C’mon Baby Let’s Go Downtown:  A Friday Night in Mobile, Alabama—09/27/2013 -Mama’s Love and CBDB at Soul Kitchen Music Hall / Zombo Combo at The Brickyard

The Moody Blues—Beau Rivage Theatre—Biloxi, MS—03/16/2013

The first annual Crazy Sista Beach Party is now in the history books.  Big Props go to Michael Butler and Lulu's for putting this together and starting a new tradition down on the glorious Gulf Shores Beach area to benefit LuLu's Love Fund.  Lucy Buffet, sister of Jimmy Buffet, has a fantastic establishment called Lulu's located right on the intracoastal waterway just blocks away from the Gulf of Mexico.  This marina, restaurant, and bar is a prime location for this wonderful event. 

This year's inaugural event brought together the talents of Tedeschi Trucks Band, Marcia Ball, Charmaine Neville, Sirius Plan, Larkin Poe, Shawna P, and the Joyful's Spirit of New Orleans Choir, amongst others. 

We look forward to next year and can't wait to see when the event will take place and what great acts will be in attendance.  Please visit CRAZY SISTA BEACH PARTY for all the details.

Photos © Jack Snow

C’mon Baby Let’s Go Downtown:  A Friday Night in Mobile, Alabama—09/27/2013

Mama’s Love and CBDB at Soul Kitchen Music Hall / Zombo Combo at The Brickyard

If you live in Mobile, AL, you’re sure to be familiar with the downtown end of Dauphin Street, affectionately called “LoDa” for “Lower Dauphin”. If you’re not from around here, then it’s important to inform you that LoDa is the place to go in Mobile to hear great live music. Whether taking in a show at the beautiful Saenger Theatre, or heading down to one of the music halls to rock out, you’re in for a good time. On September 27, 2013 two of our favorite music halls were featuring stellar musicians that drew our attention, so we decided to bounce back and forth on Dauphin Street between Soul Kitchen Music Hall and The Brickyard. 

The evening began in the front room of the fabulously renovated Soul Kitchen Music Hall, with a band from Tuscaloosa, AL called CBDB. Being completely unfamiliar with this band, they provided me with a novel experience that was truly enjoyable. Their self-described style of “Joyfunk” is a pleasing blend of progressive rock, funk, and folk, rounded out with plenty of space for improv jamming. The six-piece band contains the talents of percussionist Donald DeLoach, Glenn Dillard on synthesizer and saxophone, lead guitarist Kris Gottlieb, drummer Paul Oliver, bassist Josh Rutherford, and Cy Simonton on vocals and guitar. Throughout their set, CBDB would infuse covers like the Rolling Stones’ “Miss You”; but what really made an impression were their original songs. “Slow Foxes” embodies their feel-good overtones and joyful solidarity; “So It Goes (Parts I and II)” is a dance-delicious delicacy that is sure to lift your spirits. Although technical difficulties with Kris Gottlieb’s guitar made for a challenging set, the band pushed through with utmost professionalism, and headliner act Mama’s Love loaned him a guitar to allow him back in the mix. CBDB functions well as a unified band, with each member’s proficiencies shining through, sharing the soundscape to produce jubilant music. If you ever get a chance to see this band, make sure you take it! You can check out some of CBDB’s Joyfunk on their album phone.keys.wallet., available on iTunes, and you can listen to the album here:  http://cbdbmusic.com/nav/media/music.html 

With a CBDB-imposed spring in our step, we strolled up the block to The Brickyard, and could hear the sweet groovin’ sounds of Mobile-based Zombo Combo floating through the front door. With an instrumental funk-jazz flavor, longtime bandmates drummer John Milham and organ/keyboardist Chris Spies always provide music lovers with a reason to dance and smile. Saxophonist Christopher Spies (Chris’s son) continues to mature into an accomplished musician, and throughout the night his sax tended to provide a melodic voice for the ear to grasp. The talents of bassist Quentin Berry fit Zombo Combo like a glove, and his inverted bass playing technique was intriguing: I can’t say I’ve ever seen a bass played quite like that. Guest saxophone from Richard Sohard on a few numbers complemented the groove-infused tunes. The evening included a fun variety of covers, including Phish’s “Cars Trucks and Buses” and a Phish-esque version of “Also Sprach Zarathustra” (aka “2001”), the theme song from “Sanford and Son”, and a uniquely rendered “White Rabbit” by Jefferson Airplane. An extreme adventure ensued as “It’s Your Thing > Black Talk > Quarter Master” clocked in at nearly 40 minutes! 

After thoroughly enjoying the Zombo Combo center of our musical suite on Dauphin Street, we returned to the Soul Kitchen where headliner act Mama’s Love was in the midst of enticing the gathered crowd to have a good time. This fun-rockin’ band from Athens, GA definitely exudes the strong vibes that emanate from their home region, which has given rise to great bands like R.E.M., the B-52’s, and Widespread Panic, among others. A southern-steeped jamband with influences of Grateful Dead floating in their style, original songs like “Wake Up Woes” have an easy-going feel, while others like “After the Rapture” rock much harder. With covers like Allman Brothers Band’s “Midnight Rider” providing audience-wide accessibility, Mama’s Love is quick to captivate their listeners, giving generous jams for dancing the night away. Be sure to check out the band’s website http://mamaslove.net/#/home for tour dates, and to hear their musical talents in action. 

Between Soul Kitchen Music Hall and The Brickyard, there isn’t a very far distance; and both venues consistently give Mobilians and visitors alike plenty of reasons to head downtown and hear some excellent music. Look them up at http://www.soulkitchenmobile.com/ and “Soul Kitchen” on Facebook, and “Brickyard Dauphin Street” on Facebook. And as Neil Young would say, “C’mon, Baby, Let’s Go Downtown”! 

