The Egg Serves Up Some Tasty Hot Tuna with Teresa Williams and Donna the Buffalo

The Electric Sextet of Hot Tuna returned to The Egg, almost seven years to the date of the last Hot Tuna performance, an acoustic duo, on Dec. 11, 2007. Hundreds of old hippies and couples with more than a touch of grey, excitedly attended the performance; some enthusiastic enough to cheer loudly for Jorma Kaukonen and knew every song and dove head first into every jam alongside the band. Donna the Buffalo opened the night with a very powerful set, garnering chatter in The Egg’s lobby, with a new fan, Susan, remarking ‘Oh they’re so much fun!’ in her first time seeing them.

With Hot Tuna taking the to stage, the audience roared with approval, seeing Jack Casady and Jorma Kaukonen and a nearly 50 year relationship playing music together. Alongside them stood Larry Campbell on guitar and fiddle, Barry Mitterhoff on mandolin and Justin Guip on drums, an all-star lineup that welcomed Teresa Williams for part of the set. The alt-country of “Mama Let me Lay it on You” featured Campbell’s fiddling, “Ode to Billy Dean” brought out Tuna’s blues origins and “Can’t Get Satisfied” had a hint of Freddie King’s “Going Down” and was far from radio play, as much of the night’s songs would be; Hot Tuna is an overlooked predecessor to the early jambands that developed in the 1970s and ’80s.  Jorma took a moment to respond to the continuous cries of “JORMA!” from an audience member, saying “That’s my name, don’t wear it out.”

A progressive jam build from “Been so Long” when Campbell took to the mandolin, which led to Teresa Williams coming to the stage for the first song of the night, the enthusiastic traveling country blues of “Children of Zion” and “Wade in the Water” which was full of energy and had Williams dancing all over in a circle.

Teresa later returned for “White Rabbit” with its foreboding bass line from Casady. Feed your head? Feed your ears with this wonderful voice that was on par with Grace Slick in her heyday. Jack strutted around the stage as “Mourning Interrupted” began and when the band found that one groove in the and stated into the jam, the clear highlight of the night was at hand. There was no ADD here, and not just because they’re too old for that $#!&. A cover of “Deep Ellum Blues” featured Williams and Campbell on vocals, a tune he sang frequently when he toured with Phil Lesh & Friends’ in 2006. “Sugaree” with Teresa featured solos from everyone, resulting in the longest song of the night. To cap the night, the band played the classic “Funky #7″ which delved into psychedelic rock before moving into a prog jam, with big jamming to end it, alongside Teresa’s revival-level of energy. Let’s hope it doesn’t take seven years for Hot Tuna to play The Egg or Upstate New York in the future.

Setlist: True Religion, Mama let me lay it on you, Ode to Billy Dean, Can’t Get Satisfied, Been so Long, Children of Zion, Wade in the Water, Second Chances, White Rabbit, Mourning Interrupted, Deep Elum Blues, Bar Room Crystal Ball, Sugaree

Encore: Funky #7

David Bromberg touring his record we made at Levon Helm Studios in 2013 “Only Slightly Mad.” Great show.

David Bromberg plays Capitol Theatre
Godfather of Americana is touring in support of Only Slightly Mad

Article published on Monday, Jan. 12, 2015
Photo courtesy of DAVID BROMBERG
Multi-instrumentalist singer-songwriter David Bromberg performs Jan. 15 at the Capitol Theatre in Clearwater.

CLEARWATER – Multi-instrumentalist and singer-songwriter David Bromberg is set to bring his musical cohorts to the Tampa Bay area. The David Bromberg Band will perform Thursday, Jan. 15, 7:30 p.m., at Capitol Theatre, 405 Cleveland St.

Not one to rest on his laurels or choose to ride off into the sunset after decades in the business, David Bromberg – considered by some the godfather of Americana – released his new album “Only Slightly Mad” in September 2013.

It is Bromberg’s second Appleseed Recordings studio release since 2007’s “Try Me One More Time.” That album came after a 17-year hiatus from recording new music. It earned Bromberg a 2008 Grammy Award nomination in the category of Best Traditional Folk Album.

Bromberg was born in Philadelphia, Pennsylvania in 1945. He was raised in Tarrytown, New York.

