Category Archives: Outta World interviews

The Burrito Brothers celebrate an illustrious past while serving up fresh contributions for a bright future. They continue to climb the branches of the “many tall pines” first planted in 1968. Trace the winding paths of Country and Rock & Roll back, you’ll find them there. Anyone who had a heart and ears can tell these guys are world-class musicians and songwriters with one listen. Here they are in the years, carrying on the tradition of classic late-1960s and early ’70s “Hippie Country-Rock” music, expanding its boundaries, always exploring new horizons. Country Rock’s big bang came in Los Angeles in the late ‘60s. In 1968, Ian Dunlop and Barry Tashian started The Flying Burrito Brothers. Then in 1969, with Gram Parsons and Chris Hillman at the helm, the group released their classic first LP, “The Gilded Palace of Sin”. Since then the band has carried on, always evolving. This year marks the 50th anniversary of that classic LP. Gram Parsons’ original vision for the band is still going strong. “I just ran 20 red lights in his honor,” says Chris P James. At the beginning of the 1980s the band moved their base of operations from LA to Nashville. At that point the name was shortened to The Burrito Brothers. The band has remained in Nashville ever since. Now, The Burrito Brothers are right on track with a brand new release that is ready cherish the legacy it was build upon.

I had the chance to catch up with lead singer/keyboardist/harmoicaplayer/songwriter for the band, Chris P. James to discuss the brand new album “The Notorious Burrito Brothers”, released last month on The Store For Music/MVD Entertainment. We dissect the few tracks I intend on sharing with the listeners – which leads into a fascinating story behind one of the tunes (“Sometimes You Just Can’t Win”)that comes with the finding of a Gram Parsons handwritten piece. Chris reminds us of the story of the band’s travels and name/lineup changes through all the years, and that easily ties back into the sound of this new album being a reminder of its epic beGinnings in the late 60’s/early 70’s. This album has that feeling of going back there and either reliving some moments or being able to desire them in the first place.

Since its formation in Oakland, California in 1968, Tower of Power has forged a reputation as a crack band of high achieving musicians fluent in all realms of Soul, Rock and Pop music with a sophistication and punch like that of a Jazz big band. From their first album East Bay Grease (1970) on Rock impresario Bill Graham’s San Francisco Records label (distributed by Atlantic), the interracial band became pillars and signatures of The Bay Area Music Scene that included pioneering like-minded bands such as Sly & The Family Stone, Cold Blood, Graham Central Station, The Pointer Sisters and The Sons of Champlin plus rock-oriented outfits such as Santana, Betty Davis and Journey.

Along with T.O.P.’s classic recordings, the 5-piece Tower of Power Horns – known for its power packed punch and fullness with two trumpets, two tenor saxophones plus a baritone sax on the bottom – became much in demand for studio sessions and live gigs. Among the hundreds of artists they have blessed with their presence are Rufus featuring Chaka Khan, Graham Central Station, Elton John, Little Feat, Billy Preston, John Lee Hooker, Coke Escovedo, Jose Feliciano, Al Kooper, Rod Stewart, Harvey Mason, Lenny White, The Brothers Johnson, The Meters, Lee Oskar, Dionne Warwick, Melissa Manchester, Heart, Rick James, Santana, Smokey Robinson, Huey Lewis & The News, Paul Shaffer, Bonnie Raitt, Aaron Neville, Spyro Gyra, Luther Vandross, Aerosmith, Phish, John Hiatt, Neil Diamond, P.Diddy, Bill Wyman and TV’s The Simpsons (Sing The Blues).

Most importantly, when almost all other R&B bands abandoned their horn sections as the sound of Soul music morphed into more stripped-down techno and synthesizer strains in the `80s, Tower of Power near single-handedly carried the torch for full-on 10-piece bands, often even including a conguero/percussionist. Faithful fans flocked to their concerts and purchased their new albums that kept the real soul vibe alive for decades. Indeed, the horn section is so pivotal to Tower of Power that unlike most band stage setups that have horns in the back, T.O.P.’s renowned and respected horn section is right up-front with the lead singer.

I had the chance to catch up with friend of the proGram and founding member of the mighty Tower Of Power, Mr. Emilio Castillo, just a day before the brand new album, “Step Up” is released. We dive into the family style creation of this album, how the songs were selected to complete the package and the feeling and inspiration the title track could lend out there in this time of uncertainty.