Written and edited by: Rosemary A.W. Roberts

Photos by: Clayton Roberts

Cary Hudson—Satori Coffee House—Mobile, AL—09/06/2013 

It’s the beginning of a new school year, which also begins a new season for the University of South Alabama’s Independent Music Collective (IMC). On Friday September 6^th, the IMC kicked off 2013-14 at Satori Coffee House with a talented songwriter from Mississippi, Cary Hudson. Gibson magazine named Hudson one of the “Top 10 Alternative Country Guitar Players”, and his solo performance in the intimate setting in the back room of Satori proved him worthy of that honor. Perhaps the phrase “alternative country” doesn’t quite capture Hudson’s style, which is rich with a Mississippi Hill Country sound, accented by a hint of New Orleans Bayou flavor in the midst of a country back-road setting. This stylistic combination is a winner, and the attentive audience was easily won over by the guitarist’s warm stage presence and original songs. 

Playing harmonica and guitar, Cary Hudson opened his set with a laid-back feel-good “August Afternoon”, and continued with a wistful “Banks of the Edisto”. The title track from the 2004 album “Cool Breeze” was a dirty-bluesy toe-tapper and had a nice twang to it. “Pray For Peace” was delivered with full heart and soul, a sentiment that always seems timeless. The song “Skinnydippin’” is a delightful Mississippi Hill Country groove that would’ve had me up front dancing in a different venue: “Shake your hips, babe / sign that slip, babe”, indeed! Meanwhile, the whistling accompaniment Hudson provided for his cover of Elizabeth Cotten’s “Freight Train” infused a folksy Americana vibe to the set. From the 2011 album Mississippi Moon, “Mississippi Country Girl” is like a big warm smile, while “Bloody 98” (about Highway 98’s treacherous 2-lane stretch just outside of Mobile) rocks on the hard country side. 

Not only is Cary Hudson an exceptional guitarist; his songwriting talents are superb, and the song “Seems To Me” is a prime example of his craft. The storytelling and poetic nature of the lyrics is unique and lovely, and the music has a spellbinding beauty of its own. The narrative in “Storyville” is steeped in bayou voodoo that keeps you comin’ back for more. Hudson is currently recording a new album (should be out early 2014), and he let us try on the light-heartedly fabulous “Kelly Jones”, and an intriguing philosophical twist set to a classic ‘drinking song’ melody in “Fiddler’s Green”. The set closing ‘public service announcement’ to eat “Local Honey” was a delectable double entendre wrapped in Hill Country goodness, immensely enjoyable. 

Based on this first encounter with Cary Hudson, I would recommend taking every available opportunity to see this accomplished musician. If you reside somewhere between Memphis and Mobile, there are plenty of options to choose from; check out Cary Hudson’s tour dates here: http://caryhudson.com/?page_id=8

As for the Independent Music Collective, there are upcoming events at Satori Coffee House that are sure to enrich your live music experience: Nashville-based guitarist/songwriter Tim Easton performs September 27^th at 8pm; and Alt-Country musician Richard Buckner is scheduled for October 8^th at 8pm. You can hear samplings of both of their music here: http://musicinmobile.org/index.html 

With a quiet, intimate concert experience, and tickets priced at just $ 5 (and FREE for USA students!), Mobilians are encouraged to take advantage of the IMC’s musical offerings this season. And if you appreciate what the IMC does for the Mobile community, consider making a donation to their kickstarter-style campaign to purchase a new PA system: http://www.indiegogo.com/projects/pa-for-the-imc 

As always, Jams Plus Media thanks the Independent Music Collective and Satori for bringing high-quality live music to Mobile, AL. Cary Hudson was a great way to start the season, and we look forward to the shows to come! 

Written and Edited by: Rosemary A.W. Roberts

Photos by: Justin St. Clair

Steve Miller Band ~ July 12, 2013 ~ Hard Rock (Live) Casino ~ Biloxi, MS  

     Celebrating the 40^th year of the album The Joker, the Steve Miller Band rocked out the Hard Rock in Biloxi on the Mississippi Gulf Coast this night to a Sold Out crowd.  Walking through the Hard Rock and going to Steve Miller, it reminded you of how the music community has grown and come together over the years.  From signed guitars, outfits worn, and memorabilia, to artwork such as the late Frank Zappa’s quilt of ladies’ undergarments collected over the years of touring through his career.  All of it comes together, and it is a total experience to be surrounded by music while you’re about to see a show such as the Steve Miller Band (SMB). 

     The band would take to the stage and open the show with the well-known “Jungle Love” which would get the crowd in attendance ready for the evening.  “Take the Money and Run” and “The Stake” would follow, both being just as great.  When “Abracadabra” started to play, it took the show to another level; lots of memories would go into a flashback due to that song, and the band was totally in the zone.  Steve Miller would play a tribute to the late Bobby “Blue” Bland (“Further on Up the Road”), an artist who Steve himself has been covering since he was 12 years old with his band The Marksmen.  Shortly after a few more great tunes pumped out of SMB, their tour bus driver would join them on stage for “Something to Believe In”; Miller would then play a few songs Solo on an Acoustic Guitar.  This would give light to Miller, playing his blues as he did as a kid growing up.  He would end the acoustic portion with the famous known “Dance, Dance, Dance”.  He would introduce the band and one of the names caught my attention, to find out that Joseph Wooten, who is the brother of Victor Wooten (Bela Fleck & The Flecktones), has been playing the keys for SMB since 1993.  After the introductions it was back to the music and SMB’s famous song “Fly Like an Eagle” followed by “Jet Airliner” and “Rock’n Me”.  The band would take a brief step away from the stage and come back out and encore with “Space Cowboy” and then “The Joker”, which is probably one of the most covered songs you hear these days; this time around it is by the legendary Steve Miller Band, doing it originally.  The show was over and the only thing that was left was a bra on stage to pick up, which Steve Miller himself did with a Drum Stick, said a few words, followed by a bow of the band and it was a wrap.  Overall, this was a great show to witness, and listen to as well.  It really brought back a lot of Memories of growing up and living on the Mississippi Gulf Coast. 

