band, which featured Kimock & Vega along with a rotating crew of guitarists & drummers. In 2009, he formed the upbeat, gospel-influenced, soul-rock band Steve Kimock Crazy Engine, which featured legendary Hammond B3 player Melvin Seals & Kimock’s son, John Morgan Kimock, on drums. Once touted by Jerry Garcia as his “favorite unknown guitar player,” Mr. Kimock has also performed as part of Bob Weir’s Kingfish and toured in both 2007 and 2014 with Bob Weir’s band RatDog, in addition to post-Grateful Dead ensembles including The Other Ones, Phil Lesh & Friends, and the Rhythm Devils featuring Mickey Hart & Bill Kreutzmann. Dubbed “The Guitar Monk” by Relix magazine, he is driven by the knowledge that there is always more to discover – that and the fact that he loves guitar too much to do anything else. Another project you can hear his sound on is Jazz Is Dead – an acclaimed All-Star instrumental ensemble, famous for interpretations of classic Grateful Dead songs with jazz influences.

I had the thrill of getting some time set aside to chat with Mr. Kimock about the upcoming Jazz Is Dead event on January 19th at the Barrymore Theatre here in Madison. We got into the event and what people who make it to the show will be a part of. That’s right, a part of. We talk about his job of making sure he is in tune with the music, the song and himself – and the practice it takes to be so. I found it thrilling to be in discussion with Mr. Kimock about the idea of making/creating music versus walking in the landscape of what exists and find your way. There is a moment where we discuss the legacy of this music, and the honoring of Jerry Garcia’s time with it. While I have been in the spiral of the day’s sounds with this artist for years, the evolution that I felt while even just discussing music, makes me very aware of what kind of show anyone who gets out on this Jazz Is Dead XXV tour, where they will honor the Dead’s ‘Wake Of The Flood’ and more. It will be that experience we talk about for years to come.

Alphonso Johnson With Jazz Is Dead

Alphonso Johnson is an iconic musician from Philadelphia, Pennsylvania whose contributions with the electric bass set the landscape of music to come. As Weather Report’s bassist, Johnson’s warm tone and fluent chops contributed to the band’s initial breakout from avant-garde into funk fusion. His playing was featured on the songs “Mysterious Traveler”, “Scarlet Woman”, and “Cucumber Slumber” which he co-wrote. Alphonso played with the group Santana and also toured with saxophonist Wayne Shorter, pianist James Beard, drummer Rodney Holmes, and guitarist David Gilmore playing S.R.O. shows that stretched across Europe and Japan. Johnson has taught all over the world and in 2004 was appointed Adjunct Professor of Music at the University of Southern California and Part-Time Lecturer at The California Institute of The Arts. In early 1982, Johnson joined Grateful Dead member Bob Weir’s side project Bobby and the Midnites. He would reunite with Weir in 2000, playing bass in place of Phil Lesh on tour with The Other Ones. He has also performed fusion versions of Grateful Dead songs alongside Billy Cobham in the band Jazz Is Dead. The acclaimed All-Star instrumental ensemble, famous for interpretations of classic Grateful Dead songs with jazz influences, returns in 2023 to celebrate its 25th Anniversary. Co-founder Alphonso Johnson will be joined by Steve Kimock, Pete Lavezzoli & Bobby Lee Rodgers, performing Grateful Dead’s ‘Wake of The Flood’ marking it’s 50th Anniversary, in addition to other beloved selections. Jazz Is Dead XXV ‘reunites’ two greats! Steve Kimock & Alphonso Johnson, who together in heavyweight post-Garcia Grateful Dead offshoot The Other Ones together with Bob Weir, commanded the instrumental prowess of that band.

I had the honor of catching up with Mr. Alphonso Johnson to get into the upcoming concert in Madison on January 19th at The Barrymore Theatre, as Jazz Is Dead comes to keep us company. We get into the idea behind the shows and how the music will guide the way from night to night to night. Mr. Johnson, a natural teacher describes how these 4 cooks bring their individual abilities into the kitchen and we talk a little about the feeling of getting back toGether to find his way through the music with Mr. Steve Kimock. This is one of those events where not only will the music unite, I feel it’s the connection with ALL the people that will be equally as important.

