Family Time With Oliver Wood

Whenever Oliver Wood isn’t touring with The Wood Brothers, the Grammy-nominated roots trio that he co-founded in 2006, he typically begins his mornings the same way: in Nashville, at home, with a coffee cup in his hand and a notebook in his lap, sitting in a chair in front of the window. Many of the songs from his latest solo effort ‘Fat Cat Silhouette’ began taking shape in that chair. Produced by his Wood Brothers’ bandmate Jano Rix, it’s an album of unexpected twists & turns. Longtime fans will recognize the earnest, elastic voice that has always anchored the Wood Brothers’ mix of forward-looking folk and southern country-funk, but Fat Cat Silhouette doesn’t spend much time looking backward. Instead, it abandons convention, breaks a few rules, and positions Oliver Wood as a roots-music innovator who’s every bit as interested in the process as the product. Oliver wanted to step out of the norm on this one. On the album’s opener, “Light and Sweet,” he matches an imaginative storyline with a melody that leaps from ground level into the stratosphere. Eight songs later, he brings things to a close with “Fortune Drives the Bus,” which he recorded on an iPhone in his own backyard. While tracking the rest of the album to analog tape, Wood pushed himself to keep things weird. Wood’s years of experience have left him with a wide circle of collaborators, and ‘Fat Cat Silhouette’ features performances from guests like Los Lobos’ Steve Berlin (whose saxophone can be heard on the groove-heavy numbers “Whom I Adore” and “Yo I Surrender”), Ted Pecchio who handles bass duties throughout the collection and Marcus Henderson (who contributes flute & fife to “Whom I Adore”). Co-writers like Sean McConnell, Seth Walker, & Ric Robertson lend their help, too, while Katie Pruitt tackles a verse on the heartbroken soul ballad “Have You No Shame,” which was written by one of Wood’s mentors, the legendary Atlanta musician and songwriter Donnie McCormick. Jano even pulls double-duty as producer & musician, anchoring the album’s mix of mystery & melody with his percussion & keyboards. Despite the stacked guest list, some of Fat Cat Silhouette‘s best moments find Wood and Rix working together as a duo. On “Little Worries,” Wood sketches a picture of a reflective morning in his armchair, a cat in the window, pancakes in the skillet, anxieties crossing and leaving his mind — over Rix’s inventive pulse. Later, when time constraints prevented them from adding horns to “Star in the Corner,” they chose to sing the horn parts instead. A little less typical, indeed. That might as well be Fat Cat Silhouette’s mission statement. This is an album that finds the art in the unexpected, and Oliver Wood, whose songwriting & vocal chops remain as sharp as ever, at his most adventurous.

It has been a long time that Oliver Wood and I have been catching up about what is going on. I have had his brother Chris on a few times as well to talk Wood Brothers, but t s typically Oliver who plays catch-up. He is going to be at the Stoughton Opera House on April 30th with Dave & Dave of Trampled By Turtles, and Seth Walker. We north marveled over the possibilities of what his night could be bringing and then got into what a solo set of his could shape up into. He reminded us a little about how his most recent release, ‘Fat Cat Silhouette’ went down and we even got into a little bit about his work on Seth Walker’s new album which dropped on April 4th. It’s always nice to hear his voice on the other end of the phone, not quite as great as hearing it singing songs, but I am thinking this treat we will be getting at the Opera House is going to be one of those that is hard to forGet.

Photo-by: Alysse Gafkjen

Seth Walker Asks Why The Worry?

In the midst of recording his 12th album, wavering in his resolve to finish what he’d started, Seth Walker came to a realization. No album is trapped in amber, no song is set in stone. Distance colors compositions over the years and each album is left as a reflection of its own period in time. This idea played a big part in shaping ‘Why The Worry’. Now, the other half of knowing is letting go; letting go of the worry about perception, the worry of over-preparation, and the worry that seeps in constantly from the news and noise of everyday life. The new album finds Walker reunited with old friends and familiar names. Once again Jano Rix steps behind the boards, co-producing the album with Seth & engineer Brook Sutton. In the producer’s 5th outing he’s become an invaluable sounding board, the kind who knows what’s missing and, just as importantly, what needs to be taken away. Oliver Wood (The Wood Brothers) lends a pen to the title track, and Seth’s classically trained father Scott adds strings to “I’m Getting Ready,” a song penned by Walker’s contemporary Michael Kiwanuka. Mostly, though, the record was shepherded into shape by Walker’s trio, rounded out by longtime confidants Rhees Williams (Guitar, Piano) & Mark Raudabaugh (Drums). The 3 let the studio guide them, entering without agenda, set straight by the title’s mantra to stop worrying where they’d end up. But worry always tries to creep in. It’s inevitable, isn’t it? The album was just about finished when Hurricane Helene hit Walker’s region in the mountains around Asheville, and as a result, the record almost didn’t see light. As catastrophe took shape and literal bridges were broken, the album’s importance wavered in Seth’s mind until the central theme came back into view. The worry wouldn’t undo any damage, and there was still service in song. There’s a telling nod in the album closing with Bobby Charles’ seminal ode “I Must Be In a Good Place Now.” Why The Worry is a spiritual reset, watching the sunrise over the mountains. It soaks in like warmth on the skin after a night of shivering in the dark. Charles isn’t the only notable scribe among the track list, an even mix of Walker’s originals and a carefully curated crop of covers that rifle through the past and present. Setting the course are two gems from JJ Cale, whose sanguine saunter leans well into the album’s themes of amble and ease. Walker opens the album with the smoke ring sway of Bill Withers, turning the lights low for a gently funked rendition of “The Same Love That Made Me Laugh.” The groove grows deeper on Al Green’s “Take Me To The River,” putting a distinctly reclined feel on the soul classic. The breezy feeling extends to the originals as well, injecting a bit of Cale’s country funk into “Up On The Mountain,” soaking spring air and hope into “Supernatural Thing,” and melting nostalgia into meditation on “Midway Girl.” Why The Worry follows a string of critically acclaimed albums from Walker, garnering praise from NPR to The Washington Post. He’s been found on the road with The Mavericks, The Wood Brothers, Raul Malo, Paul Thorn and Ruthie Foster among others. He recently penned “Moon and Stars” – the title track to The Mavericks new album, sung as a duet with Sierra Ferrell. Walker’s latest album Why The Worry is out on tomorrow, on Royal Potato Family.

I had the chance to catch back up with Seth Walker (it has been a few years since last we spoke and I’ve been paying attention) and he will be back this way on April 30th at the Stoughton Opera House with Dave & Dave of Trampled By Turtles and his longtime pal (doing a short run with) Oliver Wood. What a incredible line-up for all of us who get to be a part of it. He sounded as blown away as I feel about it. We got into the joy of this upcoming show, but we started with getting into his brand new (just dropped April 4th) album ‘Why The Worry’ on Royal Potato Family Records. We kinda go seed to flower, dissect a few tunes off the release, and discuss how he and Oliver worked on their offering on the record and more. When I said I have been paying attention, it all comes back to this moment and this album, it’s really got that truth to it that I search for. Seth also gives some thought to a setlist and he gives love and props to our pal Kevin over at Royal Potato Family. Finally, we will have to check in and find out who wins the tennis matches on this short run. Deuce.