Set List:

Jungle Love ~ Take the Money and Run ~ The Stake ~ Abracadabra ~ Further on Up the Road (Bobby "Blue" Bland cover) ~ Ooh Poo Pah Doo (Jessie Hill cover) ~ Sugar Babe ~ Mary Lou ~ Shu Ba Da Du Ma Ma Ma Ma ~ Something to Believe In[pedal steel by his tour bus driver] ~ Wild Mountain Honey[solo and acoustic] ~ Gangster of Love[solo and acoustic] ~ Dance Dance Dance[solo and acoustic] ~ Space Intro ~ Fly Like an Eagle ~ Jet Airliner ~ Rock'n Me 

Encore: Space Cowboy ~ The Joker

 Written By:  Tarver Shelton

Edited By: Rosemary A.W Roberts

Photos By:  Tarver Shelton

Dawes with Shovels & Rope ~ Alabama Music Box ~ June 5, 2013 ~ Mobile, AL 

Hangout Music Festival veteran pioneers took over the Alabama Music Box to a SOLD OUT crowd that was one for the books for the Alabama Music Box.  This would be the second time for Dawes to play Mobile, AL at this venue and Shovels & Rope’s first time.  In 2012 at Hangout Music Festival, Dawes played on an afternoon to thousands of fans on the Letting Go Stage.  Shovels & Rope drew quite a crowd this year at Hangout Music Festival on the Hangout Stage on 5/18/2013, and would grace the State of Alabama again 18 days later, opening up for Dawes at the Alabama Music Box.  It was a treat to see the two in downtown Mobile, in a building that is known for its awesome sound and is often compared to a small scaled down version of Tipitina’s in New Orleans, both of which are highly recommended venues to visit. 

Shovels & Rope would get the evening started on some rockin’ tunes that would mesmerize the crowd.  S&R consists of a husband and wife team, and they mean business when on stage.  Michael Trent and Cary Ann Hearst from Charleston, South Carolina have been on the music scene themselves since 2008.  Their music could be considered as a Rockin’ Folk band that has grown and has been touring and playing festivals all over, taking people by storm and turning them into fans.  While they are on stage playing they will switch up playing the various instruments that are on the stage.  Cary Ann would be playing drums one minute, and then Michael would be playing them the next while Cary Ann was on a guitar.  Their switcheroo pattern on stage is an awesome experience to watch and to listen to at the same time, and that entertaining exchange is exactly what they did for the crowd at the Alabama Music Box.  

Dawes who is anchored by the two brothers Taylor and Griffin Goldsmith started out in California back in 2009, and have come a long way in the music Industry.  They recently toured with Bob Dylan opening a few shows on his tour.  What a great honor for a band that earned their wings early and already toured with Bob Dylan.  Dylan must know something about this band, and fans of Dawes do as well.  They put on a hell of a show taking you through a Folk/Indie Rock sound with ballads that are mind blowing.  They certainly showed their musical mastery and songwriting skills on this evening at the Alabama Music Box.  Dawes is getting a lot of air play as well, on Internet Radio and Radio Stations all over.  They would play their hit song “From a Window Seat” that is on their newest album Stories Don’t End (2013), which is about their travels through the eyes of their musical journey.  Dawes has their sound going strong for them and their songs are becoming masterpieces fast.  I hope to see Dawes and Shovels & Rope come back to the Port City soon again, because it is known they can sell a show out, and keep the fans wanting more. 

Written By:  Tarver Shelton

Edited By:  Rosemary A.W. Roberts

Photos By:  Tarver Shelton

Karl Denson’s Tiny Universe ~ Tribute to Ray Charles w/ Zach Deputy ~ May 2^nd, 2013 ~ House of Blues ~ New Orleans, LA 

    One great thing about New Orleans Jazz Fest isn’t just the fest itself, but the late night shows that come with it from the beginning, in between, and to the end.  Tonight would be no exception as Karl Denson would take the stage and pay tribute to the late great Ray Charles who is a legend himself and frequented New Orleans. Denson would have his band Karl Denson’s Tiny Universe with Zach Deputy featuring John Cleary & Will Bernard taking stage at the House of Blues to energize some souls.  KDTU would takes us on a journey the first set with some tunes of Ray Charles which intertwined through the early morning such as “Unchain My Heart” ~ “I Got a Woman” ~ and “Hit the Road”.  It was truly awesome to see Denson and Deputy trading off on vocals, Deputy out of his normal element you could say.  

     Not only did they pay tribute to Ray Charles; they also would pay tribute second set to the Beastie Boys by covering ‘Sure Shot’ which would have made Adam Yauch (MCA) proud, who passed away May 4, 2012, almost a year to the day.  Showing respect to those who have been part of the music family only helps continue to bring the community together and stronger than ever these days in our lives.  Karl Denson’s Tiny Universe would show that same respect this evening and fill the House of Blues with some Joyful Funky Sounds.  Denson himself not only plays with KDTU during Jazz Fest; he plays numerous gigs with other bands including his own Greyboy All Stars; he also sat in with other musicians at Fiya Fest on May 3^rd the next evening raising money for the Roots of Music.    He is definitely a man behind the sax and sitting in as a special guest all over New Orleans. I first saw Denson playing with Lenny Kravitz at H.O.R.D.E. fest in Atlanta (Lakewood) back on 8/28/96; from there it was an instant sax hook.  Overall, it is highly suggested that you catch a KDTU show or anything you see Karl Denson a part of, as well as the rest of the musicians who play in all these bands.  I look forward to may more shows as the journey of music continues. 

MORE PHOTOS HERE

Written By:  Tarver Shelton

Edited By: Rosemary A.W. Roberts

Photos By:  Tarver Shelton

New Orleans Jazz & Heritage Festival ~ Fair Grounds Race Course (NOFG) ~ (4/26-28 ~ 5/2-5, 2013) ~ Thursday May 2, 2013 ~ New Orleans, LA 

 New Orleans Jazz & Heritage Festival had a great year this year despite some of the conditions from the weather that would bring the “Mud People” out once again.  In all, over 425,000 attended this year’s festival, which had well known acts such as: Fleetwood Mac ~ Dave Matthews Band ~ Billy Joel ~ Aaron Neville ~ Dr. John ~ Widespread Panic and many more great ones from local to international superstars.  Here is an excerpt from their website on how the Jazz & Heritage Festival originated back in 1970; “In 1970, George Wein, jazz impresario behind the Newport Jazz Festival and the Newport Folk Festival (begun respectively in 1954 and 1959) was hired to design and produce a unique festival for New Orleans. The New Orleans Jazz & Heritage Foundation, a nonprofit organization, was established to oversee the Festival. 