Corky Siegel is known internationally as one of the world’s great blues harmonica players, and is a celebrated composer, blues pianist, singer, songwriter, band leader and author. Corky’s professional music career began when he founded the now legendary Siegel-Schwall Band in Chicago in 1964 with guitarist Jim Schwall. The group was a major component of the young generation of white blues artists—also including Paul Butterfield, Charlie Musselwhite, Harvey Mandel, Barry Goldberg, Nick Gravenites and Michael Bloomfield—who learned the historic Chicago blues style at the feet and hands of such towering figures as Muddy Waters, Howlin’ Wolf, Little Walter, Willie Dixon, Buddy Guy and Sam Lay. In 1965, Corky was 21 and still in college. He and Jim Schwall, unintentionally landed their first regular gig across the tracks on the South Side of Chicago. They were hired to perform from 9 PM till 4 AM, every Thursday at Pepper’s Lounge (not knowing it was ‘ground zero’ for founders of Chicago Blues). What a surprise, to say the least, when Muddy Waters showed up and hopped on stage with them, followed by Howlin’ Wolf, James Cotton, and all the blues masters. Night after night they would come and sit in. , he is credited with moving the blues from smokey clubs onto the classical symphony concert stage and obliterating musical categorization in the process. One of his many projects is the Corky Siegel’s Chamber Blues, with the West End String Quartet, and Kalyan “Johnny Bongo” Pathak virtuoso on world percussion, blends classical and blues styles in a chamber music setting. This ground breaking innovative sound has earned tremendous acclaim throughout the country and continues to open new doors for classical and blues/jazz listeners alike. He is credited with moving the blues from smokey clubs onto the classical symphony concert stage and obliterating musical categorization in the process.

I had the honor of catching up with this amazing legend of genre busting ahead of the 2/22 show at The North Street Cabaret when he teams up with friend of the proGram, Mr. Ernie Watts on saxophone and Kalyan “Johnny Bongo” Pathak on world percussion and tabla. Corky walks us down the timeline of getting to this point in his career, from Hair and Joni Mitchell to those legends of the Chicago blues scene and all the orchestras/symphonies he has been working with and crossing boundaries to create the newness in sounds. We discuss how this trio got together to come before us in a live setting and how he met up with Mr. Watts (Corky goes a little deeper into that first encounter than Ernie did). While all his amazing outcomes seems like a heap of work, Corky reminds us, as Ernie did, that the centerpiece to creation is the fun that making music together brings everyone, from the audience to the players, we will be treated to a unique, once in a moment time. Which I feel our conversation also turned out to be.

Two-time Grammy Award winner Ernie Watts is one of the most versatile & prolific saxophone players in music. It has been more than 50 years since he first picked up a saxophone, and from age 16 on he has been playing professionally, initially while still attending school. Mr. Watts has been featured on over 500 recordings by artists ranging from Cannonball Adderley to Frank Zappa, always exhibiting his unforgettable trademark sound. During the 1970s & ’80s, he was immersed in the busy production scene of Los Angeles. His signature sound was heard on countless TV shows and movie scores, almost all the early West Coast Motown sessions, and with pop stars such as Aretha Franklin and Steely Dan. Though the pop music genre placed narrow confines on his performance, the studio sessions allowed for the chance to constantly hone and refine his tone. After years in the studios, the passion for acoustic jazz never left him. At the end of a long day of sessions, he could frequently be heard playing fiery jazz in late-night clubs around Los Angeles. The eclectic mix of career activities has included work with vocalist Kurt Elling in a tribute to Johnny Hartman and John Coltrane, “Dedicated To You”, which won Elling his first Grammy Award, and concerts with the WDR Big Band Cologne in Germany, the Croatian Radio Television Jazz Orchestra in Zagreb and the National Radio Band of Slovenia. There’s also some fantastic evidence of him making great rock-N-roll grooves with The Rolling Stones. A typical year can find him touring Europe with his own European Quartet in spring and fall, and working as a feature artist with other artists he admires. One of these has been iconic South Indian violinist Dr. L Subramaniam, fusing Western classical music, jazz, Middle Eastern and Asian themes with Carnatic Indian tradition. He appears on the artist’s recording project “Beyond Borders,” which also features Herbie Hancock. Mr. Watts also starting to play with Corky Siegel’s Chamber Blues, an amazing amalgam of blues harmonica, a tabla player, and a string quartet. The evocative voice of the Watts saxophone fits right in!