Photo by: Parker Pfister

mssv On & On With

mssv, made of guitarist Mike Baggetta, Stephen Hodges on drums & mike watt on bass, creates music that is an unimagined hybrid of a punk power-trio, noir-tinged adventure music & a dreamy experimental rock band, though they prefer the term “post-genre.” Their latest full-length album On And On is the 3rd studio album featuring brand new songs that were written by Mike Baggetta before their 58-show 2023 US tour and performed every night, then recorded & produced by Chris Schlarb at BIG EGO Studio in Long Beach, CA immediately after, and features artwork by the great John Herndon (Tortoise, A Grape Dope, Isotope 217). The digital version of the album features these 8 separate, boundary-pushing tracks, while the limited edition vinyl features these pieces joined into 2 continuous side-long movements by 6 additional band-improvised interludes. The subject matter here, while being universally relatable, is filled with personal references, stories of his and the band’s friends & relationships, and one song Despair & Hilarity includes lyrics written by one of Baggetta’s most important musical collaborators, Steve Gigante (currently of OMFU + The Scrapers, (VIP) Ditchfork, formerly of W-S Burn, 7 Year Rabbit Cycle). Continuing to explore the seemingly endless depths of Hodges’ & watt’s musicianship & skill over the many tours & albums in mssv has grown an instantly identifiable sound from Baggetta’s songwriting for this band. But the trust that has formed between them, that comes from long-running musical partnerships, has also made it possible for mssv to explore more interesting ways to incorporate improvised music into the lives of their songs. On And On skillfully combines all of these elements into a newly evolved lens for the music of mssv, deftly displayed in this album as a high concept love letter to everyday life. There’s no telling which way the band will turn at any given moment, a proposition that becomes a promise when they break down and reassemble these songs live, with an instinct for restraint and an openness to anarchy.

I had the pleasure of catching up aGain with Mike Baggetta as mms embarks on a new tour (52 shows in a row) with a stop here in Madison on April 17th at the Gamma Ray Bar. We get into talk about the live experience. I was ready to share my thoughts after seeing them the last time they were here. There is not a lot of ways to describe the journey the trio takes you on when we all are aboard in the same room. We go head long into the new album, ‘On & On’, getting a taste of what it was like working through the songs while they were out on the last long run of live shows. We talk a 7 inch new single called ‘Even So’, on the flip side of Thousand Dollar Movies’ ‘Block Out The Sun’ on Four Fingers Records as well as working in more lyrical content. So many people would like to get a chance to go see this trio live, I say take a trip to the closest space they are going to be at – it’ll be worth the ride(s).

Kendra Morris Comes To Madison

There is something completely out-of-time about Kendra Morris and her latest album ‘I Am What I’m Waiting For’ on Karma Chief Records. It combines powerhouse vocals w/arrangements that betray an extensive record collection & a whimsical instinct for a joyous kinda noise. It’s vibrant & varied and packed w/personality. She & Torbitt Schwartz, AKA Little Shalimar (Run The Jewels) wanted to make it feel like listeners cracked open the ooze in her head. Torbitt was the Co-Writer & Producer on the record. Kendra is also an accomplished visual artist & stop-motion animator, so it’s appropriate that the album takes a collagist approach, recombining all sorts of Rock-n-Roll ingredients, the sass & swagger of Ronnie Spector, The more acid-fried corners of The Nuggets Compilations, post-modern interpolations of mid-century Exotica music, the cracking snares & sugary Urbanity of ESG, all while offering moments of vulnerable insights from a life in pursuit of expression. She was a musically precocious child and, after playing in Florida bar bands, moved to New York to chase the dream. Thus began a 13-year stint bartending at the beloved lower East Side dive The Library, which thrust her directly into the heart of Manhattan’s fertile post-Strokes creative scene. Brian Jonestown Massacre’s Anton Newcombe lived Upstairs, music journalist Marc Spitz was a regular, and touring acts would come through to hang after playing Bowery Ballroom. During those moments, Morris yearned to join those folks on the other side of the bar. All the while, she kept pursuing her music dreams. Her process was pure, 100% DIY. She never took no for an answer. After the dissolution of her first band, She Recorded 8-track demos and performed solo shows backed by cassette recordings of her own vocal harmonies. Through these shows she connected w/longtime producer Jeremy Page. It felt meant to be. She worked with Jeremy for the next 10+ years, they Worked together thru some of the most beautiful & hardest life things she’s ever gone thru. It was a fruitful partnership: she signed to Wax Poetics for the release of her 2012 debut ‘Banshee’ & 2013’S ‘Mockingbird’, self-released her 2016 EP ‘Babble’, & signed to Karma Chief for 2022’S ‘Nine Lives’. She’s hooked up with a great cast of collaborators, including DJ Premier, MF Doom, Ghostface Killah, & David Sitek. Despite her strong professional & personal relationship w/Page, Kendra knew that she needed to change up the energy for her next project. She connected w/Torbitt Schwartz and set about making ‘I Am What I’m Waiting For’. Kendra was eager to break out of old habits: she started playing guitar again live, pulled old songs out and reworked them, less-than-perfect takes were tolerated. To me, it feels like he risk has paid off.

I had the pleasure of catching up with Kendra as she sets out on a brief run with Marc Brousaard which brings her to Madison on March 16th to play the Majestic Theatre. We get into how that gig got put on her calendar and what that set of music will be like, ranging from her past albums into trying out some new music on us. You heard it riGht, NEW music. We also never had time to discuss her most recent release, “I Am What I’m Waiting For” so we go a little seed to flower on that and prompt a little double check on the video for Dominoes. I would have been remiss if this time around I neglected to get into a little conversation on the really cool track, ‘White Noise‘ she worked on with Peter Matson – this tune really collides well with how she makes a little magic every time we hear a new thing and should be heard by everyone at least once. Ready…GO!

Arts + Literature Laboratory Welcomes Larry & Joe

Larry & Joe is the duo of Joropo maestro Larry Bellorín (Monagas, Venezuela) & Grammy-nominated bluegrass & oldtime star Joe Troop (Winston-Salem, North Carolina). These two virtuosic multi-instrumentalists fuse their respective Venezuelan and Appalachian folk traditions on the harp, banjo, cuatro, fiddle, upright bass, guitar, and maracas to prove that music has no borders. Their engaging bilingual (esp / eng) program includes storytelling, humor, singalongs & dancing. Larry hails from Monagas, Venezuela and is a legend of Llanera music. Joe is from North Carolina and is a GRAMMY-nominated bluegrass and oldtime musician. Larry was forced into exile and is an asylum seeker in North Carolina. Joe, after a decade in South America, got stranded back in his stomping grounds in the pandemic. Larry worked construction to make ends meet. Joe’s acclaimed “latingrass” band Che Apalache was forced into hiatus, and he shifted into action working with asylum seeking migrants. Then Larry met Joe. Currently based in the Triangle of North Carolina, both men are versatile multi-instrumentalists and singer-songwriters on a mission to show that music has no borders. As a duo they perform a fusion of Venezuelan and Appalachian folk music on harp, banjo, cuatro, fiddle, maracas, guitar, upright bass, and whatever else they decide to throw in the van. The program they offer features a distinct blend of their musical inheritances and traditions as well as storytelling about the ways that music and social movements coalesce.