Wein’s concept of the Louisiana Heritage Fair—a large daytime fair with multiple stages featuring a wide variety of indigenous music styles, food booths of Louisiana cuisine, and arts and crafts booths, along with an evening concert series—formed a construct that would prove vastly appealing and enduring. 

In addition to Mahalia Jackson and Duke Ellington, the first Festival lineup included Pete Fountain, Al Hirt, Clifton Chenier, Fats Domino, The Meters, The Preservation Hall Band, parades every day with The Olympia Brass Band and Mardi Gras Indians, and many others.”

Jams Plus Media was in attendance on Thursday, May 2^nd, 2013 to see how things were shakin’ down on the festival grounds.   This year’s Jazz Fest would be one for the record books for being one of the rainiest Jazz Fests (we all know the weather of 2013 has been abnormal), which if you are an avid goer brings out the “Mud People” and the die-hard fans that don’t mind getting a little wet.  It would also be one of the coolest Jazz Fests ever on record where temps would be record lows this year compared to record highs. Overall, Jazz Fest is usually a warm spring day fest with blue sky and sun shining on faces. One other thing to do when you are at Jazz Fest is to check out the arts and crafts, along with the awesome food that is served, like the Crawfish Monica. 

It started off cloudy all over with a little rain but that didn’t stop hundreds of thousands pouring into the gate for an excellent day of music with friends and loved ones.  Some of the musicians/ bands that would take the people to another place would be ~ Kirk Joseph’s Backyard Groove ~ Henry Butler  Friends ~ Gravy ~ Delfeayo Marsalis ~  Johnny Sketch & the Dirty Notes ~ Dirty Dozen Brass Band ~ & Widespread Panic along with several others gracing 12 stages amongst the fairgrounds.  The 12 Stages consist of Jazz, Gospel, Cajun, Zydeco, Blues, Rock, Funk, African, Latin, Caribbean, Folk, etc.  Widespread Panic would put on a hell of a show for fans who went through a set list of weather like this: Cloudy > Rain > Riders on the Storm> Sun Came Out > Cool Sunset…. in a 2 ½ hour set they played to close out Jazz Fest for Thursday May 2^nd.  CR Gruver of the New Orleans Suspects would join Widespread Panic on stage and sit in on keys during “Stop Breakin’ Down Blues” (Robert Johnson).  This would be one awesome experience for him to do this on the Acura stage gracing New Orleans and several thousand fans. The *Bust Out* of the show would have to be when Panic played “Dear Mr. Fantasy” (Traffic) which originally was going to be played at their Alpharetta show and was scratched.  A few original songs that Panic would play would be “Pickin’ Up the Pieces” ~ “Blue Indian” ~ “You Should Be Glad” and they came back out to do one more great, “Conrad”.  This would be Jams Plus Media’s first assignment for this World Famous Music Festival, and we look forward to many more in New Orleans. 

Written By:  Tarver Shelton

Edited By: Rosemary A.W. Roberts

Photos By:  Tarver Shelton (Old Jazz Fest Photo 1973 courtesy of Corey Fancher)  MORE PHOTOS

Black Francis / Reid Paley / BROOKS–Vinyl Music Hall—Pensacola, FL—05/07/2013 

A Tuesday night concert can be tough to swing, but being a longtime fan of Frank Black and The Pixies gave me an undeniable reason to travel to Vinyl Music Hall on May 7, 2013. Headliner Black Francis, aka Frank Black, was playing for the first time in Pensacola, FL; and a crowd of punk enthusiasts and Pixies fans gathered for the show. Opening act BROOKS (Brooks Hubbard III) brought his unique one-man-band stylings to the stage, with his electric guitar equipped with a Sonic Clamp holding his iPhone. The ingenious device he invented (www.sonicclamp.com) gives Brooks easy access to a wide array of effects that he manipulates to create a full-rounded band sound. In addition to the instrumentation, Brooks makes use of beatboxing skills and some wicked vocal effects, and he delivers a wide range of styles, from ethereal sounding pleasantries to dance-rock vibes. Originally from Gulfport, MS, Brooks is definitely an entertaining musician to keep an eye out for; his set was energetic and enlivening. 

Next up was avant-garde Brooklyn, NY rocker Reid Paley, who strolled onstage in a slick black suit. He tuned up his gorgeous guitar (a Gretsch, I believe), and launched into his solo set. Opening with “See You Again”, I was immediately struck by how powerfully Reid Paley’s deep growling voice commands attention. With an edge of darkness, tunes like “The Anesthetist’s Song” and “Better Days” display a talent for songwriting that captures the baseness of human nature. “Lucky’s Tune” and “Lazarus in Brooklyn” were particularly rockin’, and “Take What You Want” was a hard driving set closer. With an assured swagger and minimalist sound, Reid Paley provided a strong and solid segue into the main event. 

When Black Francis arrived onstage with guitar case in arm, the crowd gave a warmly raucous welcome, and “Bullet” (Frank Black & The Catholics) was first out of the gun. With full understanding of what many fans hold in high regard, The Pixies’ “Wave of Mutilation” was played next, as everyone in the room joined Black Francis to sing this punk anthem. Black’s solo performance, just him and his guitar, spanned his vast repertoire, and included something for every fan. Frank Black songs like “(I Want To Live on an) Abstract Plain” and “Headache” were explored with fluid precision, with his unmistakable voice loud and proud. Hearing “Where Is My Mind?” (The Pixies) made it hit home that we were in the presence of one of alternative rock’s pioneers, and other Pixies selections like “All Around The World”, “Caribou”, and “Mr. Grieves” kept the audience moving and reveling in abandon. Even solo, Black Francis brought power and urgency to “Six-Sixty-Six” (Frank Black & The Catholics) and “Los Angeles” (Frank Black). There were cover songs that Black absolutely transforms into his own unapologetic style, notably Tom Waits’ “Black Rider”, and Gary Green’s “That Burnt Out Rock and Roll”. Some of my favorite show moments were “Monkey Gone To Heaven” and “Gouge Away” off the Pixies’ 1989 album Doolittle, which was an album that got lots of play in my mid-90s college days, and still is often visited for a raging listening session. Black donned a harmonica for additional accompaniment for “She Took All the Money” (Black Francis), and his song “You Can’t Break a Heart and Have It” came off well. The Pixies’ classic “Velouria” was beautiful, providing a subtle sentiment in the midst of an ocean of intensity. 