I had the honor of catching up with Mr. Watts ahead of the 2/22 event at the North Street Cabaret where he is featured artist in the Corky Siegel Trio along with tabla world percussion virtuoso, Kalyan Pathak. We talk about the energy that will be shared in at this event, the musical languages that connect us all and how he and Corky got to become fast friends. Mr. Watts is one of those artists that as you keep on digging, the amazements he has been a part of are overwhelming. Take a listen.

Balancing male-female harmonies, strutting guitars, wild horn arrangements, and interminable grooves, a spirit takes shape on stage nightly for Turkuaz via larger-than-life performances. Among numerous critical plaudits, The New Yorker claimed, “[Turkuaz] delivers horn-filled funk incorporating elements of R&B, psychedelic pop, gospel, Afro-pop, New Wave, classic rock, and just about any genre that gets people dancing.” The Brooklyn-based nonet—Dave Brandwein [guitar, vocals], Taylor Shell [bass], Craig Brodhead [guitar, keys], Michelangelo Carubba [drums], Chris Brouwers [trumpet, keys], Greg Sanderson [tenor sax], Josh Schwartz [baritone sax, vocals], Sammi Garett [vocals], and Shira Elias [vocals]—ignite an explosion of energy punctuated by neon hues, deft musicality, and show-stopping singalongs on their newest EP, Kuadrochrome. Touring incessantly in support of four full-length studio albums, EPs and live releases, they’ve lit up stages everywhere from Bonnaroo, Hulaween, Okeechobee, Electric Forest, and Mountain Jam to Telluride Jazz, High Sierra, and Lock’n, in between gracing stages at legendary spots such as Red Rocks, Terminal 5, and The Fillmore, to name a few. Since emerging in 2011 with their self-titled debut, the group have quietly animated a movement.

I had the opportunity to catch up with Dave Brandwein of Turkuaz ahead of their 1/30 event at the High Noon Saloon with friend of the program, Neal Francis. Dave and I get into the band’s good time mission statement and how they are way more than a party band. We dive into some recent events that are eye and ear openers including their recent time on Jame Cruise. We talk about some memorable artists form that trip as well as some once in a lifetime moments Turkuaz was a part of while out a sea. We talk about the process of taking the sound of a live event and how it translates into a recording session and making records as a band. One of the events coming up for the band is working with one of the member of Talking Heads, so we hear about what that should be all about and Dave shares a couple of artists he would surround one of Turkuaz’ new tunes with if building a set-list of artists from the now of things. Look no further than this band of colorful talents if you are seeking a good time, a stress relief and did I mention a good time??

Liberated from a self-destructive past and born anew in sobriety, Neal Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n’ roll. His music evokes a bygone era of R&B’s heyday while simultaneously forging a new path on the musical landscape. Ohio-based Karma Chief Records (a subsidiary of rising soul label Colemine Records) released a full LP Changes on September 20, 2019. There is a deep connection between Neal’s childhood, his obsession with boogie woogie piano, his father’s gift of a dusty Dr. John LP, and the songs he’s created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. When you listen, you’ll hear AND feel it. While he pays tribute to the masters, he has his own story to tell. The piano prodigy found himself touring Europe by the age of 18 with Muddy Waters’ son and backing up other prominent blues artists coast-to-coast. In 2012, he joined popular instrumental funk band The Heard. With Francis at the creative helm, The Heard transformed into a national act, touring with boogaloo progenitors The New Mastersounds and chart toppers The Revivalists and appearing at Jazz Fest and Bear Creek. As The Heard’s star rose, however, Neal sunk deeper into addiction. Once a promising sideman, by 2015 he had been fired from his band, evicted from his apartment, and was perilously close to self-destruction. The journey from a hospital bed to launching his solo career was neither predictable nor straightforward. There were musical fits and starts, relapses, and broken relationships. Yet the overwhelming passion driving Neal in this second act has been an abundance of creative energy. Determined to realize the songs swirling in his head, he assembled a crack team of musicians, calling on bassist Mike Starr (The Heard) and drummer PJ Howard (The Revivalists, The Heard). He linked up with producer and analog-obsessive Sergio Rios (Orgone, Cee Lo Green, Alicia Keys) and self-funded a trip to Killion Sound in Los Angeles to record the initial batch of material. Neal finished recording basic tracks for Changes in Los Angeles in February of 2018 and spent the following months doing overdubs in Chicago with engineer Mike Novak (who also recorded demos for the project). Soon after he began his touring career.

