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Toubab Krewe - October 30, 2010 - Soul Kitchen, Mobile, AL  Galactic - November 6, 2010 - Soul Kitchen, Mobile, AL  Roger Waters - The Wall - November 18, 2010 - Phillips Arena, Atlanta, GA

Grayson Capps & The Lost Cause Minstrels - Bayfest, Mobile, AL - October 3, 2010

Allen Toussaint & Neil Young - Mobile Saenger Theatre, Mobile, AL  9/26/2010 Shooter Jennings & Heirophant Soul Kitchen Music Hall - Mobile, AL 9/11/10

Hill Country Revue & Tea Leaf Green - Wednesday 9/1/10 Soul Kitchen Mobile, AL

Col. Bruce Hampton & The Quark Alliance - Callaghan's Irish Social Club - Mobile, AL  9/19/10 Shropshire - 9/5/2010 - Soul Kitchen, Mobile, AL Rollin' In The Hay 8/29/10
MaGhee's Grill On The Hill
2nd Annual Ass Kickin Contest
To Benefit Wilmer Hall
The Smart Brothers 8/29/10
Callaghan's Irish Social Club
Mobile, AL
Gordon Lightfoot - 8-26-2010 - The Saenger Theatre, Mobile, AL

Email Rosemary@jamsplus.com

Roger Waters - The Wall - November 18, 2010 - Phillips Arena, Atlanta, GA

After a long wait of almost a year, the day finally came in which I was off to The Wall in Atlanta.  My wife Rosemary had to back out at the last minute, which allowed my best friend and partner of Jams Plus, Dale Taylor, join me on this adventure.  Both of us huge fans of Roger Waters, and especially The Wall, one could only expect a magical night to come.  We made into Atlanta early and had time to relax a bit prior to the show.  We arrive at the show and found ourselves with a stage front view.  This is where we would start this special evening.  Finally, lights down, and the arena erupts with the crowd noise intensifying and then BOOM!  pyrotechnics for a few minutes lighting up the stage, and then Roger Waters comes out, fists pumping!  I am confident that everyone knows the story/setlist of the wall so I will focus on the highlights of this concert/theatrical production.  A true rock ballad so to speak as part of the wall was already visible, and then the ever morphing visual aspect kicks in.  I will have to give the highest appreciation for the theatrical side of this event.  As our eyes were focused on the well lite right side of the stage, in the dark, the crew was busy setting up the wall, on the other side.  Once the lights would show the left side, along side with the morphing of the visual imagery, The Wall was being constructed in front of our eyes. 

The show continues throughout the first set, with most all images of the movie version of The Wall.  The hammers, flowers, demons, wow it was just as I had imagined it would be.  Then finally "Another Brick in The Wall" was sung and a huge teacher image was dropped from the light rig above the stage.  Roger Waters had a group of children come up for the "We don't need no education" chorus.  Now on with the show.  Next up of the iconic figures was a huge  "Mother" image, and yes more of the wall had been put up as Waters sang the epic piece.  During the instrumental portions the visual images kept on morphing, it was like Dale and I were in a state of shock with the ever evolving images of fallen war hero's, blood sea's, and just overall incredible eye candy. 

Intermission came to us staring at the wall built in it's entirety completely covering the seats and stage on the far end of the arena.  Dale and I had been moving around throughout the first set for many different viewpoints of the show.  Intermission found us sitting right next to the wall, getting ready for the second set. 

Second set started with "Hey You" and all you could see was the wall, no musicians.  Next up "Is There Anybody Out There"  with lights flying all over the arena and floor level.  The second set was full of big hits, and then after a stunning "Run Like Hell", flying pigs began to circle the arena, and then the trial began.  With full imagery of the animated portion of the movie, the judge was out and Roger was on trial.  As Dale and I were sitting now up high on looking over the wall, and the entire arena shouting "TEAR DOWN THE WALL!" the wall began to move, then crumbled to the ground.  Absolutely phenomenal as far as a concert goes.  The cast comes out for the final "Outside The Wall" and then Roger thanked us all for supporting his vivid story.  The entire crowd, while leaving the venue, were all saying how much they enjoyed that performance, and how neat it was to be apart of it.  Roger wraps up in the United States in a couple of weeks, and then off to tour across seas.  (more photos located at HERE!)

Thank you Roger Waters for your creation!!


Review by: Clayton Roberts

Photos by: Clayton Roberts

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Galactic - November 6, 2010 - Soul Kitchen, Mobile, AL

WOW, WOW, WOW!  What a great show tonight was.  Galactic came into town with nothing but the funk to throw down in Mobile, AL.  A high energy, strong crowd, was ready to get down at the Soul Kitchen, and opening band IOZ, from GA, drew the crowd in and primed them for Galactic. 