All in all, this was an evening fully infused with everything your alt-punk heart could desire. And perhaps having the music delivered by solo performers further emphasized the “alternative” flavor. Brooks gave us one interpretation, using loops and technology to fill the space. In contrast, Reid Paley and Black Francis demonstrated that music stripped down to its essence is raw and naked. And a little bit of both sides of the coin makes for an intriguing adventure. To continue the adventure, check out the audio interview that Clayton Roberts conducted with Black Francis, which is accessible at www.jamsplus.com/interviews .  

Written and edited by: Rosemary A.W. Roberts

Photos By: Clayton Roberts

Eef Barzelay—Satori Coffee House—Mobile, AL—05/03/2013 

Mobile was certainly in for a treat as the University of South Alabama’s Independent Music Collective and Jaguar Productions teamed up to bring another fantastic concert to Satori Coffee House. An intimate crowd gathered in the comfortable living room-style setting to sit back and listen to Eef Barzelay, front man for the band Clem Snide. Although an unseasonably cold rain had been falling, our hearts were immediately warmed as the singer/songwriter/guitarist approached the mic and thanked us for inviting him down from Nashville. A self-proclaimed lover of country music, Eef Barzelay makes music which seems to draw from an alt-country edge with a touch of indie-folk. His songwriting is top-notch, and it was exceptional to see him in such a quiet and focused environment, allowing the full weight of his words to sink in. 

With an acoustic guitar and a nice vocal range, Eef Barzelay began with a melodic, sentimental overtone. He afterward described “The Words That Escape Me” as a song that is “eternally unresolved,” and it was a work of beauty. From the first Clem Snide album (1998’s You Were A Diamond), “Nick Drake Tape” contains a bit of Gen X angst and wit. Throughout the evening, Eef entertained with a mix of music and humor, offering comical insights on parenting and his recent tour of Spain, and using alternate keys for a few songs because the room’s acoustics “didn’t like” certain notes. 

The rawness and realness with which Eef Barzelay sings and strums keeps you hanging on every note. He sings sounds amidst the words, providing a focal shift from the poetic lyrics to the loveliness of the music itself. He stomps his feet and taps his guitar as percussive elements. The juxtaposition between humor and pensive lyricism was quite pronounced, especially in songs like “Made for TV Movie” and “Lose Big”. There were expressions of sweet emotion in the lovely “True Freedom” and “Let Us Sail On”. Barzelay used a ukulele in addition to his guitar, which worked nicely in his cover of classics like“Release Me” and “Fly Me To the Moon”. The uplifting though still somber “Fill Me With Your Light” made me smile and had great energy. Eef also played several tracks off the soon-to-be-released Clem Snide album Songs For Mary, which I would definitely recommend keeping an eye out for. “Like Lightning Flashes” was a gorgeous piece, with a relax-back feel and a comfortable alternation between major and minor keys. “History” was another that I immensely enjoyed, with the clever observation that “if your inner scaffolding feels frail / just remember God loves mostly those who fail”. 

I must admit: I love a good rock-n-roll concert, particularly when I get to dance up near the stage. But I’ve also found I can truly enjoy great music in a variety of other settings. I can sit in a theatre concert, when courtesy for the other sitting patrons dictates I should stay seated. And I can have a very enjoyable evening at a coffee house, sitting on a couch or chair, focused on listening to a man with a guitar who is singing a bit of his soul out for me. I wish to thank the Independent Music Collective for bringing some intimately introspective concerts to Mobile, and for giving us an opportunity to broaden our musical experiences. And many thanks to Eef Barzelay for sharing his unique talents as a musician with us here in Mobile; it seemed the whole audience had a great evening! 

Written and edited by: Rosemary A.W. Roberts

Photos By: Clayton Roberts

Royal Southern Brotherhood—Soul Kitchen Music Hall—Mobile, AL—RECORD STORE DAY 04/20/2013 

Since 2007, the third Saturday in April is celebrated by music lovers everywhere as Record Store Day, when special edition vinyl (and CD) releases are often accompanied by games, promotions, and sometimes live music. On Record Store Day 2013, Mobile Records and store owner Keith Glass provided quite a remarkable day for Mobile, with stacks of fresh vinyl, vintage vinyl, and live music outside in the gorgeous sunshine. To open the musical showcase, local Mobile band The Volks kicked things off right. The band mates may be young, but their style seems to reach into an older time, with a 1950s and 60s flavor and a strong British rock influence; they were excellent! Other great performances were given by The Hillbilly Hobo, The Sunshine Factory, and 20,000 Leagues Under the Sea. 

The afternoon was also highlighted with a special appearance by members of Royal Southern Brotherhood, who would be playing at the Soul Kitchen later that night. Mike Zito (guitar), Cyril Neville (percussion), and Devon Allman (guitar) brought their instruments and voices to Mobile Records, playing a short but sweet sit-down-and-groove set. It was great seeing these guys browse the shop for a bit, greeting fans kindly, and giving us a foretaste of what we could look forward to that evening. 

In the front room of the new and improved Soul Kitchen Music Hall, things got heated up righteously when Royal Southern Brotherhood opened their set with the scorching “Fired Up!”, enticing the crowd to gather around the stage and dance to the Latin flavor. Mike Zito led the vocals on “Hurts My Heart”, with a sway-friendly melody. “Moonlight Over the Mississippi” sounded sultry, with Cyril Neville driving the percussion, and singing with heart and soul. One of my favorite qualities of this band is the versatility obtained by having so many talented vocalists in the mix. Devon Allman provided his expressive deep vocals for “Left My Heart In Memphis”, quite a lovely song. 