“As a kid, I listened to rock ’n’ roll and whatever else was on the radio,” said Bromberg in a biographical sketch provided by Mod Media. “I discovered Pete Seeger and The Weavers and, through them, Reverend Gary Davis. I then discovered Big Bill Broonzy, who led me to Muddy Waters and the Chicago blues. This was more or less the same time I discovered Flatt and Scruggs, which led to Bill Monroe and Doc Watson.”

According to the biography, Bromberg began studying guitar at age 13 and eventually enrolled in Columbia University as a musicology major.

The Greenwich Village folk scene in the mid-’60s drew him to the downtown clubs and coffeehouses, where he could watch and learn from the best performers, including primary sources such as his inspiration and teacher, the Reverend Gary Davis.

Bromberg’s sensitive and versatile approach to guitar-playing earned him jobs playing the Village “basket houses” for tips, the occasional paying gig, and employment as a backing musician for Tom Paxton, Jerry Jeff Walker and Rosalie Sorrels, among others. He became a first-call, “hired gun” guitarist for recording sessions, ultimately playing on hundreds of records by artists including Bob Dylan, Link Wray, The Eagles, Ringo Starr, Willie Nelson, and Carly Simon.

Still, the spotlight eluded Bromberg until a fateful day in 1970.

On Wednesday, Aug. 26 of that year, Bromberg took the stage as an accompanist for American folk singer-songwriter Rosalie Sorrels at the Isle of Wight Festival. Following her set, Native American/Mexican American rock group Redbone was schedule to perform. They did not appear on stage, however, and Bromberg unexpectedly performed a solo set in front of an estimated 600,000 concertgoers.

The impromptu performance earned Bromberg a solo deal with Columbia Records, for whom he went on to record four albums. His eponymous 1971 debut included “The Holdup,” a songwriting collaboration with former Beatle George Harrison, who also played slide guitar on the track. Bromberg also met the Grateful Dead and wound up with four of their members playing on his next two albums.

As his career progressed, Bromberg’s material – based in the folk and blues idioms – continually expanded with each new album to encompass bluegrass, ragtime, country and ethnic music. Meanwhile, his touring band grew apace. By the mid-’70s, the David Bromberg Big Band included horn players, a violinist, and several multi-instrumentalists, including Bromberg himself.

Despite sold-out concerts and a string of acclaimed albums on the Fantasy label, Bromberg found himself exhausted by the logistics of the music business.

“I decided to change the direction of my life,” he said.

Bromberg dissolved his band in 1980, and he and his artist/musician wife, Nancy Josephson, moved from Northern California to Chicago, where he attended the Kenneth Warren School of Violin Making. Though he still toured periodically, the recordings slowed to a trickle and then stopped following 1989’s “Sideman Serenade.”

After a few too many Chicago winters, the Brombergs relocated in 2002 to Wilmington,

Delaware. They became part of the city’s artist-in-residence program and Bromberg established David Bromberg Fine Violins, a retail store and repair shop for high quality instruments.

It was Bromberg’s frequent participation in the city’s weekly jam sessions that eventually helped rekindle his desire to make music again. A little prompting from fellow musicians such as Chris Hillman (The Byrds, Desert Rose Band, Flying Burrito Brothers) and bluegrass wizard Herb Pedersen didn’t hurt, either.

The Grammy-nominated “Try Me One More Time” heralded Bromberg’s 2007 solo return to the studio. He continued his musical revitalization, playing shows on his own, with the David Bromberg Quartet, and reunions of the David Bromberg Big Band.

In 2009, spurred by a suggestion from John Hiatt that he come to Hiatt’s Nashville studio to “mess around,” Bromberg came up with the idea for “Use Me” – an album featuring Bromberg with Hiatt and other friends such as Levon Helm, Los Lobos, Tim O’Brien, Vince Gill, Widespread Panic, Dr. John, Keb’ Mo’ and Linda Ronstadt. Each guest artist either wrote or selected a song and then produced Bromberg’s interpretation of their suggested tune, thereby fulfilling the Bromberg’s request to “Use Me.”

In 2013, content with the balance of both his violin business and performing career, Bromberg was ready to record again with his live band.