I had a chance to re-connect with friend of the proGram Neal Francis ahead of the January 30th show at the High Noon Saloon along with those colorful groovemasters, Turkuaz. Neal and I talk about all that has been happening since last we spoke on the record. He has been touring heavy on the back of the Changes release, and it’s some of the artists he is pairing up with that shows his musics flexibility, relatability and the handshake it solidifies with gratitude. We get into a new track that’s out today, what the future looks like with other “new to you” music and fellow artists on the mighty Colemine Records. I am thinking you must be ready to get yourself a taste of some Midwest soul, so check out what Neal is up to in a area near you.

Photo by Liina Raud

The internationally renowned NYC producer, Tony Simon, who goes by the moniker Blockhead has released ten albums over the past fifteen years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop, and the forthcoming new album, ‘Bubble Bath’ sees him return to record-label-released music with the bold and exciting roster at Future Archive Recordings (co-founded by artists Arms and Sleepers, Sun Glitters, Little People and CNJR). ‘Bubble Bath’ is a record born out of meditative expression and ongoing personal creative challenge, key for a producer of BLOCKHEAD’s experience. Carried forward are the incredible hook and sample placement skills of classic works such as ‘Uncle Tony’s Coloring Book’ and ‘Music By Cavelight’, but what has emerged is an overwhelming sense of natural musicality and sophistication.

I had the chance to catch up with Blockhead ahead of the event in Madison on January 22nd at the High Noon Saloon. Tony will be here with fellow Future Archive Recording label mates Arms and Sleepers and Il:Lo. We get into the upcoming event and find out they way he executes his nightly plan. We dive into the way the new album went down and the moods that went into it’s creation. We talk about then versus now of beat selection, creation and how he feels about choosing the right sound. Tony even picks a tune off the new release to build a set around…..listen in to find out which way that set-list bends.

Delvon Lamarr Organ Trio was formed in the spring of 2015 by Amy Novo, Delvon Lamarr’s wife and band manager. She told her husband she would take over his music career and all he had to do was find the musicians, create and play music. They originally started with different guitarist and drummer. Within a year they brought on infamous Jimmy James. Immediately the chemistry between the three of them was undeniable. With Delvon’s soulful organ sound, and Jimmy’s explosive guitar sound and the former drummer’s perfect pocket drumming, they had the perfect blend of Soul, Jazz, Rhythm & Blues and Rock & Roll. They started with a weekly residency at The Royal Room in Seattle for the first year then self-released their first album, playing short tours from Idaho, Spokane, Seattle, Bellingham, Olympia, Portland, Reno, California, and tour in Europe. Shortly after signing with Colemine Records they re-released their album on a 45, LP, cassette, CD and digitally. The band has since gone from a local Seattle-based band to a national and international household name, traveling all over the United States and around the world. The love, passion and devotion Amy Novo, Colemine Records & The Kurland Agency has for their music creates the perfect power team. Now, with Michael Duffy as their drummer, Delvon Lamarr Organ Trio is ready to take their performance to new regions of the world, bringing their unique sound to fans across the globe.

I had the chance to catch up with Delvon ahead of the January 18th event at The Venue On Winnebago Street. We got into the scene a live event from the trio creates, from the dancing feet to the opening minds. We talk about the relationship they have with the team at Colemine Records, as well as the other label mates and how this music travels when it heads to Europe. Delvon creates a set-list of sounds for us if I were to give him control of the board, and let me tell you, the listeners might let me take a little extra time off so they can get more of his selections. He built his set off of a soon to be released track from the Trio, that I get to world premier this week on the show. (Fo’ Sho’)

Shamarr Allen is the definition of New Orleans! Hailing from the Lower 9th Ward of New Orleans, he has influences in jazz, hip-hop, rock, funk rhythms, blues and country. He is the lead vocalist and trumpeter of his band “Shamarr Allen & The Underdawgs.” In addition to performing with his band, Allen has collaborated with many renowned artists around the world such as Willie Nelson, Patti LaBelle, Galatic, Harrick Connick Jr, and Lenny Kravitz, to name a few. He is a sought after artist for festivals and venues around the world. In addition to displaying his skills on the front-line as a lead performer, he is also a music composer, writer, and producer. With a scintillating and unique sound, look, and exemplary talents, Shamarr Allen transcends musical boundaries. He is the True Orleans experience!