Of course, along with the gorgeous voices, there’s plenty of instrumental prowess throughout Royal Southern Brotherhood. Cyril Neville’s percussion weaves and intertwines with the drums of Yonrico Scott providing a pleasant depth of sound. About two-thirds through the set, Yonrico and bassist Charlie Wooton took some time to jam out, with rhythm circulating through the room. The dual-attack guitars of Devon Allman and Mike Zito are in a constant state of delicious interplay, and they are both fluent and melodic guitarists, a pleasure to hear and see. The band truly works well together, allowing them to deliver a splendid version of “Fire On the Mountain” (Grateful Dead) that will definitely get you moving. “Sweet Jelly Donut” was lots of fun, and kept the crowd dancing; in fact, I think we were all dancing all night; it was certainly that kind of show! 

To close out the encore, the band tipped their hat to Devon’s father, Gregg Allman, when they covered “One Way Out” by the Allman Brothers Band. And they sure did it right, and the crowd joined in, singing “…Might be your man, I don’t know!” loud and proud. It was such a high-intensity, enjoyable evening that we were all left wanting more. Royal Southern Brotherhood are a band I would recommend everyone checking out; they’re touring quite extensively this year, go to http://www.royalsouthernbrotherhood.com/tour-dates/

And look for a show near you! As always, our thanks to the Soul Kitchen Music Hall for bringing such great music to Mobile!

Written and Edited By: Rosemary A.W. Roberts

Photos By: Clayton Roberts

Southsounds Music Festival--Mobile, AL--April 12^th-14^th 2013

      Stretched out amongst downtown Mobile, AL Southsounds Music Festival had a stellar weekend with Music, Arts, and Comedy.  If you ever been to or know about SXSW in Austin, TX, think about a smaller scaled down version of it that graced fans and onlookers alike at Southsounds Music Festival.  One day hopefully it will grow to be the size of SXSW; by the way it went this weekend it’s on its way.  Southsounds Music Festival consisted of seven venues downtown as well as Cathedral Square that hosted some memorable shows.  Even the rains that came on Sunday of the event didn’t stop people from getting out to enjoy themselves and have an awesome time.  Note: while Southsounds Music Festival was going on, Arts Alive was as well, and intersected with it through the entire weekend. 

     Friday evening started things off right with music at Cathedral Square by the Lost Bayou Ramblers (NOLA) and Grayson Capps & Lost Cause Minstrels.  Cathedral Square would be the host of shows that were Free to the public and consisted of bands that would be playing venues later in the evening during the weekend.  The venues that hosted these bands consisted of ~ Alchemy Tavern ~ Alabama Music Box ~ Blind Mule ~ Malaga Inn ~ OK Bicycle Shop ~ Haberdasher ~ & Callaghan’s Irish Social Club (where if you had a Gold Bracelet on you were a lucky Soul).  Highlights from the venues on Friday night consisted of Andrew Duhon who graced the Haberdasher with some awesome eclectic tunes.  Next door at the Alabama Music Box, Grayson Capps & Lost Cause Minstrels would play their first show ever at this venue, which was off the hook and gained new fans galore. Before Grayson Capps took stage the, Underhill Family Orchestra got things started in normal fashion, and then later would be the Banditos (BHAM) who would close out that night there. Jesse Payne (BHAM) who played Alchemy Tavern on Friday night as well played Cathedral square on Saturday and Malaga Inn that evening following, definitely a band to check out.  The Lost Bayou Ramblers played an exceptional show at Callaghan’s that evening; this band was nominated for a Grammy back in 2010.  

     On a glorious Saturday, things were off and running.  Music and Arts filled Cathedral Square while people would be witness to some incredible sounds from ~ Luke Winslow King (NOLA) ~ Promised Land (NASH) ~ Great Peacock (NASH) ~ St. Paul & the Broken Bones (NOLA).  St. Paul & the Broken Bones is probably one of the biggest highlighted bands to play over the weekend.  They as well played Callaghan’s that evening and wowed the crowd with their soulful funky sounds; this band is on its way to National recognition and moving up the charts fast. Other shows that evening that were talked about amongst others were, Luke Winslow King at the Haberdasher ~ Great Peacock who played before St. Paul, at Callaghan’s, and Mobile’s own El Cantador who played the Alabama Music Box, who would also play at the Temple that following Sunday for folks once again. 

     Sunday took off on note as the rains fell (briefly) and the outside shows at Cathedral Square were brought into the Temple to keep the Music & Arts going and flowing.  One band from Muscle Shoals, AL ~ Belle Adair ~ was one of the best bands to be witnessed on a Sunday afternoon, never can go wrong with a band that contains a pedal steel.  Chillakaya from Jacksonville, FL would bring some reggae sounds to Alchemy Tavern, followed by Digital Organix from Mobile, AL.  Alabama Music Box would host a Crawfish Boil that spiced things up a bit, besides the music that evening there.  Callaghan’s Irish Social Club would host Sam Doores + Riley Downing & the Tumbleweeds with Hurray for the Riff Raff to close things out for that venue; and what a great outlaw country sound to go out with for sure.  Overall, Southsounds Music Festival was a Hit and continues to grow.  If you haven’t attended it yet, be sure to look forward to it in 2014, because I am sure there will be some Heavy Hitters there.

Written By: Tarver Shelton

Edited By: Rosemary A.W. Roberts

Photos By:  Tarver Shelton & Clayton Roberts

The Heligoats—Satori Coffee House—Mobile, AL—04/12/2013 

Since the end of 2009, a University of South Alabama student association called the Independent Music Collective (IMC) has been sponsoring a concert series in Mobile, AL that features mainly roots, indie, and Americana musicians. Many of their concerts have been held at Satori Coffee House, a cool-vibe establishment close to USA’s campus whose owner Chuck Cox has been supportive of the Mobile music scene for many years. For Jams Plus Media’s first IMC concert experience, we headed to Satori for The Heligoats, a band lauded by NPR as “criminally underheralded”. Having recently heard and thoroughly enjoyed their newest album Back To The Ache, I was eager for the chance to experience The Heligoats in a live setting. 

We entered the charming coffee shop and made our way to the back room, where Chuck lets the IMC set the scene. Cozy couches and rows of chairs faced the stage, and intriguing canvas paintings lined the walls, creating a very intimate atmosphere akin to having a concert in your own living room. Faculty advisor for the IMC Justin St. Clair explained to me that the musicians they’ve hosted have all been appreciative of the attentive audiences who come to relax and truly listen to their music in this engaging environment. 