Enlisting old friend Larry Campbell and engineer Justin Guip, Bromberg and his group entered Levon Helm Studios in Woodstock, New York, in March 2013. Bromberg recruited some of Helm’s former recording and touring musicians for added instrumentation. The David Bromberg Band emerged 12 days later with “Only Slightly Mad,” a return to his genre-bending albums of the ’70s and ’80s.

Bromberg fans who attend the Jan. 15 concert at the Capitol Theatre will find blues, bluegrass, gospel, folk, Irish fiddle tunes, pop and English drinking songs happily coexisting as Bromberg performs selections from the new album as well as songs from his decades-long career.

For newcomers, “Only Slightly Mad” offers an introduction to a performer whose range and musical depth have delighted devoted audiences for more than 40 years.

The David Bromberg Band features Bromberg on guitar, vocals, mandolin and fiddle; Mark Cosgrove on guitar, mandolin and vocals; Robert ‘Butch’ Amoit on bass and vocals; Nate Grower on fiddle, guitar, mandolin and vocals; and Josh Kanusky on drums and vocals.

Zach Caruso will open the show.

Tickets start at $35. Call 791-7400 or visit

Article published on Monday, Jan. 12, 2015

Copyright © Tampa Bay Newspapers: All rights reserved.

Review of HOT TUNA’s – Jack Casady – 70th Birthday Bash at the Beacon Theater in NYC.

Hot Tuna/Beacon Theatre/December 13, 2014

Formed in 1969 as a spin-off from Jefferson Airplane, Hot Tuna is led by guitarist Jorma Kaukonen and bassist Jack Cassady. The Beacon Theatre concert was billed as Cassady’s 70th birthday bash. The cast included Kaukonen and Cassady, vocalists Marty Balin and Teresa Williams, Williams’ husband, fiddler/guitarist Larry Campbell, guitarist G.E. Smith, mandolinist Barry Mitterhoff, and drummer Justin Guip. The evening started with Cassady alone, improvising on the bass. Kaukonen came on stage with an acoustic guitar and the duo segued into “Hesitation Blues.” Mitterhoff, Campbell, Smith, and Guip joined for the second song, the folk-rocking “I See The Light.” Williams lent a gospel bent with the third song, “Children Of Zion.” Balin came on stage and started an Airplane revival, leading on “3/5 Of A Mile In 10 Seconds” and “Plastic Fantastic Lover.” Later, Williams sang lead on the Airplane’s “Somebody To Love” and “White Rabbit.” After intermission, Balin and his two musicians, guitarist Chuck Morrongiello and bassist Lloyd Goldstein, performed three low-key songs, then they were joined by the rest of the ensemble for a tribute song to the deceased Hot Tuna violinist “Papa” John Creach. The music stopped when what looked like Cassady’s signature bass guitar was wheeled out; it was a birthday cake. Appropriately, Williams sang the Grateful Dead’s “Sugaree.” Mitterhoff, Campbell and Smith sang lead on a few other songs as well. The concert ended four hours after it began with two encores, Balin leading a rocking version of the Airplane’s “Volunteers” and everyone singing on “Keep Your Lamps Trimmed And Burning.” The 27-song concert was packed with delightful surprises, so it was not a traditional Hot Tuna concert, but more like Jorma & Jack with friends. For the longtime fans in attendance, it was a joyous and unforgettable once-in-a-lifetime event.

By:  Everynight Charley Crespo for The Aquarian Weekly, January 21, 2015

Great review for the band Lost Leaders- Peter Cole and Byron Isaacs. Justin lends his talents as recording engineer and plays drums.

by Frank Gutch Jr., read the full review on: No Depression

Lost Leaders – “Lost Leaders”

The Lost Leaders album is self-titled, sports fans, but it does have a track on it titled “Too Good To Be True” and there are moments when I truly believe that it is just that. I listen to music all the time and when an album like this comes along, I want to shout it to the world. I want to run out to the street and plug my earbuds into the nearest ears I can find and force them to listen. I want to get stuck in traffic, roll down the windows and crank it up. I want to throw listening parties and pay taverns I frequent to play it. I even want to learn guitar because when the music overwhelms that is always what I want to do and this is overwhelming. I love this album. I love it.

I write a column for Bob Segarini’s blog, Don’t Believe a Word I Say, and I wrote about it there. I thought about writing a review on my own pages and almost did but so few plug in that I hesitated and decided it would reach far too few. So here I am, writing it for No Depression and hoping for people to find it and pass it along because what I have to say is worth sharing.