I had a chance to catch up with Shamarr ahead of the January 9th, 2020 show in Madison at the Majestic Theater opening for G Love & Special Sauce. We get into what the party might be like when Shamarr Allen & the Underdawgs bring their flavor of New Orleans to town, and how words can only do a slight justice to the experience of sharing a live show toGether. We talk about how he is able to take so many of the sounds he likes as a music listener and layer that into the traditional New Orleans sounds to pave his own path, to separate himself from others… I’d say it has worked out well as he played for President Obama, worked with many greats (we talk about how Willie Nelson‘s people contacted him) and keeps his focus on the “play” part of playing his music.

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Over the past 20 years, Brother Ali has earned wide critical acclaim for his deeply personal, socially conscious, and inspiring brand of hip-hop. Under Rhymesayers Entertainment, he’s unleashed a series of lauded projects, establishing himself as one of the most respected independent voices in music. His latest and surprise release ‘Secrets & Escapes’ is a compendium of his time with Evidence over the course of three trips to California, recording in a Venice garage with no regard for pleasing the internet or competing with the music industry. Ev chopped up records on old-school samplers and ran them through a compressor (2 track) so they couldn’t be re-arranged or mixed. Brother Ali sat with the mic and spit rhymes as they came to him, without writing or organizing them into songs. Ev smoked a lot of weed, Ali prayed a lot, and their influences on each other can be heard in the recordings. Every time they made something that reminded them of what they’ve become known for, they threw it away and started something new. Talib Kweli, Pharoahe Monch and CS Armstrong all came through to bless the project with contributions too. This album is two friends making rap music for no other reason than because it’s what they love to do

I had the pleasure of chatting with Brother Ali ahead of his 12/18 stop back “home” in Madison at the Majestic Theater. We get into what someone unfamiliar with him can expect from that evening, the range of emotion and celebration that one feels at his shows is vast. We get into the seed to flower of his latest release and how it all of a sudden was there…..contrary to the process of creating it. I think the one thing that rings true when you listen to Brother Ali in this conversation, is the reality of the real and the feelings we feel can be done in your way, this is his.

The theorem of turntablist as musician has been long proven in the capable hands of DJ Logic, whom with jazz as his foundation has become a wax innovator by crossing genres and mixing his sound across the map. As one of the world’s most accomplished turntablists, Logic is widely credited for introducing jazz into the hip–hop realms and is considered by most as a highly-respected session musician and an innovative bandleader. Since his emergence in the early nineties amidst the Bronx hip-hop scene, the New York City based deejay has been amassing a veritable mountain of collaborations, including a full-fledged band with members of Blues Traveler (The John Popper Project ft. DJ Logic), a trio with Steve Molitz & Freekbass (Headtronics), a jazz project with Georgian prodigy Beka Gochiasvili, and as a member of Grammy-winning Arturo O’Farrill & The Afro Latin Jazz Orchestra’s The Offense of the Drum album. He also has a long list of other collaborations with artists ranging from the likes of Bob Weir, John Mayer, Medeski Martin and Wood, Christian McBride, Carly Simon, Marcus Miller, Vernon Reid, Warren Haynes, Charlie Hunter, Jack DeJohnette, Ben Harper, Mos Def, The Roots, Bernie Worrell, Bill Laswell, Melvin Gibbs, Fred Wesley, Sean Kuti and many more. Logic and his role as an electronic-music ambassador keeps him at the top of his game. Whether the scratch artist instructs tablas to flirt with drum ‘n’ bass (such as on his Nina Simone and Billy Holiday remixes found on Sony Legacy’s Remixed and Reimagined volumes), meshes free styling MC’s with Afro-Cuban rhythms (such as on ‘Share Worldwide Funk’ – a remix produced for Jack DeJohnette and Golden Beams Collected, Volume 1), or remixes tracks for rock bands such as Moon Taxi, DJ Logic can always be found paying homage to his predecessors while contributing his vision to the deejay genre.