I had the chance to catch up with Joe Troop ahead of Larry & Joe heading into Madison on February 5th at Arts & Literature Laboratory. Joe and I spend some time defining what a Larry & Joe event will be like, from the history of the music to the even futuristic sounds of this unique duo. Joe and I discuss the creation of their brand new album ‘Manos Panamericanos‘ and how it went from idea to final product, but moreover, we talk about what goes into it and how it will translate into their live events. The very interesting part of this duo besides the sounds they create toGether, is how the two met and began their relationship, as artists but more importantly, as people. Finally, Joe gets a chance to build a setlist around one (or two) of their tunes and we do learn about some of the Wisconsin type experiences, including walleye, Supper clubs and of course, cheese they look forward to partaking in.

More From G Love

G. Love & Special Sauce is an American Hip-Hop Blues band known for its unique fusion of hip-hop, blues, funk, & soul musics. Formed in 1993 in Philadelphia, Pennsylvania, the band originally featured Garrett Dutton, aka G. Love, as the lead vocalist & guitarist, Jeffrey Clemens on drums, & Jim Prescott on bass. The trio quickly gained attention for their laid-back, groovy style and G. Love’s unique vocal delivery, blending rap-like spoken word with bluesy ‘sanging’. Their debut self-titled album, ‘G. Love & Special Sauce’, was released in 1994 on Epic Records and included the hit single “Cold Beverage,” which became popular on alternative radio stations & MTV, solidifying their presence in the music scene. The band’s style has been described as a mix of “slacker blues” & “alternative hip-hop,” as they frequently incorporate elements of 90s hip-hop beats with classic blues rhythms. Over the years, G. Love & Special Sauce has released numerous albums, including Coast to Coast Motel (1995), Yeah, It’s That Easy (1997), The Electric Mile (2001) and the GRAMMY nominated The Juice (2020). Their sound evolved to include more soul, R&B, and rock influences, though they retained their laid-back vibe and clever lyrical play. Their 2014 album Sugar saw a reunion of the original lineup after several years, and they continued to tour and produce music with a loyal fan base. Known for their energetic live performances, G. Love & Special Sauce has played at festivals like Bonnaroo & Lollapalooza. Garrett Dutton also frequently collaborates with other artists, including Jack Johnson, with whom he shares a similar vibe, and has released solo projects that dive deeper into his blues influences. G. Love & Special Sauce remains a beloved name in the music scene, blending genres in a way that feels fresh & authentic.

It is always a good time when I get a chance to catch up with family to the program, G Love. This time he is heading on back to Madison with The Special Sauce to get busy at the High Noon Saloon on January 8th. We get into what someone who doesn’t know might find out if they attend this show. We spend a good amount of time discussing an album that both of us think didn’t hit in the ‘rankings’ as much as it should have, the 2022 release ‘Philadelphia Mississippi‘. This outstanding collection really made me go back in time to my first taste of the special sauce, that combination of both raw blues AND hip hop really sat well with me and this album has that feeling. We specifically call out the working with Mr. R.L. Boyce in particular, and G spills the beans on an upcoming release (due around April 2025) from the overflow of tunes worked on with Mr. Boyce (he since has passed) during this original session. Since it is right around the holidays, we get into his new Christmas music, especially ‘Fishing For Christmas’ and how much he loves to create the holiday tunes, and how a little different this one went down. Which brings me to a couple of times we get into the business of it all, we both find the art more important than the money, but it is amazing who gets to have it all. We talk L.L. Cool J & Taylor Swift as well as what would we be spinning on his console if we got toGether to spin some tunes. Just two G’s once again keepin’ it real for the people who feel.

Fun Starts With SistaStrings

SistaStrings is a incredibly dynamic musical duo comprised of dynamic artists and sisters, Chauntee and Monique Ross, whose exceptional talent and versatility has made a profound impact on multiple music scenes. With their unique blend of classical training, heartfelt and heart-shared soulful melodies, and contemporary, even unique sounds, SistaStrings have established themselves as a formidable force within the an ever-widening music community. The duo was recently voted “best instrumentalists” for the Americana Music Associations 2023 honors. Born and raised in nearby Milwaukee, Wisconsin, Chauntee and Monique discovered their love for music at a extremely young age. Growing up in a musically inclined family, the sisters were exposed to a diverse range of genres and instruments. Chauntee found her calling as a violinist, while Monique ended up developing her skills as a cellist. Together, they embarked on a remarkable journey, fusing their classical training with their deep-rooted love for Rhythm and Blues, hip-hop, and gospel. As members of Brandi Carlile’s touring band, SistaStrings have performed at iconic venues such as Madison Square Garden, The Kennedy Center, Newport Folk Festival and even Saturday Night Live. They have performed with an eclectic array of artists such as Joni Mitchell, Ed Sheeran, Maggie Rogers, Margo Price, Allison Russell & Jason Isbell.

Sometimes when the phone gets picked up to start a conversation with artists, I immediately feel like we’ve done this before and any nerves just disappear. This was one of those times. I had a really great time chatting with Chauntee and Monique ahead of their November 21st event at the Stoughton Opera House. We talked about the way the event will shape up, with the music, the stories and the shared emotions all interconnected in the community of it all. I wanted to walk in their shoes during some very cool happenings. So we got into what’s been going on. The first time I wanted to tie their laces tight was the amazing experience (I can hardly even imagine being a part of), being able to play rare instruments at the Library of Congress. Say what?? Oh yes! This leads to all the feelings one could possibly have before a single event. They get time to name drop working with legends like Joni Mitchell, Elton John and Chaka Khan. We talk about the inspiration and friendship they’ve been able to foster with collaborator Peter Mulvey before and after their move to Nashville. Playing with friend of the program Allison Russell led to touring with Brandi Carlile and the hits have just kept on coming. It would be hard to find two better people to get to have these a part of their life’s stories. So we discuss what it is about these collaborative experiences of multiple genres that allows them to ‘bring themselves’ to it. Then we laugh about ‘that time networking in New York’. I am so looking forward to the next time the phone rings and it is SistaStrings catching up with all the next first times they’ve shared in.

All Species Parade by Jenny Scheinman

Jenny Scheinman, acclaimed violinist & composer, for many years a stalwart of the New York jazz and creative music scenes, returned to her native Humboldt County, California in 2012. There she has continued her artistic evolution. For years, Scheinman nursed the idea of a musical homage to Humboldt, in particular the area known as the Lost Coast, a remote, earthquake and mudslide-prone region of coastal northern California, where she was raised. She considered the project from many angles. She wrote a song cycle based on the “crusty characters” from her hometown and sketched out a surrealist multimedia project based on the county’s namesake, Alexander Von Humboldt. She collaborated with filmmaker Ai Aiwane on a video installation about the Mattole River (Cojo Come Home) and immersed herself in the sounds & cultural history of the region, with hopes of conjuring, in music, the extraordinary diversity of life in the Pacific Northwest. Her epic new release, All Species Parade, is the result of these meditations. The all-original program is brought to life over the course of a double album, by pianist Carmen Staaf, guitar icons Bill Frisell, Nels Cline, & Julian Lage, and the revered rhythm team of bassist Tony Scherr & drummer Kenny Wollesen. It was recorded by Eli Crews, mixed by Tucker Martine, and mastered by Greg Calbi. Though ‘All Species Parade’ offers a brimming 72 minutes of music, it only contains 10 songs, several of which are over 11 minutes long, and 3 of which (“Jaroujiji,” “The Sea Also Rises” & “All Species Parade”) comprise an Ellington-inspired suite that clocks in at 20 minutes. This long-form approach is a departure for Scheinman, whose 10 previous albums tend toward a more concise, song-like aesthetic. Jenny’s playing is radiant, soulful, stamped with jazz vernacular and old-time fiddling tradition and anchored by her superb lyrical poise & masterful technique. In addition to her extensive work in jazz & improvised music with Jason Moran, Brian Blade, Ron Miles, Allison Miller, Vinicius Cantuaria and many more, she has toured and recorded with songwriting legends such as Lucinda Williams, Bruce Cockburn, Robbie Fulks, Rodney Crowell, Lou Reed, Ani DiFranco & Joni Mitchell. She is featured on the original cast recording of Anais Mitchell’s hit musical Hadestown, and has written several feature length movie scores, including the forthcoming Avenue Of The Giants.