If this album had only one song, an hour-long version of “Anything You Want To Be,” it would be worth it. I loop that song when I have to clean house or wash dishes and am constantly amazed by how it takes me back to the late-60s and early-70s, reflecting the sounds of Crazy Horse and Illinois Speed Press. The rest of the album is outstanding, but that one track— oh, man!
That column I mentioned before? Here is what I wrote:

“I took a long walk this afternoon, longer than usual. I had loaded the files sent to me by Peter Cole of Lost Leaders onto the MP3 player, Lost Leaders a band comprised of himself and Byron Isaacs (Ollabelle, Levon Helm, et. al.), and I wanted to get a good listen outside of the cave, so I headed off, the MP3 player booming the first track, Horizontal Man, into my ears. I walked and walked some more. It rained, hard for a bit, but I still walked. I walked the length of two albums and came back convinced that this will easily make my Top Ten for the year and possibly the Top Five. And there are reasons.

“For one thing, it is a production gem. Front to back, the sound is as clean as it could possibly be, even during band jams and bridges. Guitars are crisp and clean and even the fuzzed-out guitar solos (courtesy of Cole), as integral as they are to certain songs, are separated enough to allow the guitar sounds free range. The keyboards, played by guests Brian Mitchell and Jared Samuel, add real atmosphere to the songs and when the horns kick in, sadly too seldom, it is a flashback to some of my favorite horn-laden bands, starting with If (Clark Gayton, Jay Collins, Kenny Rampton: you hit all the right notes). Justin Guip masterfully recorded the tracks, including the overdubs (which were laid down at the very coolly-named The Guiping Post, but maybe I think so because that first Allman Brothers album kicked my ass halfway across the room back in the day). A nod has to go to Bryce Goggin, who mixed, and Dave McNair, who mastered.

“Musically, Lost Leaders are all over the map. Keeping Busy Feeling Fine rides the line between upbeat country and country boogie without sounding country at all, Horizontal Man is rock straight out of the 70s and is a freakin’ killer when the horns kick in (sounding a bit like Ides of March or Lighthouse, which thrills me to death) and the rhythm alone is its own ride, The Line The Lie is an acoustic/electric/vocal harmony fest of sounds and very ethereal in structure, Miracle Mile is full of twists and turns which absolutely thrill the producer and musician in me. But the real capper is the last track, Anything You Want To Be, a throwback to the bands of the late 60s and very early 70s, the guitars reminiscent of those of Illinois Speed Press in the use of controlled feedback, the free-flowing riffs a contained firefight amongst musicians and reminding me of Neil Young & Crazy Horse in terms of instrument tone. I miss the days when musicians would end songs with jams like that.”

Yup, I love this album. It will be among my top picks for this year, for sure, and I’m already jonesing for the next one. If you haven’t watched the videos, do. These guys are right up there with the best. That’s Lost Leaders, sports fans. A band to watch closely and turn your friends on to. You can quote me.

Bow Thayer and the Perfect Trainwreck – “Eden” Review

by John Apice, read the full review on: No Depression

Bow Thayer and the Perfect Trainwreck – “Eden”

This review includes a parallel look at the studio album Eden and Bow’s first live album, Live at the Chandler–recorded at the sold-out Chandler Music Hall in Randolph, Ver., on January 19, 2013, where the band showcased the entire Eden album in sequence.

From its opening fiery guitars and banjos the newest Bow Thayer album Eden solidifies Bow’s place in Americana-roots-folk-rock music. Applying his signature vocal style and songwriting, Thayer hits another musical ball out of the park in a highly energized album that fits into the melodic Little Feat-Hot Tuna-the Band tradition. This new studio album was co-produced and engineered by the Grammy Award-winning Justin Guip.

Bow Thayer and his band, Perfect Trainwreck, have been praised by American Songwriter as “the best artist to come from New England in recent years,” and I agree. Never at a loss for providing just enough tease in the structure of the tunes, Eden echoes the expressive delight of what Thayer does best: playing music with the enthusiasm of an artist who has the talent and respect for the genre he mines, while injecting his own passion throughout.