I had the chance to catch up with Logic before he heads to Madison on January 9th to mix it up at the High Noon Saloon. We get into what newcomers can expect, how he chooses both his samples and his collaborators as well what he thinks they see in him as a musical partner. If you are wondering if there is new music coming at you from Logic in 2020, we will have an answer for you!!

The Carbone Cancer Center at the University of Wisconsin is committed to finding the best ways to detect, prevent, diagnose & treat cancer. As one of only 41 comprehensive cancer centers in the United States, as designated by the National Cancer Institute, the Carbone Cancer Center is providing treatment, education & research for all-types of cancer. Any donations to Funk Out Cancer will go directly to the Paul P. Carbone Cancer Center Fund which is funding innovative research to help find the cure for cancer. 100% of these funds will be used by the leading researchers & doctors at the University of Wisconsin for cancer research. There has been significant progress made with the help of these generous donations and Funk Out Cancer is helping to create awareness & fund the advancements in cancer research at the Carbone Cancer Center.

The goal for Funk Out Cancer is to raise $50,000 on a night filled with great friends, incredible music, and generous donors.

I am always honored to be a part of helping spread the word about this event. I had another chance to check in with Al Falaschi about the FUNK OUT CANCER event being help this year on November 2nd at The Orpheum in Madison. We get into the concert portion by talking through what artists will help to get the funk out, we talk about how this event…this party.. got started and the personal story that accompanies the funk. We also tackle one of the silent auction items (check out the Facebook event page for more info) to find out more about what it is and a piece of interesting history around it…do you know what a Wisconsin themed stumpf fiddle is? Right. We have all been in the path of cancer’s travels and what better way to share in the journey then to meet up together to tell cancer to get the funk out!

FlowPoetry (aka Adam Gregory Pergament of Madison, WI) to release a book of poetry titled “Compression” as part of a Rock and Roll show at High Noon Saloon in Madison, WI on Monday November 18, 2019 presented by High Noon Saloon, Knuckleheads Tobacco and Gifts, and WIJAM. In addition to the book release and FlowPoetry performance, music will be provided by Glostik Willy, a “Hippy Metal” power trio from Indiana, and Tate McLane, a folk artist from Minnesota. “Compression” is FlowPoetry’s second published work in-print and seeks to explore the percussive possibilities of his poetry through chants and stripped-down lyrics. Themes range from the political to the loss of love to the profound joy and necessity of creative expression. FlowPoetry’s 1st book was published in 2014 and compiled a 50-part series of poems originally published on-line through Sensible Reason, a millennial culture website headquartered in Brooklyn, NY.

I had the chance to catch up with Adam to get a bigger picture of what this event, and this book of poetry was all about. We get into idea behind having a rock and roll show surrounding a poetry book release with a poetry sharing from the stage. We dive into the creation of this new project and where it was born and how cutting out some of the fat, led to the feeling and feelings of these new poems. If this event sounds like something you may never have seen before, it very well could be. What better reason to add it to your schedule?

WHO: FlowPoetry (WI-Spoken Word), Glostik Willy (IN-Hippy Metal), Tate McLane (MN-Folk)
WHAT: FlowPoetry’s “Compression” Book Release and Rock and Roll Show
presented by High Noon Saloon, Knucklehead’s Tobacco and Gifts Madison, and WIJAM
WHERE: High Noon Saloon (701 E Washington Ave, Madison, WI 53703)
WHEN: Monday Nov. 18, 2019; Doors at 6:30; Show 7:30-10:30

Miles Davis shocked the music world in 1985 when he left Columbia Records after thirty years to join Warner Bros. Records. In October of that year, he began recording the album Rubberband in L.A. at Ameraycan Studios with producers Randy Hall and Zane Giles. The musical direction Miles was taking during the sessions marked a radical departure, with the inclusion of funk and soul grooves; with plans to feature guest vocalists Al Jarreau and Chaka Khan. Eventually, the album was shelved and Miles went on to record Tutu, leaving the Rubberband songs unheard and untouched for over 30 years. Miles Davis’ fans finally got a taste of the iconic trumpeter’s long-lost album last year with the release of a four-song Rubberband EP for Record Store Day, which is also available digitally. Now Rhino is excited to announce that the entire 11-song Rubberband album made its debut on September 6 on CD, digitally, and as a 180-gram 2-LP set. It was finished by the original producers Hall and Giles; with Davis’ nephew, Vince Wilburn, Jr., who played drums on the original sessions for the album in 1985-86. The cover art for the album is a Davis original painting from the time.