I had the opportunity to catch up with Jenny on release day of this epic tale, ‘All Species’ Parade’ out now on Royal Potato Family and I quickly shared just how this album made me feel (Mycelium or yourcelium?). We got pretty deep into the how this album came together from the garden to the table, including dissecting a track or two and certainly getting into the involvement of that 3 headed guitar monster. Jenny has 2 friends of the program, Mr. Julian Lage & Mr. Bill Frisell as well as Nels Cline on this album, all have a place and reason to share the story as it goes down. We touch on just how and why the song length on this album increased for a few of the tunes, and what memory/comment did she old with her that kept her ear/mind open for just the moment to let things spill over. The album is an incredible story that as a listener, I found myself being welcomed in and not truly wanting to leave until I soaked it all in, thought about it and then wanted to share.

photo by: Kory Thibeault

Think Forward With Brandon Seabrook

Brandon Seabrook is a guitarist/banjoist/composer living in New York City where he has established himself as one of the most forward-thinking & versatile guitarists of his generation. He has also made a name for himself as an influential banjo innovator, described by the New York Times as “a man apparently hellbent on earning the title of World’s Least Rustic Banjo Player.” His work focuses on the juxtaposition of hallucinatory soundscapes, angular composition, and a massive dynamic range that can change in a nanosecond. He has released several albums as a leader covering everything from pulverizing art-metal to chamber music bridging the realms of extreme rock & the classical avant-garde. Rolling Stone Magazine noted, “The fiercely dexterous musician has lunched a number of bands combining serious chops with manic intensity and a left- field compositional vision.” Seabrook honed his guitar skills at the New England Conservatory in Boston. He has since performed extensively in North and South America, Mexico and Europe, as a solo artist, bandleader, & collaborator. He has been called upon by titans such as Anthony Braxton, Nels Cline, Cecile McLorin Salvant, So Percussion, & Joey Arias for his idiosyncratic physical performance style , hyperreal technique & impeccable articulation . He has been profiled in the New York Times, The Wall Street Journal, Premiere Guitar, Downbeat Magazine, Rolling Stone, NPR, The Chicago Reader, and The Wire. Brandon is an accomplished solo artist, named Best Guitarist in New York City by the Village Voice 2012. In 2014, New Atlantis Records released his first solo album titled “Sylphid Vitalizers.” Noisey called the album a “dissonant guitar army…(with) mind-blowing prog-rock complexities – all at mind-numbing breakneck speed.” Brandon has presented his solo work at Pioneer Works, Sonic Transmissions Festival, Secret Project Robot, NK Berlin, Lima Jazz Festival, Dither Extravaganza, The Smell, Lawrence University, and the Ruidismos Festival in Lima, Peru.

I had the opportunity to catch up with Brandon ahead of his upcoming set on October 12 at the North Street Cabaret, performing along with Todd Clouser’s A Love Electric. We get into the possible outcomes of the sonic exploitations could be when he is doing his thang with guitar (and hopefully banjo). We get into his soon to be released (10/18) new album Object Of Unknown Function on Pyroclastic Records, and dissect one of my favorite tracks from the collection. I could not letr my momet with Brandon go without hearing form him how it felt to be a part of one of the most cool events I watch, the ‘Sculpting Sound with Bertoia’ event last December, and just how being/doing within that landscape opened new avenues.

Photo: DIE-TROMMEL-FATALE-BY-REUBEN-RADDING

The Now Within A Love Electric

An explosive trio of 3 nationalities, A Love Electric, hailed as the tomorrow of creative rock by Mexico City’s leading newspaper, La Jornada, performs at some of the world’s finest rock festivals, jazz clubs, & cultural landmarks. Led by guitarist/vocalist Todd Clouser, a voice recognized as at the forefront of a new generation of genre redefining artists, A Love Electric carries the sonic legacies of psychedelic rock, New York City’s downtown scene, and introspective song into new territories. Having performed all over the globe, ALE has gained praise from critics and fans of rock, jazz, & experimental musics alike. A Love Electric is Todd Clouser (guitar and vocals), Aaron Cruz (bass), and Hernan Hecht (drums), Hecht a Latin Grammy winner for his work as drummer and producer. The three musicians have performed with Steven Bernstein, Anton Fier, Billy Martin, Cyro Baptista, members of Dire Straits, Keb Mo, Tim Berne, Ely Guerra, and more. In there years of aggressive touring throughout the United States, Germany, Spain, Portugal, the Czech Republic, Mexico, and Argentina, A Love Electric have documented their evolution into creative rock supergroup on three records from Brooklyn, NY’s The Royal Potato Family and a solo Clouser album Billy Martin‘s label, Amulet Records. A Love Electric now sits with a sound and approach all its own, defying category & inspiring audiences with their impassioned and prolific approach to creating. A new generation of idea is here. With many more recordings and sonic journeys under each other’s musical belts, now here we find ourselves dodging weirdness in 2024 and there’s more new music and opportunities to see Todd and A Love Electric to aide in making it all seem better.

The best thing about catching up with Todd is that it usually means he is coming to town. This time around it is going to be October 12th at the North Street Cabaret with A Love Electric. I have been ready for this for a long time!! We get into some of the possibilities the night of music could bring and dive head first into the newest album he put out with JT Bates and friend of the proGram, Mr. John Medeski. It’s a ‘surf’ music album titled ‘New Flamingo Magic’. The week Todd and I chatted it up, another friend of the show, Carnage the Execution was in Mexico for a few nights of making differences and making a difference. One of the things Todd does is the give back, so we talk about one of the ways he does it through an annual festival called ‘Lakeside Guitar Festival‘ and his Music Mission Foundation. He and his pal, Molly Maher, who Todd does a lot of his giveback work with, are going to have an opportunity to open for Los Lobos coming up soon as well, so, why not put a little notice on that spectacular event. To hit the old refresh button, Todd took some time off from performing (which does not sound normal to me…for him), so we talk about where he may have found some inspiration or new feelings.