The first track, “The Beauty of All Things,” is the perfect live opener. Less than 16 bars into this song, it convinces the audience this is going to be a special evening of live music. The banjo and acoustic guitars grip and never let go. Back-up vocalists lend a full measure of support and, with equal power in his vocals, you can tell that Thayer is possessed by the exhilarating arrangement and enthusiastic performance of all the musicians.

No matter how good an album is written and recorded, the true test is how it plays live, before an audience. Not all great songs in an artist’s repertoire play well live. Why? Who knows? Many of Elvis Presley’s fans asked why he never sang certain songs in his live concerts and, in a candid, rare interview years before his passing, he let his guard down and told an interviewer that there were certain songs he never felt came across effectively in a stage performance. Presley must have been right because the Grateful Dead’s Jerry Garcia echoed the same opinion in regard to some songs that were played rarely, or not at all, during Dead concerts. They were indeed good songs; they just didn’t have the magic that made them good performance songs.

Thayer doesn’t have that issue with this collection. Surprisingly, I discovered between these two albums that Bow Thayer & Perfect Trainwreck play these tunes live, remarkably close and faithful to the studio versions.

All the nuances, intricate notes, and feeling are not lost in the live performance. They are all there, woven together as if the studio album were being played for the audience. That special relationship between the musicians and those in attendance is not lost. It’s all there. The music is tight, whimsical, with not a musician out of place. No one is jostling for space, no one is playing too slow or rushed. The atmosphere is filled with excitement.

The haunting title track Eden is energetic and instantly memorable. The performance is definitely in the hands of someone who knows the musical four-post ring. Thayer knows when to jab, when to punch, clinch, and deliver the knockouts with confidence. This comes with experience and, most importantly, performing.

The live performance is also not marred by any spacious echo, big room ambiance, or extraneous audience noise. You can hear their presence and enthusiastic responses. The performance is isolated wisely from any interference. This allows a clear indication of how well these musicians interact with each other in a live environment.

There was a time bands played well, it all jelled nicely, and it was accepted. But, this is an effort in clarity, expertise and, most importantly, expressionism. The Band had it during their Last Waltz concert. Elvis had it during his Madison Square Garden and 1973 Hawaiian concerts. The Dead had it when they were firing on all cylinders. Otis Redding had it Live in Europe. It’s live magic you would have to experience to understand.

Some people may believe that Thayer, as good as he is, is basically one-dimensional in the type of roots music he writes and performs. But, one listen to “12 Inch Steel,” and that opinion would be eradicated. It’s pushing the envelope time–the way Neil Young would when he explored music in Trans and later Rust Never Sleeps. Young always was one of the most diversified, experimental songwriters who ever walked into a studio with a guitar. Thayer is not far behind. He is not shy about shaking the soda bottle and then opening it to see what happens.

But, does this music play out live?

Thayer’s voice reminds me of ultra-Christian rocker Steve Taylor on “12 Inch Steel.” Taylor was famous for his aggressiveness in tunes like Jim Morrison’s Grave,” and Thayer certainly, without knowing it, has tipped his hat in Taylor’s direction. His voice is sharpened like a chisel. It’s an excellent slice of how a great roots musician can rock. Fiddle player Patrick Ross smokes the live version, too. Anyone who got up to go to the rest room must have come back, hopefully zipped, for this one–a real showstopper.

Having excellent intuition for pacing, the band continues the concert with a slow, moody, compelling “Parallel Lives” which, like early King Crimson compositions, has several layers. The tune includes subtitles: Big Brass Band Theory,” “Carbon Creatures,” “Joy Ride,” and concludes with “No Defense,” which slowly changes like a chrysalis and takes many musical shapes. This is quite an endeavor.

The audience must have been listening, because it’s quiet as the fiddle and accompanying instruments surround Thayer’s vocals like an ornate frame around a painting. The song progresses into a disciplined musical break that, in itself, is a statement of concern with sensitivity rather than “talking points.” The fiddle is mournful and gripping. Again, the studio version and live version are equally compelling–no energy was lost between the performances. This suggests the artist is committed to his message, and never throws away a tune for the sake of getting to the next song.

Eden is an environmental statement, but not in your face like what politicians and advocates tend to do. There is nothing terribly controversial, though there are thought-provoking moments. There’s an opportunity for listeners to think for themselves, through the poignant notes and melody.