Galactic took the stage in full force with guests Cyril Neville, of Neville brothers fame, and also Corey Henry of the Rebirth Brass Band.  With a stage full of musicians the sounds began to flow in rhythmic perfection with a twist of good horn funk.  The crowd cheered and danced on until about midway through the set, Galactic brought out members of The Levon Helm Band, to add another horn and flute player to the mix.  The next big highlight was when Galactic exploded into "Manic Depression" which was absolutely fantastic, set to the New Orleans Funk sound, which


Galactic is well known for.  The three song encore started with Tiger Roll, another strong crowd pleaser, next was a funky drum solo, then back to the funk, which  left everyone satisfied with Galactic.  As this was the final stop of the tour, we are already looking forward to their return.





Review by: Clayton Roberts

Photography by: Dale, Clayton

Edited by: Rosemary A.W. Roberts

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Toubab Krewe - October 30, 2010 - Soul Kitchen, Mobile, AL 

A Look at the band with Drew Heller,

Jams Plus got an opportunity to chat with Drew Heller of Toubab Krewe, and then experience the concert to back up our conversation.  Drew Heller, who plays guitar and Souk for the band, is an exceptional man and musician.  He was very down to earth in our interview, with lots of good energy in his words.  Here is an excerpt from our interview:


JP:  How would you best describe Toubab Krewe?

DH:  African Creole in its own way.

JP:  Toubab Krewe consists of Teal Brown (drums), Drew Heller (guitar, fiddle, and souk), Justin Perkins (kora, guitar, and kamelengoni), David Pransky (Bass), and Luke Quaranta (percussion)

DH:  Yes, and most of us have been playing together since we were nine years old.

JP:  Tell us about the new CD “TK2” and the comments printed previously about how Toubab Krewe “records in the spirit and sifts for the gold afterwards?”

DH:  We’ll we use a 2”tape and record 45 minute segments, stop, and then repeat building off that, in search of the “Holy Grail.”

JP:  How have you and the band grown in the last 5 years, including your trips to Africa?

DH:  In leaps and bounds, the trips and studies in Africa allowed us to study with the masters of these instruments we use, such as the percussion, kora, kamelengoni, and souk.

JP:  Being an all instrumental band, do you ever feel the need for spoken word or lyrics in your music?

DH:  Funny, as we have actually started to incorporate some lyrics in our music.

JP:  Does Toubab Krewe have any other artistic outlets that provide you with something that music can’t give?

DH:  That is a great question, I actually like to draw, and others like photography, and writing.

JP:  Who are some of your musical influences?

DH:  Hendrix, Zeppelin, Elizabeth Cotton, Al Greene, R&B musicians, Jamaican, Western, Swing, Hank SR., Satala, and if you don’t know Satala you should check him out.

JP:  Thank you and we can’t wait to see you at the show next Saturday.

Concert Review 10-30-2010

The Halloween costume contest show at Soul Kitchen with Atmosphreak and Toubab Krewe was a blast.  The Kitchen filled in nicely with all the fans dressed in their Halloween attire.  After a nice groove funk set from local band Atmosphreak, Toubab Krewe took the stage in full costumes.  From Skeletons, to Zombies, to Beetlejuice himself, Toubab Krewe played their unique African Creole sounds for us all to enjoy.  The use of the Kora, Kamelengoni, and souk, made for new and fresh tones for our ears.  These tones are what define Toubab Krewe’s sound.  Traditional guitars were also played in conjunction with the African instruments, with a touch of grand and glorious percussion and drums of all sizes and shapes.  It was a very high energy set.  New tunes from TK2, the new album, were played and also staple hits such as 51’ ladder, which is always a crowd pleaser.  The drum/percussion solo with Justin, Luke, and Teal, was fantastic, with much rhythmic energy.  We even got to hear an old traditional song sung to us, to add that lyrical perspective to the mix.  The night was really intimate as the crowd was able to get right up to the stage and experience up close how these fantastic instruments are played.  Check out Toubab Krewe anytime they are near you for a fantastic evening of live music.

Review by: Clayton Roberts

Edited by: Rosemary A.W. Roberts

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Grayson Capps & The Lost Cause Minstrels - Bayfest, Mobile, AL - October 3, 2010 

            Grayson Capps & The Lost Cause Minstrels (Christian Grizzard, Corky Hughes, John Milham, and Chris Spies) were certainly dressed to impress at Bayfest, all wearing jackets to let the audience know they meant business!  Grayson’s voice is deep and soulful; he plays rhythm guitar, and he also rocks a harmonica to bring another element to the mix.  The Lost Cause Minstrels are the musicians who formerly charmed the Mobile scene as Kung Fu Mama, and hearing them reunited will certainly bring a smile to those of us who frequented Kung Fu Mama shows.  They are also poised to garner a whole new fanbase, with Grayson Capps up front providing serious vocal skills. 