Sam Grisman Project Spreads The Joy

The music that Sam’s father and friend of the program, Mr. David Grisman and his close friend, Jerry Garcia, made in the early 90s (in the house that Sam grew up in) is not only some of the most timeless acoustic music ever recorded, it also triggers his oldest and fondest musical memories. What Sam finds most inspiring about this material is the way their camaraderie and their love and joy for the music, simply oozes out of each recording. It is also impressive how deeply they get beneath their favorite songs—whether they are originals, covers or traditional/old time tunes—and how expertly that material was curated. The goal in starting Sam Grisman Project is to build a platform for his friends and himself to showcase their genuine passion and appreciation for the legacy of Dawg and Jerry’s music. By playing some of their beloved repertoire and sharing the original music that their own collective has to offer, they will also show the impact that this music has had on their own individual musical voices. Ultimately, there is nothing that makes Sam happier than playing great songs with his best friends and the true hope is to share that happiness with audiences all over!

I had the pleasure of hanGin’ out with Sam ahead of the September 21st event at the Stoughton Opera House when he brings over the Sam Grisman Project for a little good time acoustic music. We get into the music, the love for and of it, the love and friendship between his friends who help him make the sounds go for the rest of us and how they all gained a deeper respect for the music over the years. We talk about the relationship between his dad and Jerry Garcia, and how playing some of the tunes they worked on has enlightened him as an artist and frankly, we just had a good time, like we were sitting out on the back porch catching up. Sam had recently both PHIL’d in for Phil Lesh and played with Peter Rowan, so I had to find out about those times. As I suspected, cool cool cool. I have a good, maybe grateful feeling that anyone who goes to see Sam and his pals live, or finds a way to get their hands on the new music when it comes out, will be reminded of times gone by and friends that will always be near and dear.

All That Is The Chicago Immigrant Orchestra

The Chicago Immigrant Orchestra, originally founded in 1999 by the Chicago Department of Cultural Affairs & Special Events, emerged as a vibrant expression of the city’s rich musical diversity until the end of its initial run back in 2004. Helmed at the time by Willy Schwartz, the orchestra brought together musicians from Chicago’s immigrant communities, showcasing a global array of musical traditions. Though its initial run ended after five years, its influence lingered, leaving an indelible mark on the local music scene. Fast-forward to 2019, a new chapter unfolded when the Chicago Department of Cultural Affairs & Special Events enlisted guitarist Fareed Haque and oud player Wanees Zarour to revive the orchestra for the 2020 Chicago World Music Festival. Despite the challenges posed by the global COVID-19 pandemic, the orchestra persevered, delivering a lauded virtual concert in September 2020. Today, the rejuvenated Chicago Immigrant Orchestra comprises a 20-piece ensemble drawn from Chicago’s immigrant communities, representing an eclectic mix of musical heritages from across the globe. Under the artistic direction of Haque & Zarour, musicians hailing from the Far East to Western Europe, Africa, and the Americas collaboratively shape the orchestra’s musical narrative. Embracing a fresh perspective, the New Chicago Immigrant Orchestra delves into the interplay between diverse musical traditions, weaving a rich tapestry that celebrates both their shared connections and distinctive differences.

I had the complete pleasure of hanGing out with family to the program, Fareed Haque and Wanees Zarour ahead of their September 20th event in Madison at The Bur Oak. We get way deep into all the possibilities and ways this spontaneously diverse orchestra will create new textures and not only sound neighbors, but sound families (doing the creating at the exact same moment). There is mention of all the different styles, places people representing the music and how they piece together the colorfully shaped glass of each, into that together at-one-time mosaic. This is truly an amazing experience. The mission to provide a platform for musicians in the immigrant community to collectively explore, research, create and perform music encompassing all global musical traditions will spill out and touch each participant in the audience as well. The discussion around the differences, the blend of those and how it ends up creating almost a new weather pattern is simply amazing to try and understand. I did ask if even in the middle of ALL these differences, is there still something missing? I can’t feel it myself, but I imagined they had thought of a respectful newness, an addition perhaps that just finds it’s own way there. We also get into a little conversation about how this scene, this orchestra is or is not jazz music. I hope you’ll find your way on the 20th in Madison, but moreover, explore this group in any way that can help you take it all in, the oneness is contagious.

Bernard Allison Back In Madison

For over fifty years, music has been Bernard Allison’s essence. As the youngest son of the much-missed Chicago bandleader Luther Allison, he was a bluesman from birth, naturally drawn to this ancient music that seemed to heal deep wounds, and held spellbound by early encounters with heavyweights like Muddy Waters, Albert King & Hound Dog Taylor. Shuttled between Florida & Illinois as a child, but never separated from his guitar, by 12, Bernard was a fireball player himself, and at 18, he commanded instant respect as his dad’s guest at the 1983 Chicago Blues Festival. One week after graduating high school, Bernard cut his teeth on the road with Koko Taylor’s Blues Machine lineup and ended up staying for most of the ’80s. By the close of the decade, however, he assumed a twin identity, leading & writing for his father’s band, while forging a solo career that exploded in Europe off the back of early albums like The Next Generation (1990), No Mercy (1994) and Funkifino (1995). Across his respected career, Bernard has certainly tasted the highs. Just ask him for his memories of jamming with Stevie Ray Vaughan on his 16th birthday.“He contacted my mom and said he and Double Trouble were going to surprise me after their show.” Or being given a lesson by the Texas tornado himself, “Johnny Winter sat me down and taught me how to play slide in open tuning.” But even when the lows bit, like losing Luther to cancer in 1997, just as his career was peaking, Bernard has defied his circumstances. That same year’s solo album, Keepin’ The Blues Alive, might as well have been his mission statement, and Bernard has spent the last quarter-century both honoring his father and exploring his own voice during a constantly flourishing solo career.

I had the honor of spending a little time with Bernard Allison to get into what his set at The Sessions at McPike Park on August 10 here in Madison will be like. We talk about the real fun that he and his band are having while playing with and for folks. Bernard is sure to remind that this is all about representing the Allison name. We talk energy and style, his and what his father was known for. Bernard and mates had just gotten back from a European tour, which led naturally into discussing how his father Luther was beloved overseas and that family/community feel is still alive and rockin’ whenever he shows up for a gig/festival. Madison Wisconsin holds a special spot for Bernard as his dad hung out here as a place to fish and set the stage for more business, music business that is. So, this welcome back to Madison is going to be one for the books, just like the latest album on Ruf Records (a label created with/by Luther & Thomas Ruf) aptly titled ‘Luther’s Blues’ and how playing his dad’s songs, some with a recreated sprit, serves to keep a legacy alive from the past, into the present and through the future. The entire conversation seems to revolve around not only the music, but family, community and the recognition and acknowledgements of forward progress from the places and people that have touched/taught him as a person AND as an artist. I mean this cat was shown certain things from Johnny Winter & Stevie Ray Vaughn (we touch on some of this as well – how could we not?). I will Guarentee that if you are open to having a good time, Bernard Allison and his band will give you more than you can handle.