The job of a great musician should be to pose questions. Dylan did it on With God on Our Side. I don’t hear songs like this on commercial radio. The majority of artists seem preoccupied with songs that are all gristle and no substance, all dance and no discipline, words with no potency, music with no melody, hooks with no bite. Meanwhile, a song like “Parallel Lives” does not focus on the singer, because the song is what’s important. For some, it may be too much to take in. For others, it will be like “On the Road” by Kerouac. They will keep coming back to it, to find what they may have missed the first time.

The studio version of “Parallel Lives” has really well-recorded brass to enhance the emotion. This song could very well take its place beside such classically topical, political, controversial statement-songs as Steppenwolf’s “Monster” and John Kay’s “The Wall.” Or, Dion’s “Abraham, Martin & John.” The finale is full of gentle notes cascading like water to my ears. This was not merely a song but a musical editorial polished into a high-sheen message. The composition is close to 13 minutes long and it is worth listening to multiple times. Don’t have the patience? Find some. It’s a big production number arranged in a stunning, balanced manner.

“May your dreams have mercy on you….” Indeed.

Up next: “Inside Joke.” The melody approaches from a different direction than “Parallel Lives.” This is a showcase for the brass while the voice is in that rock and roll strain that is so irresistible, surrounded by the decorated notes of a plucking melodic banjo. I guess it’s safe to say this is a banjo-oriented album supported by the unlikely “friends” of trumpet, saxophones, and cellos. It’s a nice, magical combination.

This is what makes these songs so original and fresh–even the Band did not employ much banjo in their music. The vocals never intrude. There are equal measures of milk and whiskey in every song. And, the cross-reference between the studio album and live program is an exercise in true musicianship. Not a note is out of place.

“The Tide,” recedes a little from the sting, and the band once again performs with a different focus. Here, it seems the song is built on banjo and pedal steel with a wonderful, full Hammond organ sound, with its Leslie speakers spinning and building into a tight exhilarating flurry of notes. There is absolutely nothing boring here.

The only criticism I have is that the live album–as good as it is–is a little muddier than the crisp clarity of the studio songs. But, that may be expected. Live is a different animal from studio. In a small setting, maybe a band can capture that studio sound live, but it’s not easy. The equipment is different, the engineers may be different people, the acoustics of the room are different, there are “bodies in the seats” watching, and that plays a role. However, the live versions are faithful to the originals and, if not for the direct comparison, I doubt anyone would notice.

Also, I believe the live version of “The Tide” is better, looser than the studio version. I got more excited listening to it and went back to it several times. The drums are impeccable on the live take. Jeff Berlin is quite a disciplined player here. He creates and lays down a tight percussion that is like the right tie with the right shirt and suit. The audience must have loved it, too, because they were very loud with their appreciation. It’s exciting to hear that response–like a getting a Christmas bonus in your paycheck.

“A Bad Day at the Zoo” is the tune that lightens up the seriousness and allows the musicians to perform with some humor. Bow takes a page from either John Prine’s songbook or Randy Newman’s, with some satirical, sarcastic, yet humorous lyrics: “playing with matches under plastic trees.” “Stare into the mouth of a true believer.”

Nice bass guitar and steady beat on the opening of “Trials,” is like a fat worm on a hook in front of a hungry fish. The tune builds–guitars snake around a solid Hammond moaning under the surface. These musicians are relentless with an aim that’s accurate on the finger-tapping mechanism and foot-tapping gears of your body. Who said you can’t dance to Bow Thayer? The tune is simple but, in the hands of experts, this ear candy will even get someone in a wheel chair to want to stand up and boogie. The pedal steel howls in the distance and the band thunders with this haunting wintry wall of frosty notes. I had to put a sweater on listening to this. It’s like a steam roller at the end, though.

The live version of “Trials” starts off with some cool syncopated beats and hi-hat. The audience’s howl adds gasoline to Jeff Berlin’s fire and it ignites the ears. A perfect jungle rock voice–bluesy and sweaty, down and dirty, snaky and with hints of lycanthropy. Yes, I said lycanthropy. You’d have to be a wolf to sing like this.