As we settled down on a couch, The Heligoats made their way onstage; for this show, vocalist/guitarist Chris Otepka and guitarist Steven Mitchell would perform as a duet, with Chris’s acoustic guitar and Steven’s electric guitar creating a nice balanced sound. The music of The Heligoats is driven by indie-folk melodies, accentuated by intelligent and thought-provoking lyrics. Edgy and poetic, with a touch of science and environmental consciousness, songs like “A Guide to the Outdoors” entice you to listen. Early in the set, “Rubber Stopper” had a nice groove featuring dreamy guitar effects from Steven Mitchell. From Back To The Ache, “Tofutti”, “Sleep Study”, and “Sulfur, Baby” played out nicely with the pared down sound of the duet. 

Between songs, Chris Otepka often told amusing anecdotes; he even showed us some pinecones he picked up “at school”, while visiting the University of South Alabama campus. His smart sense of humor found favor with the captivated crowd, and wry lyrics in “Mercury” and “Watertowers On Fire” brought out some laughter, too. “Dancing to the Blues” was one of my favorites of the night; Chris’s voice seems to “smile”, with a pleasant comfortable tone. The evening ended appropriately with the lyrics of “Goodness Gracious”…good night. We enjoyed the music so much that after the show ended, we stayed to pick up the albums Goodness Gracious and The End of All-Purpose on vinyl. 

The Heligoats provided a truly enjoyable concert experience; I would definitely recommend checking them out, whether you see them on tour or pick up one of their albums. I’m glad we got a chance to check out what the Independent Music Collective does so well, namely bringing unique musicians to Mobile in an intimate setting. Check them out at musicinmobile.org; and Mobilians, mark your calendars for May 3, 2013, when the IMC presents Eef Barzelay at Satori Coffee House, 8pm. 

Written and Edited By: Rosemary A.W. Roberts

North Mississippi Allstars / Arum Rae—Soul Kitchen Music Hall—Mobile, AL—04/06/2013 

As a longtime fan of North Mississippi Allstars (12 years?!), I relish every opportunity to see them in concert. I especially adore being able to see them at home in Mobile, AL; and thanks to Soul Kitchen Music Hall, that opportunity arises almost annually. But on April 6 2013, an old tradition acquired a totally new ambiance, as the music hall owners Brad Young and Maggie Smith are completing major renovations to the venue. The stage is now at the far end of the large room, the ceiling has been altered to improve acoustics, the restrooms are clean and beautifully painted:  it’s a brand new Kitchen! 

We arrived amidst the solo performance by Arum Rae, a singer/songwriter with a lovely voice. She serenaded the crowd with an electric guitar and a bluesy Southern vibe. The minimalist approach worked well to highlight Arum Rae’s sultry vocals, and provided a gentle starting point for what would become a hard-rocked evening. 

Shortly after a lucky fan won a prize package for the Hangout Fest (courtesy of Meyer Realty), the lights were dimmed, and the projection screen was activated; and then North Mississippi Allstars (NMA) received a warm welcome back to Mobile. Well, it was a “welcome back” for the brothers, drummer Cody Dickinson and guitarist Luther Dickinson; and it was a first-time “welcome” for bass guitarist Lightnin’ Malcolm, who fits right in with the North Mississippi Hill Country vibe. The night was howling with one long, hot set, filled with fan favorites. “My Babe” found Luther marching around banging on a big bass drum. “Up Over Yonder” provided that lovely strutting stroll, and everyone loves to “Shake ‘Em On Down”. It’s always a good night when NMA gives you a strong dose of dirty grooves, and plenty were to be had with songs like “Shake”, “Goin Down South”, and a set closing “Snake Drive”. I consider it quite a pleasure to hear “Have Mercy”, with its slow-smoldering fire.  As always, “Po Black Maddie > Skinny Woman” brought genuine Hill Country-style blues right to the doorstep, and the fans opened the door to let it in. And “Mean Ol’ Wind Died Down” found the crowd singing in chorus, and a bit of a heavenly sensation pervaded the room. 

The band dynamic was fluid and free-flowing, and periodically Luther Dickinson and Lightnin’ Malcolm cross paths mid-stage and trade off lead guitar and bass guitar, allowing for variety, keeping things fresh. Lightnin’ Malcolm’s song “Workin’” was new to me, and had a cool flavor the crowd was digging. Malcolm on guitar for “So Many Women” works quite well, with Luther holding down the bass. Cody Dickinson proved himself a man of many talents, providing keyboard lead and vocals for “KC Jones”, heading across the stage to play bass, and giving a reason for fans to always demand “More Washboard!” with his unique electric washboard skills. The crowd got the chance to see more atypical instruments, as Luther utilized his coffee can guitar for “Rollin’ and Tumblin’”, and brought out the cigar box guitar for “Mississippi Boll Weevil”.  Luther allowed his bandmates a stage break while tipping his hat to the locals with Bob Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again”, and also performed a solo “Jumpercable Blues”. One of the highlights for me was hearing Luther tear up “Hear My Train A’Comin’” a la Jimi Hendrix, capturing Hendrix’s ability to transport me to another dimension. 

An appropriate end to the delightfully lengthy set was “All Night Long”, which has lately featured Malcolm on guitar and Luther on bass. The audience definitely left with a soul-full of North Mississippi Allstars; the Soul Kitchen cooked it up righteously! Our thanks, again, to the Soul Kitchen for bringing the sweet sounds of NMA to Mobile, and thanks to the band for delivering a smokin’ hot night of smiling and dancing…keep it up! 

Written and edited by: Rosemary A.W. Roberts

The Moody Blues—Beau Rivage Theatre—Biloxi, MS—03/16/2013 

Celebrating 45 years since the release of their groundbreaking album Days of Future Past, The Moody Blues toured the US extensively in 2012, finishing with a handful of March 2013 shows. A comfortably cool evening and sky filled with stars seemed a fitting way to enter the Beau Rivage Theatre in Biloxi, MS, on our way to see a sold-out concert by the veteran rockers. Having enjoyed their music throughout my life, I was thrilled for the chance to see The Moody Blues perform live. The opening synth-pop rocker “Gemini Dream” reeled in the crowd from the start, and it was immediately impressive how on-point the band sounded. As a child of the 1980s, I loved hearing “The Voice”; and I must say, the voices of guitarist Justin Hayward and bassist John Lodge have withstood the test of time, sounding fabulous. The triple screen visuals enhanced the concert experience, morphing from colorful psychedelic swirls, to familiar album cover graphics, to photographs of the band members through the years. Fog enveloped the stage as the band rocked through “Steppin’ In A Slide Zone”. The huge sonic build in “You and Me” held plenty of power, driven by the drums of founding member Graeme Edge and Gordon Marshall. 