In 2017 – 32 years after Davis started recording Rubberband– Hall, Giles, and Davis’ nephew, Wilburn, Jr., began work to finish the album. The final version includes several guest artists including singers Ledisi (a 12-time Grammy nominee) and Lalah Hathaway (daughter of soul legend Donny Hathaway). Miles Davis – who plays both trumpet and keyboards on the album – was joined in the studio by keyboardists Adam Holzman, Neil Larsen and Wayne Linsey; percussionist Steve Reid; saxophonist Glen Burris; and Wilburn, Jr. on drums. The sessions were engineered by Grammy®-winner Reggie Dozier, whose brother Lamont Dozier was part of the legendary Motown songwriting team Holland-Dozier-Holland.

I had the honor of catching up with Miles Davis’ nephew, Vince Wilburn Jr. to talk about the path this new album has taken from the earlier sessions to it finally being released in September. We get deep into how his uncle was not one to stand still too long in the same sounds and how evolution was always something he would strive towards. I have to tell you it was thrilling to hear about some of the ins and outs of Miles Davis from Vince, a person that spent a lot of personal time with and creating music time with the “Chief”. We also find out why Vince would suggest to anyone who wants to know more about the real story of Miles to check out Stanley Nelson‘s new documentary “Miles Davis: Birth Of The Cool“. And you don’t think Vince is just sitting round relishing in the fact he has this legend of an Uncle – we find out what other things are going in his musical world and how the music of Miles Davis, still keeps on evolving as others take knowledgeable visions and breath life into them.

Miles Davis – Rubberband (Mini-Documentary)

“JERRY GARCIA: Secret Space of Dreams” is a fine art, hardcover photography book of Jerry Garcia, beginning from the middle of his career with the Grateful Dead and covering the last third of his life. Signed copies of “JERRY GARCIA: Secret Space of Dreams” are available now for pre-order at www.rockoutbooks.com. Pre-orders start shipping September 23, 2019. The new project will be officially released on October 15th , 2019. Jay Blakesberg is a San Francisco-based photographer, filmmaker and visual anthropologist whose work has been featured in Rolling Stone, Guitar Player, Relix and many other magazines. He has worked with countless musical artists, including Neil Young, Dave Matthews, Phish, moe., Tom Waits, the Rolling Stones, Carlos Santana and, of course, the Grateful Dead to name just a few. Jay attended his first Dead show in September 1977 as a 15-year-old kid. Thirty-seven years later, he went on to become the official Fare Thee Well photographer for the band’s final five shows. “Secret Space of Dreams”is his 15th coffee table book of music photography.

This marks the fourth time Jay and I have made some time to discuss his projects. While they all have been great body’s of work, this new one really is close to my heart (thru my eyes and ears) with the focus being Jerry Garcia. In “Jerry Garcia: Secret Space of Dreams”, we get all Jerry images and many great tales and quotes and an insiders look into what many never get to or got it see. John Mayer writes a moving foreword, with friend of the program David Gans dives deep into the character and charisma of the mythical non-frontman, frontman in his introduction and Dave Schools muses on the man, myth and legend portrayed in the pages of the photographic biography during his afterword. He thoughtfully reflects on Jerry’s ability to “display his own frailty in the service of the song,” and to connect with the audience as participants in the performance. Jay’s innate ability to capture Garcia’s magic on film is within the book’s 208 pages, he shares 139 photographs of Jerry spanning nearly 20 years­­, September 2nd, 1978 (at Giants Stadium) through the April 1995 making of the “Smoke Gets in Your Eyes” music video. As always, Jay’s work is not just for Deadheads or Jam band freaks, his work let’s you into the life and times of an individual, and this one certainly has an important lace within the attics of my life.