The Joy Of The Campbell Brothers

At countless performances over the past 3 decades, the Campbell Brothers have taken far-reaching, genre-spanning audiences to church — namely the Pentecostal House of God, where their transcendent “sacred steel” tradition of guitar-focused gospel music flourished. But with INNOVA, out August 2 on Ropeadope, the Campbells deliver their most profound testament yet to the faith that has inspired their work and, in recent years, guided them through tragedy. These 9 tracks comprise the Campbells’ first studio album since 2013’s ‘Beyond the 4 Walls’, and their 1st studio LP since the shocking passing of lap-steel guitarist Darick Campbell, who died in 2020 at age 53, of complications related to heart surgery. After this devastating loss, and in the midst of the Covid pandemic, guitarist Phillip & pedal-steel player Chuck were faced with a daunting hurdle – how do they continuing doing what it is they’ve been doing? The answer is that you can’t. So with INNOVA, the Campbells have reimagined their group while continuing to honor their integrity & heritage. An essential part of this renewal can be found in Phillip’s songs, which burst forth with locomotive grooves, unbridled guitar wizardry and powerful messages of perseverance and healing. Alongside Phillip & Chuck on this outing are official band members including drummer & vocalist Carlton Campbell, bassist Daric Bennett and lead vocalist Denise Brown, as well as special guests who uphold the Brothers’ ideal of church-rooted strength: the singer Ron Staples, heir to Joe Ligon’s throne in the Mighty Clouds of Joy; Serena Young, a worship leader from the Campbells’ hometown of Rochester, N.Y., and an alumnus of the Kirk Franklin-hosted BET show Sunday Best; and Rochester organ great Rufus McGee. The Campbells developed in Rochester under the tough-love tutelage of their father, a bishop in the House of God Church, who delivered to his musician-sons a paradoxical demand: resist the temptations of secular music, but push yourself to meet the standards of blues, jazz and country music heroes: B.B. King, George Benson, Roy Clark, Jimmy Day, Buddy Emmons. A sense of fierce but healthy competition created an extrasensory rapport among the boys, a kind of musical mind-reading that perfectly suited the heavenward, snowballing passion of gospel. After the Campbell Brothers released their debut album in 1997 on the storied Arhoolie label, they began to stir interest among a vast and diverse swath of dedicated music fans: blues aficionados who heard them as a living conduit to a rich if unsung strain of Black roots music; jam-band kids who appreciated their funky, exhilarating spirituality; devotees of R&B and contemporary gospel who grew up in the church themselves. They worked constantly in the ensuing years, and became highly decorated keepers of a uniquely American tradition. The Campbells were named NEA National Heritage Fellows, received a commission to arrange John Coltrane’s A Love Supreme for its 50th anniversary, and collaborated with B.B. King, Mavis Staples, Medeski Martin & Wood, the Allman Brothers Band, the Blind Boys of Alabama and many others. Their music was even featured in The Sopranos.

I had the honor of catching up with Mr. Phillip Campbell ahead of the Campbell Brothers heading back to Madison to play La Fête De Marquette on July 13th. We get into the forthcoming uniqueness of this event: ‘Praise Break w/ Campbell Brothers, Fountain of Life Church and more’, and how something like this is the exact reason that the Campbell Brothers continue to spread the happiness and joy wherever they go. We talk about what a set of theirs usually consists of, stylistically, sonically (tunings) and oh yes, spiritually. While that image of what will go on at this festival, and anywhere you can catch them brightening your day, is something I cannot wait to become a present moment reality, it is the new album that I am also excited to be able to chat about. We get deep into the new record of tunes, ‘Innova’. We go seed to flower, but there is so much flower on this record, the sun and water must have nurtured it just riGht as it was growing. We talk about the feelings of this music (and you’ll feel it too) and the remembrance of before and the steps into tomorrow. We talk Sacred Steel and collaborators so I can wrap my head around just how this music seems to fit in everywhere, at any time. It all did circle back to that anthem of Happiness and Joy. I am ok with that!

Joe Marcinek Brings It on 1 River Street

The Joe Marcinek Band is a vibrant fusion of the Chicago Blues, Dat New Orleans Funk, Grateful Dead inspired jamming psychedelia and an array of intricate jazz fusion which creates a unique and eclectic musical journey. Attending a Joe Marcinek Band concert is an electrifying experience that takes listeners on a diverse musical journey. Each concert is unique, as the band is known for its improvisational skills, ensuring that no two performances are exactly alike. The band’s palpable energy and passion for music are infectious, making their concerts not just a listening experience, but a full-fledged musical adventure that resonates with fans of diverse musical tastes. Expect a night filled with skillful musicianship, unexpected musical turns, and a lively atmosphere that invites the audience to be part of the band’s ever-evolving musical narrative. For years now, Joe has also been curating a collection of albums with each showing that true range and ability he has with the music but also how he interacts with other artists to find their personal together landscape. It always feels fresh and evolving. His latest release, 1 River Street, was recorded in Massachusetts at Iron Wax Studios with Alan Evans producing and on drums, Nate Edgar on bass, Kris Yunker on keys, Brian Thomas on trombone and Alex Lee-Clark on trumpet and Jared Sims on sax & flute. It’s a tight collection of eight sharply-honed tunes that brinGs the funky and groove of life within each note.

I had an opportunity to catchup with family to the proGram, Joe Marcinek to get into the new record 1 River Street. We talk about the evolution of both him as an artist and this new music. We get into the above mentioned players and friend of the program, Mr. Alan Evans’ studio and the desire for both to work with each other finally on a record like this. So this one is on Alan’s Vintage League Music label which is a conduit for many a funky great. Mostly, I really wanted to tell him how funky he is and that this record really shows off where the experiences of many years now has taken him. We find out what big shows Joe and his rotation of cool musical comrades played in the past year or so and highlight a couple of the bigger ones to look forward to this year. Joe is family, he is open to what & where the groove takes him, and I just really respect someone who can work with so many different people and the music still has it’s own unique smile to it, each time. If you are looking for a groove, it could very well live inside of 1 River Street.

The Legend John Primer

Mr. John Primer has undisputedly helped build the sound and style of Chicago blues as we all know it today. The echoes of tradition bellowing from the birthplaces he played such as: Maxwell Street, Theresa’s, Checkerboard & Rosa’s Lounges, pulse from every chord in his fingers still today. John Primer is a Chicago Blues Living Legend. Growing up on Mississippi sharecropper land in 1945, inspired by his family’s hard work & field songs daily, deep devotion to spirituals on Sundays, and blues on Saturdays. John dreamed of one day playing with the Legendary Muddy Waters! Moving to Chicago in 1963, he started on that path of becoming a great bluesman, getting his 1st steady gig at the legendary Maxwell Street in Chicago on Sundays and at the famous Theresa’s Lounge 7 nights a week for 7 years. John was taught by the founding fathers of the blues. Starting out with his own band the Maintainers with Pat Rushing on Maxwell Street, he then moved on to play with the legendary Sammy Lawhorn & Junior Wells at Theresa’s Lounge. He worked hard and impressed Willie Dixon enough to go on tour with him and his Chicago Blues All-Stars Band. At this point he was known and John’s dream finally came true in 1981 when he got to play with his idol, Muddy Waters. Muddy called for him to lead his band and changed his life forever. After Muddy’s untimely death, he joined up with Magic Slim & The Teardrops for the next 14 years, traveling all over the world. John paid his dues and in 1995 he began leading his own band, The Real Deal Blues Band. He has been recorded on more than 87 albums with 17 albums in his own name. He has written & produced more than 55 songs on more than six record labels including his own, Blues House Productions. Earning 2 Grammy Award nominations, given 2 Lifetime Achievement Awards, inducted into the Chicago Blues Hall of Fame, awarded the “Muddy Award” for being a traditional blues icon, winning a Blues Music Award, Blues Blast Awards and countless other awards, John Primer is a legendary Chicago Blues Icon!!!