Rock and Roll Warrior David Libert

David Libert had such a long & interesting career in the music business, his friends encouraged him to write a book about it and so he did. The result is an autobiography 50-plus years in the making titled Rock and Roll Warrior, recently released on Sunset Blvd Books. It’s a chronicle of David’s inner circle life in the music industry as a popular international performer, singer/songwriter, tour manager, booking agent, producer, and drug dealer on the Sunset Strip. It’s a story so wild, so crazy, so over-the-top that it can only be true. You can’t make this stuff up! This book is a riotous, humorous, intimate, provocative story of Mr. Libert’s life in music. From his tenure as co-lead singer of 60s pop hitmakers, The Happenings, to his role as tour manager for Alice Cooper’s most legendary 70s tours, to managing funk/R&B legend George Clinton and Parliament-Funkadelic to…yes, there’s more even. Hailing from Paterson, New Jersey, he co-founded The Happenings w/3 high school pals shortly after graduation. The Happenings went on to have several hit records including “See You in September” and “I Got Rhythm.” Those 2 tunes were on the Billboard Hot 100 charts for 14 weeks in 1966 and 13 weeks in 1967, respectively, and both songs peaked on the Billboard Hot 100 charts at #3. Sales for both exceeded one million copies, resulting in R.I.A.A. gold record awards by 1969. David left the group to become a booking agent and eventually a tour manager. After a brief stint as road manager for Rare Earth, he became tour manager for Alice Cooper during Alice’s most formidable years (1971–1975). David figured prominently in Bob Greene’s book about accompanying Cooper’s band on 1973’s Billion Dollar Babies tour. He remains friendly with Alice to this day. In 1975, Libert migrated from New York to Los Angeles and in 1976, opened the David Libert Management Agency which represented George Clinton, Parliament/Funkadelic, Bootsy’s Rubber Band and The Runaways (Cherie Currie, Joan Jett, Lita Ford). In the early 80s, he met Prince through Sheila E, who was one of his management clients at the time. Sheila E opened for Prince on the legendary Purple Rain tour and he spent a lot of time hanging with Prince, many times assisting with his shows. In the late 90s, Libert formed Available Entertainment with entertainment attorney Alan Oken. Mr. Libert has promoted many concerts throughout his career including sold out shows at Madison Square Garden in New York (George Clinton) and the Cricket Wireless Amphitheater in Kansas City (Kool and the Gang). After some personal happenings that took some time to handle – these too are in the book, he regrouped and made a successful return to the music industry as a manager, working with acts including Living Colour and Vanilla Fudge, who were respectful of his knowledge and skills and were happy to work with him. These days, soon to be 80 years young, David is enjoying a much more relaxed and less hectic life. He lives in Southern California and is a devoted animal rights activist, helping to find homes for animals that desperately need one. There’s talk about the book being made into a feature length film as well, which excites David to no end.

I had the joy of discussing the man behind the Rock And Roll Warrior himself, Mr. Liebert to get a little more insight into the tales, the people and the journey. We learn the about the beGinning of a rock and roll life and how it ld up to so many just jaw-dropping experiences. I looked over David’s extensive résumé and had to get a sense of how he was able to fit in with the variety of people and artists and worked with, or formed relationships with. The answer while I suppose is not shocking, it is interesting how much translates from one artist to the other as far as logistics and that stuff, but it’s the knowing when and knowing when not to and the being yourself that got me. We compare/contrast times with Alice Cooper versus the Funkadelic Mothership and there is some very intriguing insight into the man we know as Prince. This guy lived aspects of a life many people have wished upon, dreamt about or cringed towards and lived to tell about it, remarkably. In this book, David shares unvarnished, no-holds-barred, stories of his life in the rock ‘n roll fast lane on the road, backstage, on private jets & inside notorious after-show parties with music legends in the era of free-spirit, hard driving rock ‘n’ roll & R&B. It’s life on the road in technicolor. A roller coaster ride peek behind the curtain at the good, the bad and even yes, the ugly in the music biz of years gone by.

The Halluci Nation is Growing

As they enter a new cycle, Bear Witness & Tim “2oolman” Hill of A Tribe Called Red are reintroducing themselves as The Halluci Nation, to reflect the evolution of their music & mission. The Halluci Nation, takes its name from a phrase coined by John Trudell, to describe the vast global community of people who remember at their core what it means to be human. As a visionary artist & activist, Trudell recognized the connection between his accomplishments and what ATCR did intuitively through music & art. Trudell’s voice was the first heard scattered throughout the music. The Halluci Nation’s future revolves around collaboration. From hip-hop star, Yasiin Bey (AKA Mos Def), to the Indigenous Australian band, OKA, to the Wayuu-Colombian powerhouse, Lido Pimienta, the group has always sought out artists from around the world who would join the Halluci Nation family to form a like minded community as well as an international indigenous alliance. The Halluci Nation maintains focus on what they feel they can impact most: how Indigenous people are seen. Through groundbreaking stage shows & ever-changing visuals, Bear Witness & 2oolman are constantly working to create media that reflects today’s Indigenous identity. They see themselves simply as contributors to a necessary conversation around a subtle and complex representation of the contemporary Indigenous experience.