In an aftershow interview, Grayson remarked “These guys are the icing on the gravy,” and they all agree that working together as professionals has been rewarding.  Drummer John Milham explained that “It’s been 8 years since we all played together,” and that the approach is different now that they’ve joined forces with Grayson.  The band is focused on creating a successful future, and playing festivals like Bayfest and Magnolia Festival (Live Oak, FL on October 22, 2010) is a big part of their plan.  They are also wrapping up the recording of a new album at the Big Red Barn in Nashville, where Christian Grizzard currently lives.  Grayson says of the album, slated for release in March, “We’re proud of the sound; we’re trying to add a more local sound,” with songs like ‘Old Slac’ that reference Mobile Mardi Gras. 

            Throughout the set on the AT&T / IP Casino stage at Bayfest, Grayson and the band provided some great southern Mobile-style rock, infused with rhythmic jams that could easily stretch out when the crowd and time allow for it.  Corky Hughes on lead guitar sounds just as comfortable in the rock genre as he is in the realm of jazz, with a smooth and masterful style.  Chris Spies commands the keys, bringing a fluid funk factor and building lively sonic layers with his organ work.  Christian Grizzard loves to lay down a thumpin’ bass solo, and makes the bass guitar a front-runner as well as a solid rhythm base.  John Milham’s drums truly drive the beat, with a rich texture and tone; he is capable of going outside the box and then bringing it back home, in a way that challenges the listeners without turning them off.  Special guest Chris Spies (Jr.) joined in on saxophone, adding some more soulful sounds; the 17-year-old told Jams Plus that he’s been playing for 7 years, and that Bayfest was his first time playing with Grayson & LCM.  He certainly held his own, with a comfortable stage presence and enjoyable playing style. 

            One of the uniquely intriguing aspects of Grayson Capps is that he is a storyteller, a modern-day minstrel chronicling life in the South.  He sings about the non-shaving hippie chick he fell for.  He paints lyrical pictures in ‘Love Song for Bobby Long’.  The lighthearted and lively ‘Big Ole Woman’ enticed even the seated folks in the crowd to get up and dance!  The country-tinged rocker 'Mercy' featured Grayson on slide guitar, and allowed Chris Spies some space to jam.  'Wail and Ride' had a dirty southern groove for Corky Hughes to open up in, and featured high-energy interplay between Christian’s bass and Milham’s drums.  Dancing with fellow Mobile fans during 'Poison' was a blast, and when Grayson prompted, the crowd responded by singing the refrain a capella.  Overall, Grayson Capps and the Lost Cause Minstrels put on an incredible show; the band has a seamless intensity that makes for a rockin’ good time, and they will make you want to come back for more.

Written by: Rosemary A.W. Roberts of Jams Plus

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Neil Young at Saenger.jpg

 Allen Toussaint & Neil Young - Mobile Saenger Theatre, Mobile, AL  9/26/2010

           The night was cool and rain dampened the streets, but nothing could dampen the spirits of the ticketholders for the Neil Young concert at Mobile Alabama’s Saenger Theatre.  Promptly at 8pm, New Orleans native Allen Toussaint took the stage wearing a festive blue suit.  He sat at the playfully painted piano and graciously greeted us with true Southern charm.  He opened his set with “Happy Time”, afterward explaining it was the first song he ever recorded.  Mr.Toussaint would treat us to his songs, many of which were later recorded and made famous by other artists.  There was a lively medley of “Certain Girl”, “Mother-In-Law”, “Fortune Teller”, and “Working In the Coalmine” that certainly set our toes a-tappin’.  As Toussaint performed his classics “Yes We Can Can” and “Southern Skies”, I became increasingly grateful for the opportunity to watch this consummate pianist and vocalist.  The memories and stories interwoven between the songs made it feel like we were sitting on a porch swing with him, enjoying an old-time evening in New Orleans.  Especially enjoyable was the instrumental medley that he said better expressed where he comes from than any verbal response he could give an interviewer; a marvelous journey that included some ragtime, some jazzy splits, and ballad verses.

            After being warmed up by living legend Allen Toussaint, the mood of utter enjoyment would be carried to completion when Neil Young strolled on stage, wearing blue jeans, a baby blue shirt, and a cream-colored jacket and hat.  He sat center stage, acoustic guitar in hand, and opened with a lovely and haunting “Hey Hey My My”, accented with his signature harmonica serenade.  The simple beauty continued with favorite classics “Tell Me Why” and “Helpless”, and it was impossible to prevent a few joyful tears from rolling down.  Mr. Young’s voice retains its nostalgic melodious quality, even now. 

            Neil Young then traded out the acoustic for an electric guitar, and played a few new songs, “You Never Call”, “Peaceful Valley Boulevard”, and “Love and War”, using some deep full-sounding guitar fills, and even some Spanish-style flourishes.  The crowd was respectful and receptive, and we were rewarded with some classic Neil Young work in “Down By The River” and “Ohio”, during which he danced around the stage a bit, reminding us he is indeed part rock star, part living legend. 