I had the honor of getting to spend some time talking with Mr. John Primer ahead of his upcoming stops through Madison on June 22nd at the Red Rooster and then again on August 10th part of the Sessions At McPike Park. We got into what an audience can expect in the way of traditional blues that is flowing through this man’s veins and how is is doing all he can to keep that vibe alive. We spent time dissecting his recent award winning album “Teardrops For Magic Slim” and how the album (a live recording – was a tribute fitting for another legend to the scene). Mr. Primer was recently overseas for a festival so we talk anbout him prepping the band he inherited when he arrived and how they did such a bang up job. As you can imagine, we got into stories about the who and the what and the where and especially the how of major career paths in his life, a life worthy of any hall of fame and certainly his sound is in many of our individual sonic halls of fame. I invite you to take a listen to the past and learn a bit about where one of the originals to the Chicago Blues groove got his starts and stops, he come-uppins and his immense influence still to this day on generations of others, feeling this music. John Primer is a leGend.

Peter Dominguez Talks String Theory

Peter Dominguez grew up in Milwaukee, Wisconsin and began performing with the Music for Youth Orchestras and his father; pianist and vocalist Frank DeMiles. Peter went on to study with Roger Ruggeri and Richard Davis at the University of Wisconsin, Madison, and with Dr Lucas Drew at the University of Miami. Peter served as Professor of Double Bass and Jazz Studies at Michigan State University from 1984-96, and continued studies with Robert Gladstone while substituting with the Detroit Symphony. The former Principal Bass with the Lansing Symphony Orchestra and the American Sinfonietta, Peter was Professor of Jazz Studies and Double Bass 1990-2020 at Oberlin Conservatory of Music. He is currently Professor of Double Bass and Jazz Studies at the University of Wisconsin-Madison. He continues to perform with an impressive array of Classical, Jazz, and Latin artists throughout the Americas and Europe. His teaching includes national and international classes, adjudication of international competitions, artistic direction of the Richard Davis Foundation for Young Bassist Inc annual conference in Madison Wisconsin, and the director of the Milt Hinton Institute for Studio Bass. Peter’s recordings include ‘How About This’ (2010) & ‘Groove Dreams’ (2017) performed on Milt Hinton’s famous 1790 bass. Another solo recording entitled ‘Bass Salute’ (2023) featuring Richard Davis’s 1855 Lion Head double bass.

I had the chance to catch up with Peter about the upcoming event as part of the 2024 Madison Jazz Festival. On June 13th from 7-9pm at Madison Museum of Contemporary Art, Peter, who is the producer of the new documentary: String Theory: The Richard Davis Method, will be screening & participating in a Q&A (and perhaps he may let the Lion Roar?!) about the documentary and the life, career & legacy of a legend, Mr. Richard Davis. We go deep into the creation of this endeavor – including a great tale from an original screening in Milwaukee highlighting the maGic of The memories include the different ways Mr. Davis would inspire students to try and even that level of success into a double-bass equality with other more prominent instruments, it was not a ‘traditional’ teaching method many have said, but clearly it is all about the results, the people and the wholistic education art provides both student and society. Peter is also going to be playing with his long time friend Gerri DiMaggio on the Terrace, June 15th at 3pm, so we touch base on what is gonna go down when that goes down.

Lost & Found With Raul Midón

Singer, Songwriter, Guitarist & Engineer, Raul Midón established himself as a first-call session singer upon graduation from the prestigious Studio Jazz program at the University of Miami in 1991. He sang background vocals on more than 60 Latin recordings, many Grammy winning. In 1999 he was asked to join the touring band of Shakira. During that time, he was creating his own original music and was signed to a development deal with Warner Chappel. He left Shakira’s band to move to NYC to pursue his own career. Within a year he debuted at Carnegie Hall with the Movie Music of Spike Lee. Spike engaged him to write the end credit song for “She Hate Me.” At the same time Raul was signed by legendary producer Arif Mardin to his label under the Blue Note moniker, Manhattan Records. Raul has worked with countless legends in the industry including Bill Withers, Herbie Hancock, Sting, Terence Blanchard, & Dianne Reeves to name several. He received 2 Grammy nominations back-to-back in 2017 & 2018 for his albums “Bad Ass and Blind” & “If You Really Want” in the Best Jazz Vocal Category. Since moving to the DMV he established himself as an accomplished recording engineer, recording all the vocals for both of the aforementioned in his home studio. In 2019 he was invited to speak at his high school Alma Mater Santa Fe Prep and also was given the Distinguished Alumnus Award from the University of Miami. In 2021 he was awarded the Disability Rights Ambassador of the year award, presented to him in a virtual ceremony by his friend and colleague Jason Mraz. During the COVID lockdown, Raul continued to collaborate with colleagues and appears in a duet on the Grammy winning album “Mendo” by Alex Cuba. He chose to pursue a long-time dream of recording a guitar duets album with some of his favorite guitarists including Mike Stern, Dean Parks, Lionel Loueke, Julia Bailen, Stephane Wrembel, Alex Cuba and more. This album ‘Eclectic Adventurist’ was released on his own label, ReKondite ReKords on 11/11/ 2022, to acclaimed reviews. He continues to tour, write, record and is working on a novel, ‘Tembererana’, and he is also back in strong 2024 with a brand new album to share, ‘Lost & Found’.

I had the pleasure of re-connecting with Raul ahead of his June 8th event at Cafe Coda as part of the 2024 Madison Jazz Festival. We get into what that show should be like as he is heading here after just releasing a brand new record, Lost & Found. We get into how that album went from ideas to release, working in his own studio and which tunes off the album seem to be hitting just right with audiences. Some even to his surprise. We get a chance to learn a little more about the person Raul is as we chat in depth about his fascination and practicing of the HAM radio. His love and respect of this communication wizardry certainly reignited a spark within this G. We also talk about ding the National Anthem recently at an OKC Thunder playoff game and is approach to performing the anthem – check it here. well, you know me, it would not be a good talk if we didn’t get a moment to talk about a level of cool, like Raul being honored as the Disability Rights Ambassador a few years back.