I am proud to say I had the chance to catch up with Tim “2oolman” Hill (Mohawk, of the Six Nations of the Grand River) and Bear Witness (of the Cayuga First Nation) ahead of the December 13th event at the High Noon Saloon. We get into what someone who may not quite know what they should prepare for will be preparing for. The collaborative spirt of The Halluci Nation is what always drives my ears and mind [and a good body shake] to the music, and the scene so we get into some of the going’s on and going downs when working with artists. The relationships, the family style and the understanding of where each other is coming from unites the people and the sounds as they’re being created. I found it real cool to hear how what they are doing with the music and the culture took on a responsibility – and just how that all clicked in and how they pay homage to those who came before and lend a hand to those on their way. Oh yeah, there’s also a set list built by 2oolman & Bear.

Photo by Jon Riera

Ben Tyree Talks Catalytic

A product of the diverse Washington, DC music scene, guitarist, Ben Tyree is a performer and composer of virtuosic ability, infectious groove & eclectic tastes. He studied both jazz & classical music in high school while writing his own rock songs and going to jam sessions at night. He continued his studies at DC’s prestigious Duke Ellington School of the Arts and at Howard University before moving to New York in 2002. The template for his genre-hopping agility was set by the pioneering Miscellaneous Flux, the band that he co-founded in 1998 while still in residing in DC., the group fused jazz, hip-hop & punk rock into a crowd-invigorating mix, releasing 2 EPs & a full-length album before disbanding in 2005 following its members’ move to New York. Tyree’s longstanding trio BT3 continues in that vein, melding together jazz, funk & rock in an eye-openingly memorable way. The trio recorded their debut CD, re:Vision, in 2010 with special guests and both friends of the proGram, John Medeski& DJ Logic, no strangers to boundary-erasing grooves. In recent years he’s toured and recorded with the group of people who extended my ears, the eclectic Burnt Sugar: The Arkestra Chamber as well as the uncategorizable Memphis singer-songwriter Valerie June, whose unique blend of folk, blues, gospel & soul have brought him to the stages of The Tonight Show with Jay Leno & the Late Show with David Letterman. His compositions have also taken the leap from stage to screen. He has scored several independent films as well as pieces for television that have appeared on ESPN and in advertising campaigns for companies like Green Team USA.

I had the chance to check in with Ben about his latest project titled ‘Catalytic’ in a duo partnership with friend of the proGram, percussionist, Sameer Gupta. The new tunes are due out December 6 via Tyree’s Sonic Architectures imprint. We talk about the process that shaped the new music starring right around the time that the two neighbors put out their Unruly Neighbors record. We discuss the trust that defines an understanding within each other, of each other and the directions the music takes, knowing when an improvisational moment is concluding or shifting. Ben takes time to define how each track took shape and where or how the titles came to be. There are so many relatable moments to this process and this music that make sense to me, and I truly believe that if you approach this listening the same way, with an openness to go with each flow, you’ll find your daily, hourly, momentary moment that fits just right. The key is the desire to be adventurous and look for the unknown, these two creators have it and sharing it has a second part to it…..you need to go find it. Be your own catalyst in finding your adventures. Start here.

Into The Spiral With Marshall Allen

The Sun Ra Arkestra is a sonic explosions recreating itself with each note and was formed in the mid-1950s and led by keyboardist/composer Sun Ra until his death in 1993. They are certainly considered a pioneer of afrofuturism. The Arkestra is still led by saxophonist Marshall Allen, an member since 1958. To this day, the outer shell of the travelers on stage are still draped in their cosmic entrance gear, expelling from the ever-evolving swirl. In jazz, unity could emerge — even as individual notes seemed in disarray and rhythms seemed uncountable. Jazz demanded discipline and precision, but also an open mind. “A lot of things that some men do… come from somewhere else,” Sun Ra said, “or they’re inspired by something that’s not of this planet. And jazz was most definitely inspired, because it wasn’t here before.” Jazz was the road to a mystical experience, a sort of reasoned ecstasy. It was the music of elsewhere. Sun Ra called his band the Arkestra, though it went far beyond the limits of a band. The Arkestra was Sun Ra’s grand Gesamtkunstwerk, a total work that crossed the boundaries of art and life for Sun Ra and his musicians. Arkestra performances were music, theatre, dance, philosophy. They combined the ancient and the radical future, African rhythms played with fists and synthesizers played with the elbows. Arkestra musicians followed Sun Ra’s style, wearing Egyptian headdresses and African robes and Mardi Gras beads. Onstage, they laughed and danced and walked arm in arm. Sun Ra wanted to show his audiences an expression of pure possibility. And yet the Arkestra was more for the musicians than the audience. Musicians lived together (for a long while in a building Sun Ra bought on Morton Street, in the Germantown area of Philadelphia) worked together, thought together. When they weren’t onstage, they were rehearsing. They played music in place of social activities, in place of sleep. The Arkestra breathed music together, abandoned themselves to it, like one single enlightened organism with Sun Ra as their guide. Sun Ra’s compositions were famously difficult, even for the most talented instrumentalists. Arkestra musicians tell stories of being baffled sometimes for months before they could hear music in the written notes. The intervals were mad, impossible. Sun Ra was patient though, often choosing musicians who were more intuitive than knowledgeable, who could be developed (intuitive people had more space in their minds). One could imagine the Morton Street building like a monastery, and Arkestra rehearsals akin to liturgical chant, with Arkestra players embodying the music through repetition until playing was an ecstatic experience. For this experience of both the past and the future, breathing and being altered in the now, we find Marshall Allen continuing to be a director from which it came – within the spiraling sound landings of The Sun Ra Arkestra.