With over two decades of playing together since their early days in Staten Island, The Budos Band have have left their signature on five studio albums, a raucous live show that feels like the best party in town. The music has taken them across four continents and an unbreakable musical kinship among its nine members, that easily spreads & shares a fun family feeling like a smile eases onto a happily surprised face. Their sound has evolved since their Afro-soul beginnings, but no matter how many new influences get mixed in and layered on over the years, they remain deeply in sync, the hosts of the block party and a cornerstone in what’s good art that’s brand new.

I had the chance to catch up with friend of the proGram, Mr. Jared Tankel ahead of The Budos Band‘s show on September 20th at the Majestic Theatre here in Madison.. Jared and I get into the deliverable goods to be expected at their upcoming show (for those who are newcomers to their scene). We deep dive into the the groups brand new release, “V”, and how it was a very different road to recording from the years earlier. Jared will be/is on baritone sax, so we talk about the road to being “Bari” cool for him, and how the vice of this instrument speaks to the two of us. So….what would Jared choose to air if building a set for greenarrowradio? Which song off the new album would he start with? These questions are answered in our conversation.

Photo by: Leslie Kalohi

LowDown Brass Band deftly synthesizes the gritty sounds of Chicago with the high energy street beat of the Crescent City. LDB brandishes a powerful brass frontline of trumpets, trombones, saxophones, with a funky backline of drums and sousaphone. Combining the poetic ferocity of Billa Camp with stellar vocal harmonies, adventurous improvisation, movement, and grooves, LDB creates an infectious and diverse sound that has something for every listener. Fresh off their headlining set at The 2018 Montreal Jazz Festival, LowDown maintains a constant performing and touring schedule throughout North America. Recent performances include the Lagunitas Beer Circus, Chicago Jazz Fest, Friendly Gathering, Alaska’s Salmon Fest, Chicago’s Do-Division Fest, Wakarusa, Cotai Jazz Fest, and a annual residency at Shoe Fest. Following an ambitious project titled LowDown Sounds, that included a critically acclaimed cameo by Roy Ayers on the track “Everybody Loves The Sunshine”, LowDown Brass Band is now touring their 2018 hip hop release titled LowDown Breaks featuring MC Billa Camp. This new record steps deeper into refining their unique sound, combining hip hop breaks with live soul samples and deep cut grooves.

I had the chance to catch up with Shane Jonas, singer/trumpeter and one of the songwriters of LowDown Brass Band ahead of their end of July and early August run in Wisconsin, starting with the July 31st show at The Shitty Barn Sessions. Shane and I go through the who’s and what’s of the group gearing people who might not know them up for checking them out. We talk about the differences of process from when the band first started to the very new single that just dropped in June. The growth is obvious to those who have known about them for a bit. Shane also builds a set-list starting off with that brand new single “We Dem Boys” and the results are gonna make the fun in your funk jump for joy.

Alma Afrobeat Ensemble was founded in Chicago in 2003 by guitarist Aaron Feder. In 2006 Aaron made a move to Barcelona in search of a different sound for the band. He quickly found a group of international members, from all continents of the globe. In a short time the band was reformed and headlined the Fiestizaje music and arts festival in 2008. The band then set about recording their first studio album, Toubab Soul which was released in 2010. Shortly afterwards, they released the remix album, Toubab Resouled, and opened the world music festival Cruilla de Cultures with Konono No 1. The story has many twists and turns along the way, but now in 2019, they have a brand new self released album, “Monkey See, Monkey Do” out and the growth from those beginning is continuing to expand their sounds and styles. Which brings us to the Summer of 2019.

I had the chance to chat with Aaron ahead of Alma Afrobeat Ensemble’s set closing out this year’s Atwoodfest in Madison, Wisconsin on Sunday, July 28th. We get into what people can expect from this band now based in Barcelona, and how lucky Madison is to have them finally get here. Aaron has been trying for years and fortunately, Atwoodfest was able to get the stars to aliGn. We go seed to flower on the new release, “Monkey See, Money Do”, and while not a completely politically charged album, it does speak in a socially aware tongue and groove. I wanted to let people get a feel for the type of person Aaron is so we find out what had been floating his personal boat these days, as well as the set-list he would program, starting with which one off their new album he’d go with, for the listeners if given 45 minutes or so of the show.