The audience enthusiastically cheered as the familiar opening strains of “Tuesday Afternoon” danced through the air, and the flute accompaniment by Norda Mullen fit perfectly, while Hayward and Lodge wove a tapestry of sound. Continuing to pull from Days of Future Past, Hayward traded in the dark red Gibson guitar he used most of the evening for a Fender Stratocaster, and Lodge grabbed another Fender bass. The vocals of saxophonist/keyboardist Julie Ragins allowed the band to deliver the psychedelic rocker “Peak Hour” with plenty of pizazz. Throughout the concert, The Moody Blues switched seamlessly from 1960s classics to 1980s hits, so it was not a stretch to next hear “I Know You’re Out There Somewhere”, with keyboardist Alan Hewitt lending synthesizer sounds. One of my favorite tunes of the night, “The Story In Your Eyes” absolutely rocked, with both Hayward and Lodge working their axes to the max. “Your Wildest Dreams” took me back to my childhood, fondly remembering when the song came out and how it captivated me with beautiful vocals, which were pleasingly rendered for me live all these years later. A peaceful yet massive sonic excursion occurred during “Isn’t Life Strange” with precision timing by Edge and Marshall. 

Graeme Edge stepped out from behind his drum kit and approached the front of the stage to speak about this 45^th anniversary tour, and stayed up front with a bright blue tambourine for “Higher and Higher”, dancing around the stage with amazing youthfulness and tons of energy. The hypnotic beauty of “Are You Sitting Comfortably” was a lovely interlude, and “I’m Just A Singer (In A Rock and Roll Band)” brought some fierce rock to the party. Edge came center stage with white light beams reminiscent of starlight, and began the familiar narration: “Breathe deep The gathering gloom / Watch lights fade From Every Room… Red is gray And yellow white / But we decide Which is right / and which is an Illusion…” Then the room erupted as The Moody Blues played one of their most beloved songs, “Nights In White Satin”, and the song seemed even bigger and more beautiful hearing it live. To finish the amazing set, “Question” was performed to perfection, with the rapid-fire attack sections and the soaring peaks providing quite a ride. After a standing ovation from the thrilled crowd, the band returned to encore with “Ride My See-Saw”, ending the evening with a blast of power. What a great concert! It is clear The Moody Blues are still passionate about their music; they have great stage presence, and seem truly appreciative of their fans. I would definitely recommend seeing The Moody Blues if you get the chance!

More photos HERE

Written and Edited by: Rosemary A.W. Roberts

Photos by: Clayton Roberts

The Buku Music + Arts Project was one of the few festivals I’ve been to where I felt immediately comfortable with the people from the moment I got there to the moment I left. From rail to soundboard there were scantily clad girls and and bro’s in rage hats. Everything felt inviting, from the creepy floats in The Float Den stage to the obscure spacemen on The Power Plant stage during Primus’ set. The first band that I saw was St. Lucia. They opened up the fest on the Power Plant stage. They put out some good tunes laden with spacey guitar riffs and synth beats. After St. Lucia came Lettuce, the funky jam band that seems to know no limits. Behind the steady beats of one of my favorite drummers, Adam Deitch, Lettuce pumped out an incredible set. The next show I caught was Odd Future’s very own Earl Sweatshirt. Being a massive Odd Future fan I was stoked to see this. Not only did Earl perform flawlessly, even dropping his new single “Whoa”, but Flying Lotus was running the boards for him. FlyLo opened the set with “Yonkers” by fellow OF member Tyler, the Creator and got the crowd hyped. After that I meandered on over to catch the end of Flux Pavillion and get as close as possible for Primus and Kid Cudi. Flux was as expected, playing all his hits and a few others with heavy bass. The crowd of mostly college kids on a variety of dance enhancers absolutely loved him, fist-pumping their little hearts out. Primus’ set was disapointing for me. It was very repetitive and I felt that Les Claypool left a lot on the stage. Scott Mescudi aka the Cudder, Kid Cudi, Mr. Rager, and a slew of other nicknames was absolutely mind-blowing. Opening with the Man on the Moon II banger “Revofev”, Cudi had the crowd in the palm of his hand from the very beginning. Pumping out classics like “Ghost”, “Pursuit of Happiness”, and “Mr. Rager”, he exceeded far beyond my high expectations. It was a perfect way to end night 1.

Day 2 was what I was really there for. I saw Buku, Ryan Hemsworth, and Flosstradamus in anticipation of my favorite jamtronica act, Big Gigantic. Big G never disappoints, and today was no exception. Opening with “Louder”, Dom and Jeremy were putting some serious work into this set. Dom was perfectly in sync with his monster beats and his blaring saxophone, and Jeremy was killing his crash as usual. A few months ago I bought both of Passion Pit’s albums, and was incredibly impressed. I felt as if live they would have a very emotional, yet upbeat and exciting show. That is understatement of the year. Passion Pit’s set was the most electrifying show at the festival. Opening with “I’ll Be Alright”, and closing with “Little Secrets” these guys clearly knew what they were doing. I loved every minute of the set; I felt entranced by the music so much that after the set ended, I just stood in awe for a few minutes. The final show I saw was Sound Tribe Sector 9, better known as STS9. Sound Tribe is a jamtronica band that basically invented the genre out of Atlanta. Their set was fantastic, even having Dom Lailli from Big Gigantic sit in and play saxophone on a few songs. Buku was a great experience and I’ll be sure to be back next year and for years to come. I loved being that close to a big city with so much history and culture. Anyone that was in New Orleans this past weekend with me had a great time that they won’t soon forget. 

Written by: Trey Saville

Photos by: Tarver Shelton

Edited by: Rosemary A.W. Roberts