            Making his way over to a stage-right piano, Mr. Young played a song “...for the little people who couldn’t come ‘cause Mom said ‘No!’,” which I found ironic, as I sat next to my 7-year-old son Emerson, who even at this young age is a huge fan of Neil Young.  Then he manned an organ near center stage, and thrilled us with the opening notes of “After the Gold Rush”, which happens to be Emerson’s favorite song; an absolute treat, complete with harmonica rapture!  Another earth-conscious song followed on guitar; Neil is not afraid to make his views known, to try to spur the audience into a state of contemplation regarding our role as members of the Human Race. 

            As Neil returned to a smallish black electric guitar, he gave us one of my most memorable moments of the night, an amazing version of “Cortez the Killer”.  I wish I was a guitar player, so I could properly convey the terms that would express the musical magic he made, with creative handwork technique all over the guitar.  A rocking, crowd-pleasing “Cinnamon Girl” closed the set to a standing ovation. 

            Mr. Young encored with an old acoustic guitar, the perfect instrument on which to play the beautifully sung “Old Man”, which the crowd could not help but sing along.  The electric closer “Walk With Me” was complete with echoes and reverb that surrounded the theatre in a sonic glow.  The magical evening had concluded, rushing by so quickly, just as Allen Toussaint had told us it would.  Two living legends plus one beautiful downtown Mobile theatre equals perfection and grace...bravo!

Written By: Rosemary A.W. Roberts of Jams Plus

Photography: Courtesy of

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Shropshire - 9/5/2010 - Soul Kitchen, Mobile, AL

The second all-ages show at the Soul Kitchen was well-attended, a welcome addition to Labor Day Weekend for many local high school and middle school kids.  Opening artist Mary Alice Perez took the stage with her keyboard for a short set that included “Don’t Know Why” by Norah Jones.  Her brother Fanane Perez joined in with his guitar for Paramore’s “The Only Exception”.  Mary Alice is a beautiful girl with a soulful voice beyond her years, and her stage presence and confidence has noticeably grown since the first all-ages Soul Kitchen show a few months prior. 

Next onstage was Border Contraband, with members Riley Curry and Austin Arias, two teens with an acoustic folk-rock vibe.  In addition to a nice original song, they played “Sweet Pea” by Amos Lee, “Wagon Wheel” by Bob Dylan, and Otis Redding’s “Dock of the Bay”.  Their set was enjoyed by the crowd, and then excitement took hold as headliners Shropshire joined Border Contraband for Bob Marley’s “No Woman No Cry”.

 Things really started cookin’ in the Soul Kitchen when Shropshire opened their set with “Muzeke” and “Colombian BamBam”.  These young musicians show true talent and promise, performing a set mostly comprised of original songs, with a sprinkling of well-chosen covers.  Shropshire’s music could perhaps be described as very danceable groove-funk with a touch of punk flavor.  Frontman and vocalist Philip Knott has grown comfortably into his role, with an entertaining vocal style and commanding stage presence capable of delighting and igniting the crowd.  Bassist Julian “Frankenstein” Truxillo provides a cool funk factor throughout, and seemed to channel Les Claypool on the enjoyable original “Time Goes By”.  Drummer Zeke Buckhaults is absolutely solid, his relentless sense of rhythm gives Shropshire a maturity not often heard in young bands.  Guitarist Carson Taylor continues to grow as a shred-master, providing tasty solo work in “Stop Talking” and “Crocodile Tears”, doing Jimi Hendrix proud with his rendition of “Hey Joe”, and thrilling this reviewer with a tease of “Little Wing”.

 Shropshire is definitely on the right track, displaying excellent onstage communication which allows them to successfully execute slick timing changeups in “Makin’ Love A Little More Funky” and “Street Funks”.  If that’s not enough to garner audience respect, they even shuffle their mix for the drummer-composed “Ghoul in My Closet”, as Frankenstein jumps on the drums, Philip mans the bass, and Zeke comes front-and-center to sing!  As a testament to their versatility, their cover songs ranged from the aforementioned Hendrix to the Black Eyed Peas’ “Where Is The Love”, classics “My Girl” and “I Will Survive”, and a fabulous version of “Chained” by The Pixies.  New original debut “BEDA” held up well along with fan-base favorites “Knotthead”, “Natural Born Killers”, and “Lock & Load”.

 Overall awesome night at the Soul Kitchen:  keep your eye on Shropshire, they’re a band to watch, well worth a listen by music lovers of all ages.


Review by Rosemary A.W. Roberts of Jams Plus

Photography by: Emily Kate Feibelman

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All Show Reviews edited by Rosemary Roberts of Jams Plus


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