Sometimes the less you say, the more is said. This live version is fleshed out. It has moments where it trumps the studio version. It could be that Thayer just discovered it’s a song that works in a live setting and can cook in front of a hungry audience. This is a little performance piece–I can picture the musicians all over the stage like cannibals or natives. Barbara Smith’s saxes reminded me of the dark, powerful, sometimes scary saxophone attack David Jackson made Van der Graaf Generator famous for.

The live version of “Wreckoning” continues with a clean drum intro intercepted by guitars. With a steady, relentless hi-hat and syncopated jazzy drum drive, the tune with Thayer’s otherworldly aggressive voice, clearly shows the diversity of the program. It’s a dark blues Bob Dylan would admire, the banjo reminiscent of the great Paul Rodden–a supernatural banjo player who once performed with Frank Tovey (Fad Gadget) and laid down some incredible banjo licks.

Here, Thayer mirrors that excellence to perfection. What I really enjoy is how the banjo is tuned. It’s got some strange, energetic synergy in it. Couple that with Barbara Smith’s snarling saxes overlaid on this effort, and it’s witchy the way Jethro Tull could be in its most mythological moments. If I had to suggest this tune had any influence, I could only suggest Jethro Tull. Ian Anderson is the only person I know of who had that kind of creativity in rock. The lyrics have that Tull color, flavor, and bite. Thayer doesn’t sing like Anderson and there’s no flute, but it’s all about atmospherics, which are here in spades on this song. The tale is supernatural, the way “Aqualung” was for Tull. This may be my favorite. No one plays and writes songs like this today, with the expertise Thayer displays. Americana music reaches new levels when this degree of performance is engineered. It’s like ten Red Bulls swallowed in one sitting. I’m spent.

“Happy Ending,” is on the other side of the “Wreckoning” spectrum. This is back to the more rootsy and folky tim- to-go-home style of songwriting. The energy level is consistent, on both the studio and live performance. The poignancy and sincerity on this closing tune has the optimism that there will be more to come.

It’s sad that the Band is no longer, that the Grateful Dead are history. But, anyone who enjoyed the fruits of those musicians for all those decades needn’t look far. There are students of that tradition with the right balance of ingredients and understanding of what those musicians had invested their time in. Bow Thayer continues, highly regarded, in that vein.

Garth Hudson, I’m asking you to be on Bow’s next album. Paul Rodden, play some banjo with this fine young man and thrill us. Bruce Hornsby, add some spider finger piano to the next Thayer album. Finally, to the supporting musicians: keep pulling those rabbits from your hats. You should all be proud of the contribution you made.

The packaging for “Eden” is fine, too–a beautiful laminated tri-fold with lyric book, copy reproduced so anyone who lost their eyeglasses can still read it. I am beginning to believe that many independent artists know how to package their music better than the major record companies. Layout and design is by Hello Maseman, with the painting by Alexis Mollomo and photography by Tom McNeill. Take a bow.

David Bromberg’s local ties run deep

by Deborah Medenbach, read the full review at:

Revered folk and rock musician to play Bethel Woods

The David Bromberg Band lands at Bethel Woods Center for the Arts Thursday, one year after recording a new album, “Only Slightly Mad,” at Levon Helm Studios in Woodstock.

Bethel Woods audiences have enjoyed Bromberg’s performances at least twice before, but his deep roots in Ulster County’s Woodstock go back four decades with deep friendships and musical collaborations.

“My time with Levon and the Band goes way back,” Bromberg said. “In the 1970s I was on the same circuit the Band was on, so we’d run into each other at gigs, stay at the same hotels and bump into each other at the same truck stops. It was funny. And Rick (Danko) was my best friend in the Band.”

He dedicates the new album to the memory of Danko, Richard Manuel and Levon Helm.

Produced by Levon Helm Band leader Larry Campbell and engineered by Justin Guip, “Only Slightly Mad” ranges over genres in 12 tracks, rolling out the a capella original “Strongest Man Alive” alongside bluesy gospel tunes “Nobody’s Fault But Mine” and “I’ll Rise Again,” worthy of its dedication to the Staples Singers.

“I don’t know if (Mavis Staples) ever heard it or read that I dedicated it to her. I’ve had the privilege to meet her a few times,” Bromberg said. “I’ve been a fan of hers since the early ’60s and bought every album of the Staples I could afford.”