I had the honor of checking in with Mr. Marshall Allen ahead of CODAFEST 2022 – A Celebration of Creative and Cultural Music’. Highlighting this 5-day event will be the legendary Sun Ra Arkestra, led by the 98-year-old saxophonist and protégé of the late/great Sun Ra. This event will be on November 19th at Cafe Coda. We discussed how the moment, any moment is about the vibration of that day, that moment, that time. This translated into how the group will be proceeding into the spiral while here in Madison, avoiding the square and adding the feeling of the audience to the building blocks of notes to be. This little conversation reminds me to always listen in to what those who’ve been to and from – and how/why there is the reason what the Arkestra did/does resonates within me. Its the moments within each. Take a moment. Make a moment

DA CRUZ Scream Baladas da Luta

The 6th album by DA CRUZ (Bern/São Paulo) is called “Baladas da Luta” (“Ballads for the Fight”), and that’s exactly what it sounds like. Profound, Brazilian urban music in an attack position against hatred, delusion & political short-sightedness. There are guests on this album like the British-Nigerian pidgin rap guru Magugu or Arnaldo Antunes, who was chosen by “Rolling Stone” as one of the hundred best artists in Brazilian music. There is heavy-blooded Afrobeat, angry Hip-Hop or a Brazilian disco flair. There are touches of Krautrock, Baile Funk or Soul – all held together by the warm voice of Afro-Brazilian singer Mariana Da Cruz. Mariana Da Cruz grew up as the seventh child of a cotton picker and a cook in Paranapanema, a small provincial town in the state of São Paulo. Recordings, concerts, music lessons; all that was unaffordable. Music, however, was an escape point even then – Mariana absorbed it through a small transistor radio in her nursery. She was already singing as a teenager in a club in the nearest big city, Campinas, where she studied to become a teacher: Bossa Nova, MPB, Elis Regina, Jorge Ben – all the classics – it was her basic research. But curiosity drove her first to Lisbon in the early noughties, later to Bern, where she lives today. It stands to reason that she would reflect on the world’s dislocations through her first home, Brazil. A country that anticipated all the developments we see everywhere today. “There is a fundamental alienation between politics and the people, there is burgeoning racism, social divisions, there is an ever greater injustice in the distribution of wealth, and there is this inexplicable yearning for authoritarianism”, she says. And she sings against all this. For more than 15 years. A key driver of her music is her engagement with her African roots. Whereby the situation here – as for all Afro-Brazilians – is somewhat complicated: “We know that our ancestors come from Africa, but we don’t know from where. You can’t do any research on that,” explains Mariana Da Cruz. “We’ve travelled a lot in the last few years for this search for traces, been to Burkina Faso, Bahia, Rio – and all these experiences and impressions flow into my music. Da Cruz is a radical independent project. All of their albums so far have been recorded, mixed & produced in their own studio. They have been released on their own label Boom Jah Records, except for two albums released with the American label Six Degrees Records. The core of the band besides Mariana includes Ane H., former singer and programmer of the industrial band Swamp Terrorists, Bernese guitarist Oliver Husmann and drummer Pit Lee.

I had the honor of chatting with Mariana and Ane H. of DA CRUZ about the new release, “Baladas da Luta”. We get deep into the need and reasons behind this album and how the music stands with Brazil as times get very unrecognizable. The power of the songs are clearly explained by Ane and Mariana and if you wonder if music does have the power to make a stand against or stand with a group who is in need of a shouting voice, this album will take you by the ear and show you. Not only do we talk about the music, the situations on a global level that do affect us all, there are questions asked on how we find one language to speak…to SHOUT…to unite. For me, these people making this music always opened my body to the grooves of the sound, but this record has my eyes and mind in concert with my heart and sense of equality and justice. There is power in these songs. Check for yourself.