Stephane Wrembel Back In Madison

Stephane Wrembel is one of the finest guitar players in the world. The breadth & range of his playing & compositions are unmatched. This prolific musician, composer, educator, & musical director has released a steady stream of music since 2002 making his mark as one of the most original guitar voices in contemporary music. He has headlined Jazz at Lincoln Center, Carnegie Hall, The Town Hall in NYC & The Lyon Opera House in France. He has toured and/or shared stages with master violinist Mark O’Connor, Sam Bush, Stochelo Rosenberg, Esperanza Spalding, & Al Di Meola. He has dazzled audiences at Montreal Jazz Festival, Rochester International Jazz Festival, Django Reinhardt Festival in France, Ellnora Guitar Festival, Caramoor Jazz Festival & many others. Born in Paris and raised in Fontainebleau, the home of Impressionism & Django Reinhardt, Stephane 1st studied classical piano, at the age of 4. But in his mid-teens, he discovered that he had an affinity for guitar and then he found out about Django and fell in love w/the very strong impressionist feel in his music. Django, long regarded as one of the most influential musicians/composers of all time, was a Sinti, so Wrembel immersed himself in Sinti culture and started learning the atmosphere of what it really means to play Sinti-style guitar. He learned from the masters such as Angelo Debarre & Serge Krief. After graduating summa cum laude from Berklee College of Music in Boston in 2002, he released his debut album, Introducing Stephane Wrembel. He moved to NYC in 2003. Before long, word of this remarkable European transplant began spreading among fellow musicians in the robust New York music scene. Both Gypsy Rumble (2005), which includes mandolin legend David Grisman, and 2006’s Barbes-Brooklyn found favor with critics. Oscar-winning director Woody Allen used one of Gypsy Rumble’s tracks, “Big Brother,” in his 2008 film Vicky Cristina Barcelona. Hiss fourth album, Terre Des Hommes, was released the same year. In 2003, Wrembel created his own annual event, Django á Gogo Music Festival & Guitar Camp, bringing together some of the finest musicians in the world to celebrate the Sinti guitar style to perform in prestigious venues such as Carnegie Hall & The Town Hall. This weeklong event held in his hometown of Maplewood, N.J. & NYC is now being produced in Los Angeles, Canada & beyond. Wrembel’s breakthrough came with his original composition “Bistro Fada,” a Django-influenced swinging waltz on his 5th album Origins that became the theme song for Woody Allen’s 2011 Oscar®-winning film, Midnight In Paris. It was included on the Grammy®-winning soundtrack for the film. Wrembel performed the irresistibly catchy “Bistro Fada” live during the 2012 Academy Awards® ceremony with an all-star ensemble led by Hans Zimmer. In 2016, Wrembel released two masterfully recorded live albums: Live In India and Live In Rochester. From 2017-2021, Stephane released The Django Experiment I -The Django Experiment VI under the nom du plume The Django Experiment. These 6 volumes were recorded with long-time collaborators Thor Jensen on guitar, Ari Folman-Cohen on double bass, Nick Anderson on drums& Nick Driscoll on saxophone and clarinet, live in the studio, evoking new interpretations of Reinhardt’s music as well as songs by other jazz composers. In 2019, Wrembel produced Les Yeux Noirs, the debut CD by Simba Baumgartner, Django’s great-grandson. Baumgartner, who lives in the countryside in France, was one of the special guests at Django á Gogo 2019 & 2023. That same year, he released Django L’Impressionniste putting the spotlight on 17 little-known preludes for solo guitar Reinhardt recorded between 1937 and 1950. Wrembel is the first interpreter who has performed all of these pieces and collected them in one definitive masterwork. It took 4 years to meticulously transcribe the songs. He released a beautifully printed/bound book of sheet music in April of 2021. In November of 2021, he debuted his specialty group Django New Orleans, a 9-piece NYC-based band, with 8 sold-out shows at Jazz At Lincoln Center’s Dizzy’s Club. The following year his specialty program Shades of Django sold out two nights in The Rose Theater at Jazz at Lincoln Center. Now, in 2024, he is doing another something he has never done, recording a triptych album with a duet of guitar & piano with Jean-Michel Pilc. Following the success of these shows, Wrembel released Django New Orleans in May of 2023 in conjunction with the Django á Gogo festival. And while he is now considered one of the preeminent master guitarists in the world specialized in the Django Reinhardt style, this wonderful human keeps transcending & expanding. His music incorporates jazz, blues, classical, swing, flamenco and rock. All of these influences come together as a genre identifiable only as Stephane Wrembel.

I had the pleasure of catching up with family to the proGram, Stephane Wrembel ahead of his May 21st event at the Bur Oak here in Madison, presented by the Midwest Gypsy Swing Fest. We get into the event here with the quartet and what types of things to expect. We will be in store from something off the new and amazing triptych album with Jean-Michel Pilc. We get deep into that new trilogy with meaning and how the two artist have taken that new energy and become close friends, not only for their musical creation. I would be remiss if we didn’t take a moment or two to let Stephane brag and boast a little it about the 2024 Django-A-Gogo and my my my, there’s a lot to be proud about once again. I am proud to call Stephane a friend as when we talk, and you’ll hear it aGain, there’s a rhythm and ebb & flow to us as well, and you’ll feel that personal connection I bet when you plug into the records and most definitely when you catch him in any of his projects live.

Photo by Jason Goodman

The Messthetics and James Brandon Lewis

The Messthetics is an instrumental trio formed by former Fugazi members bassist Joe Lally & drummer Brendan Canty with progressive jazz rock guitarist Anthony Pirog. Their music has been described as “jazz punk jam. The Messthetics and James Brandon Lewis is a collaborative studio album by American jazz fusion group the Messthetics & saxophonist James Brandon Lewis. How do we get to this moment: Joe Lally was onstage, playing at full throttle, when he realized that his band had found a true kindred spirit. It was the fall of 2021 and the Messthetics were at the Bell House in Brooklyn, just getting into their uptempo riff jam, “Serpent Tongue.” Joining them for the piece was a special guest, acclaimed jazz saxophonist James Brandon Lewis, making only his 2nd appearance with the group after a drop-in at another New York show back in 2019. That first meeting had been a success, but this time, Lewis’ presence definitely sparked something new. The feeling that there was more to explore within what began as an ad hoc union among the 4 musicians, lingered after the performance ended. Now, Lewis, Pirog, Lally & Canty are ready to unveil their first full-length album as a quartet. Recorded in just 2 days in December 2022 at Takoma Park, Maryland, studio Tonal Park, with engineer Don Godwin, The Messthetics and James Brandon Lewis features 9 tracks that capture the combustive chemistry Lally originally sensed onstage while expanding the collaboration in all directions. Across the album, which dropped on March 15th via the legendary Impulse! label, the quartet can be heard locking into a hard, swaggering funk groove on “That Thang,” cradling a wistful, jazz-like theme on “Asthenia” or rocketing into ecstatic art-punk overdrive on “Emergence.” There is plenty of expected evidence of spontaneity running throughout this record. Once the quartet established a rapport onstage, the Messthetics followed up with an invitation to team up for an album, which Lewis quickly accepted. The Messthetics spent a few months in the fall of 2022 assembling & arranging material as a trio before meeting w/Lewis for just 1 day of rehearsal prior to the recording in December. Even with minimal prep time, the material evolved considerably.

I had an opportunity to get hang out with Joe, Brendan, Anthony and Mr. James Brandon Lewis ahead of The Messthetics and James Brandon Lewis May 12th show here in Madison at the High Noon Saloon. On the heels of their new album released on Impulse!, we talk about the event and give people an idea of what’s instore and how the new record is what they will build off of as the conversations in real time begin. Anthony and James give the scoop on how they played together which led to an opportunity for a live a cameo or two, which, in turn led what is on the new record and what we will be involved in as they add to that foundation at the High Noon (or wherever you may be fortunate to catch them). A supportive environment, allow the former rhythm section of Fugazi to control the course of the ship, while Anthony’s guitar and JBL’s sax navigate the corners and exploring a dueling dialogue. For me this sound is something I want to surround myself with, sometimes alone or with a group but it has a quality of heavy and groove that can spin at a moment, just like the feeling in life. The guys shared what tracks they’d =choose to build a setlist with and some other artists and tunes, it was as eclectic as what they do. Go figure.

Photo by Shervin Lainez