This is Bromberg’s third album since his 2007 return to the stage. He stopped performing in the 1980s with more than a dozen solo albums to his credit and enjoyed a second career as a fine-violin luthier and dealer in Wilmington, Del. The journey back to performing was detailed in the documentary film “David Bromberg: Unsung Treasure.”

“When I started performing again after 22 years of not doing it, I was not overwhelmed with confidence. There were only two situations where I felt comfortable. One was with my band and the other was playing with Jay (Ungar) and Molly (Mason),” Bromberg said. It was Ungar who introduced Bromberg to current manager Mark McKenna, who had a long history as a sound engineer in Woodstock.

Bromberg’s Grammy-nominated comeback album “Try Me One More Time” was followed in 2011 by “Use Me,” which featured Helm on two tracks.

For the new album and touring band, Bromberg scooped up his wife, Nancy Josephson’s, drummer Josh Kanusky from her band, Honeychild.

“There was this ad on Craigslist saying ‘Looking for Levon?’ Nancy called him and he was with her band for a few years,” Bromberg said. “Now he’s with mine.”

The David Bromberg Band includes Mark Cosgrove on guitar, Robert Butch Amoit on bass and young Delaware fiddler Nate Grower.

“Wood and Stone” review

by Brian Robbins, read the full review at:

Tara Nevins – “Wood And Stone”

Sugar Hills Records
Wood And Stone finds Tara Nevins – the frighteningly-talented multi-instrumentalist singer/songwriter who has co-led Donna The Buffalo for over 20 years – doing what comes naturally: being a frighteningly-talented multi-instrumentalist singer/songwriter … just doing it with a different gang of folks.

You can thank Levon Helm’s Barn and its crew of talented musicians and sound shapers for the vibe of Wood And Stone. As perfect and right as Nevins sounds leading the charge of Donna the Buffalo, her music takes on the spirit of the Barn like a well-worn and cozy Gypsy jacket that was tailored to her shoulders. Check out the core band: upright bassist Byron Isaacs; Justin Guip on drums; and Larry Campbell on just about anything with strings (including some tasty citern picking, for all you citern freaks out there). All three are regulars at Helm’s Midnight Ramble concerts – and with Guip and Campbell doing double-duty (the former engineered and mixed the album; the latter produced), Wood And Stone is another example of why Helm’s studio is becoming known as the Muscle Shoals of roots music.

The title track kicks the album off with an opening snake dance between Nevins’ fiddle and Campbell’s banjo. 15 seconds in, Isaacs’ bass comes rumbling up from the Earth’s inner core, accompanied by the snap of Guip’s drums. Add in a chunky rhythm guitar figure (a la Dire Straits’ “Money For Nothing”) blending nicely with the banjo’s steady tick and the fiddle’s soulful moan – and Nevins’ tale of her childhood is off and running. The sound is both loose and tight at the same time; the band knows how to walk that line and let Nevins be herself. To put it simply, it just plain works.

The arrangements themselves range from the hay bale-scorching whirling dervish of the instrumental “Nothing Really” to the Zydeco-flavored churn of “All I Ever Needed” (Nevins dons her accordion, while Campbell applies some tasteful pedal steel) to “The Wrong Side”, where Campbell’s jazzy guitar work and Nevins’ fiddle combine to conjure up the spirit of Bob Wills and the Texas Playboys.

Guests on Wood And Stone include Jim Lauderdale, Allison Moorer, and Teresa Williams, who all contribute vocals; Rose Sinclair on banjo for several tracks; acoustic guitarist Beverly Smith; bassist June Drucker; and Helm himself who sits in on drums for a couple of songs. (It’s a tribute to Guip’s talents that you don’t slap your forehead and say, “That’s gotta be Levon!” on the tunes with Helm behind the kit.)

The shake-your-head-and-grin musical moments courtesy of Larry Campbell are too numerous to mention – although he manages to never grandstand … he just makes things better. His playing is all over this album (catch the swap between his pedal steel and Nevin’s fiddle on “You’re till Driving That Truck” or the darkly-shimmering apocalyptic guitar on “Tennessee River”), but it always serves the song.

And that’s the deal overall with Wood And Stone – the presence of talented friends both new and old never overshadows Tara Nevins; rather, they provide the perfect background for her talent.