CODAFEST 2022 and Ugochi

Her created sounds have been described as ‘lively, energetic music that makes your feet move & heart think’. With over 2 decade of experience in the literary & music industry, UGOCHI has gained quite a notable reputation for her solo career & collaborations. Not content to rest on her gnash, UGOCHI are always laying foundations for the next release, adding more classics to their repertoire. She has shared the stage with several established artists such as Common, Eric Benet, John Legend, Femi Kuti, Edwin McCain, Seun Kuti, Maxi Priest, Malik Yusef, Umphrey’s McGee, Richie Stephens, Blitz the Ambassador, Yellowman, J. Ivy, Queen Ifrika, Luciano, Wayna, Femi Kuti, Shaggy, Richie Stephens, Queen Ifrika, Vieux Farka Toure, Tony Allen, Bushman, Fatoumata Diawara, Wayne Wonder and Stephen Marley, King Sunny Ade, Me’Schell Ndegeocello. Ugochi & A.S.E.’s music is not just a unique flavor of soul music cooked up in her cosmic kitchen of sounds, styles & accents; it is also an introduction to world affairs for Africa enthusiasts all over the world. Her music honors her musical influences thru the expression of heart felt lyrical poise & soul swept instrumentation, giving birth to an incredible sound that fills a need that may have been previously unknown.

I had the complete pleasure of catching up once aGain with family to the show, UGOCHI as she and A.S.E. are heading back to Cafe Coda on November 17th as part of CODAFEST 2022. We discuss how a live experience like this is an opportunity to leave all that other stuff somewhere else and make this shared moment an opening to joy and healing. The band always finds this togetherness on a stage, with a community to be healing. Some of the styles of sounds/rhythms are discussed – hint – very similar to the way greenarrowradio flows and the love of how a place like Madison come with open ears, open hearts and especially open minds really is not lost on Ugochi or A.S.E., so, if anyone round here has a couch that is just right for that stage……

Timo Vollbrecht’s FLY MAGIC presents Givers & Takers

FLY MAGIC is saxophonist-composer, bandleader & scholar Timo Vollbrecht’s longstanding signature ensemble. A genre-exploding unit with a bold sense of creativity & intent. After 2 acclaimed records and performances in over 30 countries, their 3rd album, Givers & Takers, marks a new chapter: It conjures acoustic delicateness with otherworldly electronic soundscapes of orchestral width. Recorded in the studio while on a 12-date-tour, it captures the unique chemistry the 4 musicians developed on the road while using the stage as their laboratory. It is out now on BERTHOLD Records. Originally from Germany and based out of New York, Timo is a celebrated creative force on the Brooklyn music scene who fuses jazz with post-rock, electronics & instrumental songwriting. Described as a “luminously-fine bandleader” by the NYC Jazz Record, he has performed at landmark stages like the Village Vanguard. He is also the new Director of Jazz Studies at Brown University. Together with Keisuke Matsuno (guitar), Elias Stemeseder (piano & synthesizers) & Dayeon Seok (drums), he formed a band with no bassist. Instead, Stemeseder – who just led his residency at John Zorn’s iconic Stone venue – plays synth-bass while his other hand operates other keys. Thematically, Givers & Takers refers to Timo’s underlying sense of community through music. The album emerges from this place of human interactivity. It features four musically synergetic friends of diverse backgrounds entering into an improvisational dialog marked by mutual trust. Giving & Taking is a natural part of this process. The fact that Givers & Takers is also the name of their favorite bar in Brooklyn underpins the importance that Timo and his bandmates assign to the gathering. With Givers & Takers, Timo is presenting his vision of a band that is truly original, avoids easy categorization, and blends acoustic and electronic sounds enveloped in intricate song forms.

I had the pleasure of getting toGether with Timo to dive into the creation of this project. We got into how one records this open music without a bassist, how working this music out live during a tour assisted in the heart of the music and how this is really friends making music, and how THAT is part of the entire process of seeing the initial vision through. We talk about the diversity of the individuals making the music and how that fits into the music itself with the live spirit of an audience helping to wrap this into its final building. Once again, this kind of music that encourages spaces for created improvisation and the ‘I Don’t Know’ also does the same for a listener in my opinion. Timo tells me what he would drink at the bar with these friends as well as building a setlist choosing two tracks off the new album. FLY MAGIC does just that for me.